In the program:
Works by György Ligeti

I d.
Musica Ricercata (1951-1953):
I. Sostenuto - Misurato - Prestissimo
II. Mesto, rigido e cerimoniale
III. Allegro con spirito
IV. Tempo di valse (poco vivace – « à l'orgue de Barbarie »)
V. Rubat. Lamentos
VI. Allegro molto capriccioso
VII. Cantabile, molto legato
VIII. Vivace. Energetic
IX. (Béla Bartók in Memoriam) Adagio. Mesto - Allegro maestoso
X. Vivace. Capriccioso
XI. (Omaggio a Girolamo Frescobaldi) Andante misurato e tranquillo
5 pieces for piano for 4 hands:
1. Induló (March). Allegro (1942)
2. Polifón etüd (Polyphonic Etude). Allegro comodo (1943)
3. Három lakodalmi tánc (Three Wedding Dances) (1950)
I. A kapuban a szekér (The carriage is already at the gate). Allegro
II. Hopp ide tisztán (Hey, beautiful, come here). Andantino
III. Csángó forgós (Spinner). Allegro
4. Sonatina (1950)
I. Allegro
II. Andante
III. Vivace
5. Allegro (1943)
Hungarian Rock (1978)
Continuum (1968)

II d.
Piano Etudes (1985-2001) from Books One and Two:
1. Désordre (Disorder)
2. Cordes à vide (Free Strings)
3. Touches bloquées (Blocked keys)
4. Fanfares
5. Arc-en-ciel (Rainbow)
6. Automne à Varsovie (Autumn in Warsaw)
7. Galamb borong
8. Fem (Metal)
9. Vertige (Dizziness)
10. Zauberlehrling (Sorcerer's Apprentice)
11. En Suspense (Unknown)
12. Entrelacs (Ornament)
13. L’escalier du diable (The Devil’s Staircase)

György Ligeti, one of the most significant composers of our time, turns 100 years old this year. He is an innovative creator, like a separate era that lasted longer than the entire 20th century. the second half, setting new standards in every musical direction he touched. The creative spectrum covered everything: from the specifics of solo instruments to the body of an orchestra, from acoustic experiments to electronics. He, like no one else, managed to combine elements from the most diverse corners of the world's music, integrate phenomena from the spheres of science, breathe life into dead genres that have lost their relevance.

These are Ligeti's 18 etudes for piano (1985-2001), which are considered the first and perhaps the most valuable example of the etude piano genre in the 20th century. in the second half. In them, the composer implemented and summarized the innovative technical ideas used in his work, not forgetting to weave in not only the best features of the concert etude genre, developed in the works of Chopin, Liszt, Debussy, Scriabin, as well as Rachmaninoff, but also relying on the most hopeless and musically lacking elements found in constructive etudes and exercises. common features - obsessiveness, monotony, repetition, mathematical asceticism.

Ligeti created an indisputable masterpiece that quickly gained recognition among the piano art community, becoming a classic and a monument to piano technique ahead of its time. The composer, by changing and deforming the established norms and prejudices related to the etude genre, turned it into an unheard of art and expanded the horizon of themes, in which images of infinity are expressed by various means, ideas, especially rhythmic ones, are drawn from non-European musical cultures and mathematical-geometrical theories, a number of inspirations originates from jazz music or even specific playing manners of jazz performers, experimental performance methods are tested, trying to get a sound close to sonorism from the piano. Many researchers of Ligeti's work claim that one of the essential prerequisites for restoring the etude genre was the composer's turning to tonality. However, it is implemented in a peculiar way - by using several tones at the same time, so the sound often does not resemble the tonal harmony we are used to. These dermal and rhythmic experiments presuppose another unifying theme - independence (manual, rhythmic, dermal; the ability to simultaneously control several different lines).

But one should not assume that everything is so inhumanly serious and harsh - the etudes are full of humorous undertones. Strengthening this feeling, the concert will feature a wider panorama of Ligeti's keyboard works and, in order to show the composer's versatility, we will go back to the times of his first creative attempts, when the strong influence of Bartók was felt. This period is perfectly revealed by pieces for the piano with 4 hands, which will be played by pianist Mykolas Bazaras. Tests and experiments will not end there, as Motiejs Bazar will make his debut as a harpsichordist, interpreting Ligeti's works for the harpsichord, opening up new possibilities for the instrument and bringing its sound closer to noise music.