(Avant Garde) Дьердь Лигети - собрание сочинений/Gyorgy Ligeti edition (7 CD) - 1998, MP3 , 320 kbps

String Quartet No.1:
01.Allegro grazioso
02.Vivace capriccioso
03.Adagio mesto
04.Presto
05.Andante tranquillo
06.Tempo di valse - Moderato - Con eleganza - Un poco capriccioso
07.Allegretto, un poco giovale
08.Prestissimo
String Quartet No. 2:
09.I. Allegro nervoso
10.II. Sostenuto, molto calmo
11.III. Come un meccanismo di precisione
12.IV. Presto furioso - Brutale - Tumultoso
13.V. Allegro con delicatezza
14.Hommage à Hilding Rosenberg (1982)
Balada si joc (Ballade and Dance for 2 Violins):
15.Ballade: Andante
16.Dance: Allegro vivace
Andante and Allegretto for String Quartet:
17.I. Andante cantabile
18.II. Allegretto poco capriccioso

01.Éjszaka
02.Reggel
Idegen földön:
03.I. Siralmas nékem (Lament)
04.II. Egy fekete holló
05.III. Vissza ne nézz
06.IV. Fujdogál a nyári szél
07.Magány
Zwei Kanons:
08.I. Ha folyóvíz volnék
09.II. Pletykázó asszonyok
10.Betlehemi királyok
11.Bujdosó
12.Lux Aeterna
13.Lakodalmas
Inaktelki nóták:
14.I. Moderato
15.II. Allegro
16.III. Parlando
17.IV. Allegro
Mátraszentimrei Dalok:
18.I. Három hordó
19.II. Igaz szerelem
20.III. Gomb, gomb
21.IV. Erdöbe, erdöbe
22.Pápainé
Drei Phantasien:
23.I. Hälfte des Lebens
24.II. Wenn aus der Ferne
25.III. Abenphantasie
Magyar Etüdök:
26.I. Spiegelkanon (Nr. 9)
27.II. (Nr. 49 + 40)
28.III. Vásár (Nr. 90)
Haj, ifjúság:
29.Parlando
30.Allegro
31.Húsvét
Hortobágy:
32.Parlando (rubato)
33.Allegro giusto
34.Piu mosso
35.Magos kösziklának
Kállal kettös:
36.Andante
37.Allegro molto

Itudes pour piano (Premier livre):
01.I. Disordre
02.II. Cordes ` vide
03.III. Touches bloquies
04.IV. Fanfares
05.V. Arc-en-ciel
06.VI. Automne ` Varsovie
Itudes pour piano (Deuxihme livre):
07.VII. Galamb borong
08.VIII. Fim
09.IX. Vertige
10.X. Der Zauberlehrling
11.XI. En suspens
12.XII. Entrelacs
13.XIII. L'escalier du diable
14.XIV. Coloana infinita
Musica ricercata:
15.Nr. 1
16.Nr. 2
17.Nr. 3
18.Nr. 4
19.Nr. 5
20.Nr. 6
21.Nr. 7
22.Nr. 8
23.Nr. 9
24.Nr. 10
25.Nr. 11
26.XV. White on White from Itudes pour piano (Troisihme livre)

Nonsense Madrigals:
01.1. Two Dreams and Little Bat
02.2. Cuckoo in the Pear-Tree
03.3. The Alphabet
04.4. Flying Robert
05.5. The Lobster Quadrille
06.6. A Long, Sad Tale
07.Mysteries of the Macabre (for Coloratura and Ensemble)
08.Aventures
Nouvelles Aventures:
09.Part I
10.Part II
11.Der Sommer
Három Weöres dal:
12.1. Táncol a hold
13.2. Gyümölcsfürt
14.3. Kalmár jött nagy madarakkal
Öt Arany dal:
15.1. Csalfa sugár
16.2. A legszebb virág
17.3. A csendes dalokból
18.4. A bujdosó
19.5. Az ördög elvitte a fináncot
Négy lakodalmi tánc:
20.1. A menyasszony szép virág
21.2. A kapuban a szekér
22.3. Hopp ide tisztán
23.4. Mikor kedves Laci bátyám . . .

01.Continuum
02.Hungarian Rock
03.Capriccio No.1
04.Invention
05.Capriccio No.2
06.Pohme Symphonique for 100 Metronomes
Musica Ricercata:
07.I. Sostenuto - Misurato - Prestissimo
08.II. Mesto, rigido e cerimoniale
09.III. Allegro con spirito
10.IV. Tempo de Valse (poco vivace - ` l'orgue de Barbarie)
11.V. Rubato. Lamentoso
12.VI. Allegro molto capriccioso
13.VII. Cantabile, molto legato
14.VIII. Vivace. Energico
15.IX. (Bila Bartsk in memoriam) Adago. Mesto - Allegro maestoso
16.X. Vivace. Capriccioso
17.XI. (Omaggio a Girolamo Frescobaldi) Andante misurato e tranquillo
Itudes pour piano, adapted for Player Piano:
18.X. Der Zauberlehrling: Prestissimo, staccatissimo, leggierissimo
19.IX. Vertige: Prestissimo sempre molto legato, sehr gleichma_ig
20.XI. En suspens: Andante con moto, "avec l'iligance du swing"
21.XIII. L'escalier du diable: Presto legato ma leggiero
22.XIVa. Coloana fara sfbrsit: Presto possibile, tempestoso con fuoco
23.VII. Galamb borong: Vivacissimo luminoso, legato possibile
24.Continuum

01.Induló (Allegro) (1942)
02.Polifón etüd (1943)
Három lakodalmi tánc (1950):
03.I. A kapuban a szekér
04.II. Hopp ide tisztán
05.III. Csángó forgós
Sonatina (1950):
06.I. Allegro
07.II. Andante
08.III. Vivace
09.Allegro (1943)
10.Capriccio No.1 (1947)
11.Invention (1948)
12.Capriccio Nr.2 (1947)
Three Pieces for Two Pianos (1976):
13.I. Monument
14.II. Selbstportrait mit Reich und Riley (und Chopin ist auch dabei)
15.III. In zart fließender Bewegung
16.Passacaglia ungherese (1978)
17.Hungarian Rock (1978)
18.Continuum (1968)
19.Ricercare - Omaggio a Frescobaldi (1951)
Two Studies for Organ:
20.I. Harmonies (1967)
21.II. Coulée (1969
22.Volumina (1961-2)

Trio for Violin, Horn and Piano (1982) [Hommage à Brahms]:
01.I. Andantino con tenerezza
02.II. Vivacissimo molto ritmico
03. III. Alla marcia
04.IV. Lamento. Adagio
Ten Pieces for Wind Quintet (1968):
05.I. Molto sostenuto e calmo
06.II. Prestissimo minaccioso e burlesco
07.III. Lento
08.IV. Prestissimo leggiero e virtuoso
09.V. Presto staccatissimo e leggiero
10.VI. Presto staccatissimo e leggiero
11.VII. Vivo, energico
12.VIII. Allegro con delicatezza
13.IX. Sostenuto, stridente
14.X. Presto bizzaro e rubato, so schnell wie möglich
Six Bagatelles for Wind Quintet (1953):
15.I. Allegro con spirito
16.II. Rubato. Lamentoso
17.III. Allegro grazioso
18.IV. Presto ruvido
19.V. Adagio. Mesto
20.VI. Molto vivace. Capriccioso
Sonata for Solo Viola (1991-94):
21.I. Hora Lunga. Lento rubato (ma ritmico)
22.II. Loop. Molto vivace, ritmico - with swing
23.III. Facsar. Andante cantabile ed espressivo, with swing
24.IV. Presto con sordino. So schnell wie möglich
25.V. Lamento. Tempo giusto, intenso e barbaro
26.VI. Chaconne chromatique. Vivace appassionato (molto ritmico e feroce)

GYORGY LIGETI - POEME SYMPHONIQUE 1962
for 100 metronomes - score
"Poeme Symphonique" (for 100 metronomes) requires, as its primary condition for performance, 100 metronomes.
Their acquisition may be accomplished in several ways. For example, they may be borrowed from one or more music instrument firms. (When the pertinent special shops are not to be found on the spot, it is recommended that inquiry be made to this end at so-called music dealers). For the purpose of attaining the desired result (i.e., the permission to borrow), some comments may be useful with regard to the value of the advertising to the firm, gained through its readiness to loan. In this connection one may offer to print the name(s) of the firm(s) on the concert poster, in the programme book or on a placard to be placed on the stage, or one or another combination of the listed possibilities. If necessary, the announcement may take the form of verbal communication, either by itself or as a means of following up the printed announcement.
Another way to bring about the acquisition of the metronomes is the insert advertisements in the newspapers. In this case all private persons will be invited to be so generous as to make temporarily available the metronomes in their possession for use in the performance. In cities which have their own music schools*, this request can be made directly to the teaching staff or the student body, with the assistance of the customary media of communication. In the two last-named instances it is recommended that the owners of the required instruments be asked to put some means of identification on them, to prevent their being misplaced or mixed up. This can be achieved, for example, through the obligatory affixing of the owner's name by means of a suitable strip of paper**.
Should it happen that a Maecenas makes it possible to borrow the metronomes for the purpose of performance, his name- after consultation with the person in question- shall be made public.*** The composition is provided with a passe-partout dedication: on each occasion the work is dedicated to the person (or persons) who have helped to bring about the performance through the contribution of instruments, by any means whatsoever, whether it be executive council of a city, one or more of the music schools****, one or more businesses, one or more private persons. If a patron can be found who will remove once for all the financial hindrances to the performability of the work by buying the necessary metronomes and guaranteeing the transportation costs which arise from time to time, "Poeme Symphonique" will be dedicated from then on to him alone.
In particular, the following instructions for performance are to be carried out:
1) It is preferred that pyramid-shaped metronomes be employed.
2) The work is performed by 10 players under the leadership of a conductor. Each player operates 10 metronomes.
3) The metronomes must be brought onto the stage with a completely run-down clockwork (that is, in an unwound condition). It is expedient that they be placed on suitable resonators. Loudspeakers, distributed throughout the concert hall, can serve to raise the dynamic level. It is recommended that each of the 10 groups of 10 metronomes be arranged about a microphone which is connected to an appropriated loudspeaker*****. The distance between the metronome-group and the microphonem as well as the regulation level of the allocated loudspeaker******, are to be differently set in order to achieve the proper effects of closeness and distance.
4) At a sign from the conductor the players wind up the metronomes. Following this, the speeds of the pendulums are set: within each group they must be different for each instrument.
"Poeme Symphonique" may be performed in two versions:
1) All metronomes are wound equally tightly. In this version the chosen metronome numbers (oscillation speeds) wholly determine the time it will take for the several metronomes to run down: those which swing faster will run down faster, the others more slowly.
2) The several metronomes of a group are wound unequally: the first of the 10 metronomes the tightest, the second a little less, the tenth, the least tightly. Care must be taken, however, that the winding and the regulation of the speeds of the several metronomes are carried out completely independently of each other. Thus the metronome in each group which has been most lightly wound must not be the fastest or the slowest in its oscillation.
The conductor arranges with the players beforehand the method and the degree of winding.
The performance may be considered ideal, if
a) in the first version all the metronomes
b) in the second version the first metronome of each group
is(are) completely wound.
The ideal manner of performance is the obligatory one. Non-ideal performances are only permitted if weighty reasons are present which force the occurrence of a deviation from the ideal performance, such as the playing of a shortened version of the work. In this unwelcome case the conductor must set, with the performers, the number of turns for (1) all the metronomes or (2) the first of each group, according to whether the first or second version is being played. The winding-up and the regulation of the oscillation speeds (the setting of the metronome number) must be done ceremoniously and formally. At the conclusion of this preparatory activity comes a motionless silence of 2-6 minutes, the length of which is to be left to the discretion of the conductor. At a sign from the conductor*******, all the metronomes are set in motion by the players. To carry out this action as quickly as possible, it is recommended that several fingers of each hand be used at the same time. With a sufficient amount of practise, the performers will find that they can set 4 to 6 instruments in motion simultaneously. As soon as the metronomes have been started in this fashion, the players absent themselves as quietly as possible******** from the stage, led by the conductor, leaving the metronomes to their own devices.
"Poeme Symphonique" is considered as ended when the last metronome has run down. It is up to the conductor to decide when the last metronome has run down. It is up to the conductor to decide the duration of the pause, before he leads the players back on to the stage to receive the thanks due from the public.
(Translated by : Eugene Hartzell)
*resp., colleges of music
**It is recommended that the use of fountain pen or ball-point pen be prescribed.
***See in this connection the paragraph on the music instrument firms.
****resp., colleges of music
*****or group of loudspeakers
******resp., group of loudspeakers
*******downbeat
********Suitable footwear is requested.