{"id":885,"date":"2020-12-06T20:00:00","date_gmt":"2020-12-06T19:00:00","guid":{"rendered":"http:\/\/ensemble-phoenix.ch\/v2\/?p=885"},"modified":"2025-02-08T18:02:13","modified_gmt":"2025-02-08T17:02:13","slug":"ligeti-mueller-siemens-lehrer-und-schueler","status":"publish","type":"post","link":"https:\/\/ensemble-phoenix.ch\/en\/ligeti-mueller-siemens-lehrer-und-schueler\/","title":{"rendered":"“Ligeti & M\u00fcller-Siemens \u2013 Teacher and Student”"},"content":{"rendered":"

In the 1960s, the Hungarian composer Gy\u00f6rgy Ligeti developed the technique of “micropolyphony,” which has left a distinctive mark on his work. In the 1980s he became acquainted with the music for pianola by Conlon Nancarrow as well as the “just intonation” developed by Harry Partch. At the same time, he discovered in the music of the African tribe of the Aka Pygmies a unique rhythm that fascinated and influenced him. The European music of the 16th century, with its complex polyphonic structure and mid-tone tuning, influenced his late work.<\/p>\n

In his “Phoenix” cycle, his student Detlev M\u00fcller-Siemens adopted his teacher’s melodic and harmonic complexity in his own way. Describing his music, he speaks of “proliferating, meandering lines floating freely in space between always the same opening and closing notes \u2013 like flocks of birds \u2013 all of which have a melodic-harmonic ‘ground color’ in common. Overall, each of the three pieces moves in its own way between the extremes of a stony-compact sonority on the one hand, and a line-like, meandering melodicism on the other.”<\/p>\n

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According to the Covid-19 ordinance of the canton BS of 20th of November 2020, only a maximum of 15 people were permitted at public events at the time of the concerts. A live stream of the concerts was also broadcast.<\/p>\n","protected":false},"excerpt":{"rendered":"

In the 1960s, the Hungarian composer Gy\u00f6rgy Ligeti developed the technique of “micropolyphony,” which has left a distinctive mark on his work. In the 1980s he became acquainted with the music for pianola by Conlon Nancarrow as well as the “just intonation” developed by Harry Partch. At the same time, he discovered in the music […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[170],"tags":[],"class_list":["post-885","post","type-post","status-publish","format-standard","hentry","category-phoenix-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/posts\/885","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/comments?post=885"}],"version-history":[{"count":17,"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/posts\/885\/revisions"}],"predecessor-version":[{"id":5894,"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/posts\/885\/revisions\/5894"}],"wp:attachment":[{"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/media?parent=885"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/categories?post=885"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ensemble-phoenix.ch\/en\/wp-json\/wp\/v2\/tags?post=885"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}