by CLAIRE SYKES
Nazi-occupied Hungary, an army labor camp, family in Auschwitz, Soviet occupation. Escape by train, hiding beneath piles of mailbags. Then, under fiery skies lit by Russian rockets, fleeing on foot for ten kilometers—finally to safety.
Once you know even this much of György Ligeti’s life, how can you not hear it in his music? And if you think you haven’t ever come across anything by him, go watch 2001: A Space Odyssey again and note the part when the “moonbus” heads off to see the mysterious monolith. You’ll be listening to an excerpt from Ligeti’s choral piece, Lux Aeterna (1966), one of four of his pieces in the film (used without his permission, but that’s another story). Read more about Ligeti’s life in the bonus sidebar below.
His music doesn’t belong to any particular style. It spans such varied works as that choral piece, another one for 100 metronomes called Poème symphonique (1962), orchestra works, string quartets, and a two-act opera Le Grand Macabre (1974–77). For the Hungarian-born composer, who died at age 83 in 2006, his ordeals amid political regimes, musical bans, war and exile all live in the complexity, chaos and contradiction that shape many of his compositions—especially the Études pour piano (Studies for piano, 1985–2001).
Thanks to Portland Piano International, we’ll get to listen to seven of the études from the hands of Yugoslav-born Tamara Stefanovich on Monday, October 20th at 7:30 p.m. in Lincoln Hall at Portland State University. She’s one of many pianists around the world who perform the Études, and there are at least nine different recordings of them — both rare for contemporary classical piano works composed in the past few decades. Stefanovich will start the recital with Olivier Messiaen’s Curlew (Le Courlis cendré), “Fire Island” 1 and 2 from Four Rhythm Studies, and Franz Liszt’s Variations on Bach’s Weeping, Lamenting, Worrying, Fearing (Weinen, Klagen, Sorgen, Zagen). In between each Ligeti étude, she’ll play an “Étude-tableau” by Rachmaninov. While we all sit quietly in our seats, pandemonium is going to hit that piano once the Ligeti leaps off its strings. But don’t worry, Stefanovich will have it all under control.