György Ligeti

Hamburgisches Konzert

Hamburgisches Konzert
for solo horn and chamber orchestra (with two basset horns and four obligatory natural horns)
Ensemble/Chamber Orchestra with Soloist(s)
Language of this work
(Hamburg Concerto)
Number of performers
2 (2nd also pic.) · 1 · 2 basset hn. (1st also Bbcl., 2nd also Ebcl.) · 1 – 4 · 1 · 1 · 0 – perc. (s.c. · crot. [suspended] · 4 bong. · tamb. · s.dr. · b.dr. · tbells. · rin · glock. · xyl. · vibr. · mba.) (2 performers) – str. (1· 1 · 1 · 1 · 1)
Composition year(s)
World premiere
movements 1-6: Hamburg, NDR, Rolf-Liebermann-Studio (D) · Marie Luise Neunecker, Horn · Asko Ensemble · conductor: George Benjamin
complete piece: September 30, 2002 Utrecht, Vredenburg (NL) · Marie Luise Neunecker, horn · Asko Ensemble · conductor: Reinbert de Leeuw
I Praeludium
II Signale, Tanz, Choral
III Aria, Aksak, Hoketus
IV Solo, Intermezzo, Mixtur, Kanon
V Spectra
VI Capriccio
VII Hymnus
ZEIT-Stiftung, Hamburg

György Ligeti: The Ligeti Project © 2016 Warner Classics 0825646028580

Comment of the composer on the work

Nearly three decades [after composing the Double Concerto] I composed the Hamburg Concerto for solo horn and orchestra (1998–2002). In this piece I experimented with very unusual non-harmonic sound spectra. In the small orchestra there are four natural horns, each of which can produce the second to the sixteenth overtone. By providing each horn or group of horns with different fundamentals I was able to construct novel sound spectra from the resulting overtones. These harmonies, which had never been used before, sound “weird” in relation to harmonic spectra. I developed both “weird” consonant and dissonant harmonies, with complex beats. Horns blend very well together, and to enrich the sound further, the two clarinettists play basset horns. Even though it is replete with spectra of strange beats, the resulting overall sound is soft and mellow.

© 2001–2003 Teldec Classics & 2004 Warner Classics, Warner Music UK Ltd | Translation: Louise Duchesneau



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