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Ligeti – Atmosphères (Abbado) from virtuosowannabe:[embed_code]

Viena Philharmonic

„The piece evokes a sense of timelessness in which the listener is lost in a web of texture and tonality. Harald Kaufmann has described it as „acoustically standing still“, a stationary sound which has movement within it that is similar to breathing“

„One of the central ideas in Atmosphères, the realization of complete stasis through extensive inner motion, germinated during Ligeti’s Hungarian years. The composer later noted that he had been preceded in the writing of „static“ music by Wagner (Prelude to Das Rheingold and the Prelude to Act I of Lohengrin), Bartók (opening of The Wooden Prince), and Schoenberg („Farben,“ the third in Five Pieces for Orchestra, Op. 16). But neither Bartók nor Wagner or Schoenberg ever achieved stasis through its exact opposite, as Ligeti did in Atmosphères. Large portions of the piece consist of extremely dense counterpoint, with up to 56 voices (each string instrument has his or her own individual part to play). But the imitative entrances are so close to one another that it is impossible to perceive them separately, with apparent immobility as the result“ – Wikipedia