musolife.com
RNCM

MyMUSO LoginClick here to register

Subscribe to Muso
  • Home
  • News
  • MyMuso
  • Blogs
  • Muso Card
  • Magazine
  • Features
  • Reviews
  • G Spot
  • Concerts
  • Competitions
  • Classifieds
  • Directory
  • Gi's a Job
Shop
Podcast
Big Noise
Forum

Lukas Ligeti

Home / Features  /  Lukas Ligeti
  • Profiles
    • Cameron Carpenter
    • Blake
    • The Irrepressibles
    • Denis Patkovic
    • Sir Gilbert Levine
    • Daniel Bernard Roumain
    • Lukas Ligeti
    • Gabriela Montero
    • Karen Geoghegan
    • Jill Kemp
    • View all Profiles
  • School Days
    • Leeds College of Music
    • City University London
    • University of Reading
    • The University of Leeds
    • Yale University
    • University of Wales, Bangor
    • Royal Conservatory of Music
    • Guildhall School of Music & Drama
    • Cardiff University
    • Cleveland Institute of Music
    • View all School Days
  • Wired World
    • The Met: Live in HD
    • Instant concert recordings
    • Slicethepie.com
    • Getting your music online
    • Last.fm
    • Second Life
    • Musicians collaborating online
    • Classical podcasting
    • Computer-generated music
    • Classical music on MySpace
    • View all Wired World
  • Gi's a Job
    • Composing for computer games
    • Composing for children's TV
    • Hospital musicians
    • Costume supervisor
    • Classical music television
    • Sound engineering
    • Piano tuner
    • Music lawyer
    • Teaching amateur musicians
    • Music therapy
    • View all Gi's a Job
  • Other Features
    • Patrick Rapold
    • The Mozart Effect: A musical joke?
    • Rootless
    • There have never been walls
    • View all Other Features
 

POLL

Q Is classical music too sexed-up these days?
Submit vote
Profiles

Lukas Ligeti

13 June 2008
Lukas Ligeti

MAVERICK COMPOSER-PERCUSSIONIST LUKAS LIGETI IS ESTABLISHING HIMSELF AS A MUSICAL INNOVATOR. MARK LANGSHAW CAUGHT UP WITH HIM

Try as they might, nobody defies categorisation like Lukas Ligeti. His music is an original fusion of acoustic, avant-garde, jazz, electronic and traditional African melodies, as unique as it is daring. Born in Austria into an artistic family, his musical journey began after he graduated from high school and decided to follow in the footsteps of his father, György Ligeti, the Hungarian composer best known for his scores for Stanley Kubrick classics 2001: A Space Odyssey and The Shining.

'If it hadn't been for my father, I don't think I would have even had the idea it was possible to become a composer. But it's very hard to say because I've never been anybody else; I've never had another father,' says Ligeti.

Although he does not downplay his father's creative influence, his area of artistic interest soon extended further: 'My father was not a collaborator; he liked to compose alone. I also like to compose alone, but my passion is collaboration. My father was about structure; he was interested in jazz, but mainly structured jazz, whereas my interest lies in improvisation.'

'I just wasn't that interested in being an interpreter and had no desire to learn other people's music'

It was his penchant for improvised music that drove Ligeti to pursue jazz drumming at the age of 21 at the University of Music and Performing Arts, Vienna, defecting from classical percussion. 'I soon realised classical percussion was not for me,' he says. 'I just wasn't that interested in being an interpreter and had no desire to learn other people's music.

'The Austrian music scene was, and still is dominated by aesthetic tendencies that are not really mine, so I always felt more at home playing the US and England.' And it was from England that he received his first commission, which was premiered by the London Symphony Orchestra. Following this, his passion for jazz led him to downtown New York, home to many of his inspirations including Charles Ives, John Cage and Henry Cowell.

'Jazz is an incredible influence on me because I find it to be the strongest example of a living musical language that has developed over the past hundred years or so. I love the idea of music as a language and having a concrete meaning within a certain context. That's not to say I'm against the abstract, but a piece can be more poignant in context.'

Page 1 of 2  View the full article    Next >

Share

  • Facebook
  • Myspace
  • Digg
  • Delicious
  • reddit
  • StumbleUpon
  • Print
  • Email to friend
  • Discuss
Muso
Impromptu Publishing Ltd, 2nd Floor, Century House, 11 St Peter's Square, Manchester M2 3DN  Tel:+44 (0) 161 236 9526   Fax: +44 (0) 161 247 7978  Email: info@musolife.com
Company Reg number: 3888782   Vat number: 744 3477 20   © 2009 muso. 
| Contact Us | About Muso | Sitemap | Privacy Policy | Terms And Conditions | Accessibility | Advertise | Muso Mailer
| RSS feed | Make Muso My Homepage | Copyright notice | About social bookmarking |
Back to top  |  Website by Rippleffect.com