Sometimes you witness a performance that is so incredible, so out-of-the-ordinary that it sticks with you and will just not leave you alone. That’s just what happened a few days ago when I attended a performance of György Ligeti’s Violin Concerto.
Programmed as the conclusion to Augustin Hadelich‘s recital at the Aspen Music Festival—a forward-looking program of pieces by Francisco Coll, Stephen Hartke, and Tōru Takemitsu—Ligeti’s concerto is a wildly virtuosic workout for the soloist and presents almost every technique from the string player’s bag of tricks. The accompanying chamber orchestra (in which four of the players double on ocarinas!) is also no mere supporting role; many of the players’ parts are tremendously challenging to execute.
Sound-wise, the Violin Concerto is a far cry from Ligeti’s “sound mass” compositions of the 1960s, such as Atmosphères and Lux aterna—both made famous (or infamous?) in 2001: A Space Odyssey. By the 1980s and 1990s, Ligeti had begun to hone a style that reconciled avant-garde elements with the eclecticism of postmodernism. His Violin Concerto (composed, premiered, and revised between 1989 and 1993) is written with this sensibility in mind, embracing everything from medieval music to Classical forms, from the virtuosic Caprices of Paganini to folk music. This creates a work that’s a sort of a stylistic “grab bag”—one that is not fully tonal and traditional, but not fully avant-garde.
Sounds intriguing, right? Well, I thought so too going into the concert. I was already familiar with Ligeti’s music and this piece from YouTube videos and performances on the Berlin Philharmonic’s Digital Concert Hall. But nothing would prepare me for hearing it live.