Hungarian - English - German.

Ligeti wrote this piece during his studies, influenced by the style of his role models Bela Bartok and Zoltan Kodaly. Time, dynamics and tempo changes provide delightful contrasts in the both modern and folk-song choir. The work is performable in Hungarian, German and English.

Hungarian - English - German.

Hungarian.

Hungarian - English - German.

Hungarian.

Hungarian.

Hungarian - English - German.

Hungarian - English - German.

German - English.

German.

Die Stucke fur Sprechchor zeigen Moglichkeiten, das dichterische Wort als ein ursprunglich und wesenhaft Erklingendes zu verwirklichen. Die Sprache grosser Dichtung von Sophokles / Holderlin uber Schiller, Goethe bis zu Klangspieletuden wird rhythmisiert oder von einem rhythmisch durchgestalteten Klanggrund getragen. Neben a-cappella-Satzen stehen Einrichtungen mit Instrumenten, die den Ablauf gliedern und akzentuieren. Die Stucke fur Sprechchor (Kammerensemble oder grosse Besetzung) sind Endformen sprachlicher Gestaltung.

Since the time of his childhood in Transylvania, Ligeti had been familiar with both Hungarian and Romanian folk music. He makes reference to approximately fifty folk song arrangements similar to N�.gy lakodalmi t�.nc which he had completed in the early phases of his compositional career. .
The four individual song texts highlight a wide range of aspects of a wedding. The first poem describes the bride's happiness and how beautifully she will be dressed, but also displays her hesitance, insecurity and fear of a future as a ".bird in a cage".. In the second poem, the bride is unwilling to enter into marriage. she fears that the preparations which have been undertaken are insufficent. The young girl in the third poem is full of pride and wishes to be the bride, ".the most seemly, to look at with pride"., but also naturally hopes that she ".will yield a flower, not just a dry stalk".. The subject of the final poem is the bridgeroom whose thoughts on his wedding are full of optimism if his uncle plays the violin at the ceremony.

Hungarian - English - German.

Ligeti illustrated the transition from low midnight to bright day initially with an eight-voice double canon, then in an increasingly motetic style. With onomatopoeia, like the cock crow, the ticking of a clock and the peal of bells, a great effect in the concert is guaranteed.