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It makes me cry, because I see a band playing their socks off while the string section are barely moving their fingers. An orchestra is capable of so much more! So in that sense, we wanted to approach the Requiem in a completely different manner. I know that Tom wrote the first part in and that it was a very frustrating project to realize, because of the collaboration, or rather non-collaboration, with the musicians at the time.

Then we have the very quiet third part, which came out twenty years later. What do you know of the approach to the second part as a connecting piece? How much of a unity did Thomas try to create? It takes off from the outro of the first part in a very natural way. The two outer parts are much shorter than the second part, which has actually been written with an orchestra in mind. What you are going to feel is that the first part is a song, even though it has classical instruments and some funky harmonies — which I like very much.

But as soon as the second part starts, it feels like you open a portal and suddenly everything is much bigger. This very much reflects the process Celtic Frost went through, because when they returned with Monotheist in , after thirteen years of silence, it was really with a different sound than on their early albums.

First, instead of a low E as the lowest note for the guitar, the lowest note was a B. Thus, Celtic Frost became one of the most important bands of this drone or doom style, which had an incredible renaissance over the last ten years. The Requiem stresses this. It is almost chronologically following the sound of the band, even though the first part will also be tuned a fourth lower than it was originally. I would call him almost anti-technical. When Thomas wrote the basic version of the second part, he was mostly concerned with the overall form.


With rhythm, and the timing when something has to happen, always departing from a quest for minimalism. Doing very little; sometimes the orchestra will be reduced to almost nothing. Almost, but not quite. In this way he, very organically, leads the end of the second movement to prepare for the third, so that when the third movement starts, you feel it as necessary.

In all, I think that the second part has been very well conceived by Tom. Sometimes very little happens, just a chord ringing for minutes and minutes. And even if I felt like I had to do something with it, Tom was very aware of the form of things and of the connections. I think he did a great job in connecting these two primarily disconnected outer parts.

Did you immediately say yes? We are not an orchestra in the classical sense, we are a full-time pop and jazz orchestra, the only one in the world. I am astounded by the flexibility of the Metropole Orkest. But Jukka really loves this music and he plays it well. I worked with the Metropole Orkest before, in That collaboration, called Black Vortex Cathedral, was my composition for a brutal death metal band and the orchestra.

For me it was the first time that I went full out. Since then I have really come a long way in finding the simplest way to write something down, without losing the musical ideas. And in a way I needed that experience, to know how to avoid certain things we faced back then. This Requiem is the exact opposite, musically speaking. Tom asks you for help with the arrangements. The Metropole Orkest is in. What was the next step? The most important question we had to answer, was a question of aesthetics.

He prefers something more intimate, like the sound of single instruments. He said he wanted to do it with less musicians and then 25 was the minimum the Metropole proposed. Fundamental about this project was deciding that the basic sound of the orchestra would be different from a normal orchestra.

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What I did, mainly, was choose an orchestration that would go along with the register of the band, because their focus is lower. For example, the string section now consists of four violins, four violas, six celli and two basses, which is the opposite of what you usually have: a lot of high strings and then a bit of low strings. I also decided I wanted to include an organ sound, which makes it fatter, but not in the way that you would think, not some rock organ sound. It has a supportive, musical function. I did the same with the role of the first violins.

In order to make that high register stronger, I used the possibility offered to us to include some singers. We are working with a vocal ensemble called Kobra, who are very good classical singers, but not limited to a classical sound. This is where I saw the potential to do my own thing, without having to add a lot of notes to what Tom gave me.

And you have a brass section probably? I had to move this to the low register: one trumpet, two French horns, a tenor, a bass trombone and a contrabass trombone. This abysmal, fat, low thing is in a way the essence of the sound of Triptykon and the guitar sound of all the bands Tom had. I felt I needed the orchestra not contrasting, but as an extension of the band.

I looked for ways in which the characteristic sound of the band, which is mainly in their tone of the guitars and the voice, could be approached with classical means. I was thinking: how do I explain this to them diplomatically, you know… I had quite some convincing to do. Tom said he preferred the idea of the percussion and the timpani as the thread connecting everything, rather than them following the melody instruments.

And I really liked his demo version of the second part, where he sometimes reduces everything to almost nothing.

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There are all these people on stage, but you get this passage where there are just a few tings on a cymbal and then the timpani come up with the next motive and it stays a bit naked and barren for a while until the rest of the orchestra comes in again. This means that especially the timpani are used in a much more important way than usually is the case. You had a meeting with percussionist Eddy Koopman today, about these parts, I understand. They go for hundreds of bars without doing anything, in a classical symphonic context. Should I imagine a regular band set up with the orchestra around it, on stage in ?

With the timpani in the front and the rest of the orchestra a bit behind it. We also have a second percussionist in the orchestra that will play bells and tamtams and vibraphone.

György Ligeti

That we use as if it were an extension of the band. We want to have maximum cohesion, so you really see it as a unity what is on stage. Not that one instrument or player is important, and the rest is added for show. Do some of them like metal? In another way, to a certain degree, you can always hear certain players in an orchestra. Like the trumpet player, who comes from a jazz background. That is also a difference between a classical orchestra and the Metropole; a lot of our musicians are soloists, used to playing with jazz musicians, to play in small bands.

In a lot of projects we need that sort of personality, in solos, but also in the kind of sound they have. Of course they have to focus on playing the score, but you can never completely cancel out the personality. You can take it very far, because the general level of playing is extremely high. However, in this case, because I am familiar with the Metropole Orkest, I knew for example that the horn section can give me a jazzy sound. A lot of guys in the orchestra compose music themselves, or improvise. Which means I have a lot of options in asking unusual things of them.

The last time I worked with the Metropole I had four celli and I have never heard such a fat cello sound. That was really mind blowing. When you listen to the third part of the Requiem, Winter, as it is on Monotheist, you are mainly hearing cello. Rehearsals are on the two days before the performance, the 10th and 11th of April. With the band, of course. It has to be a unity. I look forward to showing the band what the orchestra sounds like, because I spent a lot of time on the details and the sound effects.

Tom tried his best in the studio back in the eighties, but, as you mentioned, he found that quite frustrating. He was pretty much stuck with random classical players, who had never worked in an experimental context. When I was going through Rex Irae and its musical motives, Tom told me they built the string parts from whatever was recorded, even from trash, because it was so difficult to have a creative process together. Being part of Roadburn is, like Tom said, enough reason for everyone to treat this project with so much respect, with him and the band most of all.

Roadburn manages to be successful commercially, without the slightest limitation artistically. The festival sells out within an hour — every year, people come from all over the world, just for this festival. It is, for me, a delight and an honour to have a role in the creation of this thing, because it is unique in the world. Talk about versatility: this man has heard and played all styles imaginable. It is still weeks until rehearsal, but do you know what you will be playing at Roadburn? I heard we were going to do heavy metal, with a prominent role for the timpani.

So, my first thought was: there will be double bassdrums and probably I will be supporting the bass notes. But it turned out to be completely different, to my surprise. I will be using the timpani for other sounds than usual. With cymbals on them, with bows, with crotales, very different from what we are used to hear. There are pulse-driven parts as well, but in general the score makes me approach the instrument in a different way. With the Requiem we are playing music that leaves room for personal interpretation. How important will the conductor be for you?

He needs to keep things balanced, including the band. If the guitar is too loud compared to the string section, he will address that. Do you have to feel a connection with the music you are playing? I have some freedom, which is great. I am a composer myself and I like it when I can put something to my own taste into my parts. It takes a different mindset, compared to playing in a classical orchestra. You must understand the way people write music, and where their ideas come from. Then you can have a constructive discussion about that. Which is nice. This month alone, I will be performing one night full of famous film soundtracks in the Ziggo Dome, then a project with saxophonist Donny McCaslin and then the Requiem at Roadburn.

That is quite a stretch, musically. And it is always challenging to get acquainted with the music in just a few days, to be able to make it yours. It means you must figure out very early if some part will not work. Before you start rehearsing, you have to tackle any possible problem with the score that you may encounter. In this case I had no doubts, for I know that Florian is a dedicated and experienced arranger. After writing his "anti-anti-opera" Le Grand Macabre , Ligeti shifted away from chromaticism and towards polyrhythm for his later works.

He is best known by the public through the use of his music in film soundtracks. Although he did not directly compose any film scores, excerpts of pieces composed by him were taken and adapted for film use. The sound design of Stanley Kubrick 's films, particularly the music of A Space Odyssey , drew from Ligeti's work and also contained pieces by other classical composers.

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Ilona Somogyi. His family was Hungarian Jewish. Ligeti recalled that his first exposure to languages other than Hungarian came one day while listening to a conversation between Romanian-speaking town police. Before that he didn't know that other languages existed. He did not return to the town of his birth until the s. In , Ligeti's education was interrupted when he was sent to a forced labor brigade by the Horthy regime during events of the Holocaust.

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His mother was the only person to survive in his immediate family. He conducted ethnomusicological research into the Hungarian folk music of Transylvania. However, after a year he returned to Franz Liszt Academy in Budapest, this time as a teacher of harmony , counterpoint and musical analysis. He was a conservative Christian whose circle represented a safe haven for Ligeti. In December , two months after the Hungarian revolution was violently suppressed by the Soviet Army, Ligeti fled to Vienna with his ex-wife Vera Spitz.

They remarried in and had a son together. He took only what he considered to be his most important pieces. He later said, "I considered my old music of no interest. I believed in twelve-tone music! A few weeks after arriving in Vienna, Ligeti left for Cologne. There he met several key avant-garde figures and learned more contemporary musical styles and methods. Ligeti worked in the Cologne Electronic Music Studio with Stockhausen and Koenig and was inspired by the sounds he heard there.

However, he produced little electronic music of his own, instead concentrating on instrumental works which often contain electronic-sounding textures. After about three years' working with them, he fell out with the Cologne School , [ clarification needed ] this being too dogmatic [ citation needed ] and involving much factional in-fighting: "there were [ sic ] a lot of political fighting because different people, like Stockhausen, like Kagel wanted to be first.

And I, personally, have no ambition to be first or to be important. Between and he was guest professor for composition in Stockholm. In he became composer-in-residence at Stanford University in the United States. While he was living in Hamburg, his wife Vera remained in Vienna with their son, Lukas , who later also became a composer.

Apart from his far-reaching interest in different styles of music, from Renaissance to African music, Ligeti was also interested in literature including the writers Lewis Carroll , Jorge Luis Borges , and Franz Kafka , painting, architecture, science, and mathematics. He was especially fascinated by the fractal geometry of Benoit Mandelbrot and the writings of Douglas Hofstadter. Ligeti's health deteriorated after the turn of the millennium; he died in Vienna on 12 June at the age of He was survived by his wife Vera and son Lukas.

Many of Ligeti's earliest works were written for chorus and included settings of folk songs. His largest work in this period was a graduation composition for the Budapest Academy , entitled Cantata for Youth Festival , for four vocal soloists, chorus and orchestra. One of his earliest pieces now in the repertoire is his Cello Sonata , a work in two contrasting movements that were written in and , respectively. It was initially banned by the Soviet-run Composer's Union and was not performed publicly for a quarter of a century. Even his piano cycle Musica ricercata , though written according to Ligeti with a "Cartesian" approach, in which he "regarded all the music I knew and loved as being The work is based on a simple restriction: the first piece uses exclusively one pitch A, heard in multiple octaves , and only at the very end of the piece is a second note, D, heard.

Shortly after its composition, Ligeti arranged six of the movements of Musica ricercata for wind quintet under the title 'Six Bagatelles for Wind Quintet'. The Bagatelles were performed first in , but not in their entirety: the last movement was censored by the Soviets for being too 'dangerous'. Because of Soviet censorship, his most daring works from this period, including Musica ricercata and his String Quartet No.

Composed of a single movement divided into seventeen contrasting sections linked motivically , [24] the First String Quartet is Ligeti's first work to suggest a personal style of composition. The string quartet was not performed until , after he had fled Hungary for Vienna. He completed only two works in this medium, however—the pieces Glissandi and Artikulation —before returning to instrumental music.

Ligeti's music appears to have been subsequently influenced by his electronic experiments, and many of the sounds he created resembled electronic textures. This texture is a similar to that of polyphony , except that the polyphony is obscured in a dense and rich stack of pitches. With Volumina —62, revised for solo organ, Ligeti continued with clusters of notes , translated into blocks of sound. In this piece, Ligeti abandoned conventional music notation, instead using diagrams to represent general pitch areas, duration, and flurries of notes. Aventures , like its companion piece Nouvelles Aventures —65 , is a composition for three singers and instrumental septet, to a text of Ligeti's own devising that is without semantic meaning.

In these pieces, each singer has five roles to play, exploring five areas of emotion, and they switch from one to the other so quickly and abruptly that all five areas are present throughout the piece. Requiem —65 is a work for soprano and mezzo-soprano soloists, twenty-part chorus four each of soprano, mezzo-soprano, alto, tenor, and bass , and orchestra.

Though, at about half an hour, it is the longest piece he had composed up to that point, [31] Ligeti sets only about half of the Requiem 's traditional text: the " Introitus ", the " Kyrie " a completely chromatic quasi- fugue , where the parts are a montage of melismatic , skipping micropolyphony , and the " Dies irae "—dividing the latter sequence into two parts, "De die judicii" and " Lacrimosa ". Lux Aeterna is a voice a cappella piece whose text is also associated with the Latin Requiem.

Ligeti's Cello Concerto , which is dedicated to Siegfried Palm , is composed of two movements: the first begins with an almost imperceptible cello which slowly shifts into static tone clusters with the orchestra before reaching a crescendo and slowly decaying, while the second is a virtuoso piece of dynamic atonal melody on the part of the cello. Lontano , for full orchestra, is another example of micropolyphony, but the overall effect is closer to harmony, with complex woven textures and opacity of the sound giving rise to a harmonious effect.

It has become a standard repertoire piece. This movie made a big joke out of them. The creators didn't take this movie seriously at all. I am throughly disappointed in how the Strauss jerks handled this film. They made a mockery of amazing characters. It's like they were trying to be serious in the beginning, then their writers got high and gave up. I am so ridiculously sad that no one takes Alien and Predators seriously anymore. These characters are icons of American pop culture and the creators of this movie showed no respect to the original films.

They should not be allowed to cash in on the names of the previous films and they should be ashamed of themselves. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! IMDb More. Keep track of everything you watch; tell your friends.

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