Ligeti Études: At the Limits of Human Performance (with Imri Talgam) 

The bit about bringing a goat into your home? Agreed

@@HenriDucrocq Yes, also the bit about taking a year to learn one piece and taking time off.

Well, for one thing, Ligeti lost his entire family in the Holocaust except for his mother. So even if only for that reason alone, I think Ligeti's Jewishness is incredibly relevant to his music - whether it's the emotionally raw brutality of moments like the pre-recap tutti in the finale of the violin concerto, or the existential absurdism in the farcical apocalypse in Le grand Macabre, or the plaintive lamento motif that becomes pervasive in his music after the loss of his last surviving family member in the 80s... Also, as demonstrated by Phil Bohlman's ensemble at the Ligeti symposium that Imri and I presented at, you can't really separate Ligeti's early music from his upbringing in the context of Jewish Transylvanian village musicality - and you can't really understand late Ligeti without understanding how it returns to and revived elements of his early, pre-Darmstadt style. Finally, it's funny how there's a knee jerk reaction to pointing out a composer's minority identity. Where are comments like these when Rachmaninov is described as the greatest Russian pianist-composer, or talking about Debussy or Ravel as great French composers? Why are you so bothered by an Israeli pianist taking pride in the great accomplishments of a composer from the Jewish diaspora?

His silence speaks volumes. You masterfully and swiftly shut him down my friend

@@maxsilva11Well said Max. Thank you for masterfully shutting down the reactionary.

Lolz 😂 I love this comment haha