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Reports and Conjectures on Kylwiria 关于 Kylwiria 的报告和猜想
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00007
Heidy Zimmermann
The code word “Kylwiria” was mentioned by György Ligeti from time to time since the 1970s. At first, it functioned rather abstractly as a working title for the opera that had been in the making since the mid-1960s and eventually mutated into Le Grand Macabre. Later, Ligeti also shared details about the imaginary land of his childhood, providing glimpses of brightly colored maps of that land and underscoring the importance of his childlike fantasy world. This article explores the dimensions of this “private mythology” and its impact on the composer's creative thinking and work. Its documentary evidence – the description of the land of Kylwiria recorded in 1950 in a booklet of more than 70 pages – is presented in examples and examinated for its particularities. On the one hand, it seems that the pioneering exploration of geographical spaces is transferred as a model to the creative exploration of sound spaces. On the other hand, Ligeti's concept of a fantastic counterworld is to be seen in a literary and cultural-historical context, in which it is to be located somewhere between expedition report, travel guide and utopian design. Such an outline sharpens the meaning of Kylwiria as a cipher for creativity in a characteristic mixture of ratio and fantasy.
自 20 世纪 70 年代起,捷尔吉-里盖蒂就不时提及 "凯尔维莉亚 "这个代号。起初,它只是抽象地作为这部歌剧的工作标题,这部歌剧自 20 世纪 60 年代中期就开始酝酿,最终演变成《大噩运》。后来,利盖蒂还分享了关于他童年想象之地的细节,提供了色彩鲜艳的那片土地的地图,强调了他童年幻想世界的重要性。本文探讨了这一 "私人神话 "的层面及其对作曲家创作思想和作品的影响。其文献证据--1950 年记录在一本长达 70 多页的小册子中的对基尔维里亚岛的描述--以实例呈现,并对其特殊性进行了研究。一方面,对地理空间的开创性探索似乎被作为一种模式移植到了对声音空间的创造性探索中。另一方面,利盖蒂的 "梦幻反世界 "概念被置于文学和文化历史背景中来看待,它介于探险报告、旅游指南和乌托邦设计之间。这样的概括使《基尔维里亚》的意义更加鲜明,它是比例与幻想交织的创意密码。
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引用次数: 0
The Hybrid Musical Landscape of Ligeti's Late Concertos 里盖蒂晚期协奏曲的混合音乐景观
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00009
Benjamin R. Levy
Discussing his Horn Trio, György Ligeti imaginatively describes the second movement as a dance that was “inspired by different folk musics of nonexistent people, as if Hungary, Romania, and all of the Balkans were located somewhere between Africa and the Caribbean.” And in more general remarks about his works, he goes on to suggest that, rather than overtly referencing their stylistic features, he abstracted technical principles from various traditions and combined them into an idiosyncratically amalgamated musical language. This essay shows an expansive approach to hybridity in Ligeti's Violin Concerto and Hamburg Concerto, going well beyond previous remarks about African rhythmic influences. Ligeti's practice encompasses not only rhythm, but also texture, pitch, and tuning systems; it spans a wider breadth of traditions as well, including newly identified sources such as flute and panpipe ensembles from New Guinea and yodeling traditions from across the globe. An analysis of passages from these late concertos – undertaken alongside evidence from his ethnomusicological sources, recordings, and sketches housed at the Paul Sacher Stiftung – demonstrates the intricacies and patterns of Ligeti's late style and the compelling statement it makes about the role of hybridity and globalization in contemporary life.
在谈到他的圆号三重奏时,捷尔吉-里盖蒂富有想象力地将第二乐章描述为一种舞蹈,"灵感来自不存在的民族的不同民间音乐,就好像匈牙利、罗马尼亚和整个巴尔干半岛位于非洲和加勒比海之间的某个地方"。在对他的作品进行更概括性的评论时,他继续指出,他并没有公开引用这些作品的风格特征,而是从不同的传统中抽象出技术原理,并将它们结合到一种特异的混合音乐语言中。这篇文章展示了利盖蒂在《小提琴协奏曲》和《汉堡协奏曲》中对混合性的广泛处理方法,远远超出了之前关于非洲节奏影响的论述。利盖蒂的实践不仅包括节奏,还包括质地、音高和调音系统;它还跨越了更广泛的传统,包括新发现的来源,如来自新几内亚的长笛和排箫合奏,以及来自全球各地的约德尔传统。对这些晚期协奏曲段落的分析,以及保罗-萨赫基金会收藏的他的民族音乐学资料、录音和草图中的证据,展示了里盖蒂晚期风格的复杂性和模式,以及它对混杂性和全球化在当代生活中的作用所做的令人信服的陈述。
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引用次数: 0
“Some Sort of Machine without a Body” "某种没有身体的机器"
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00005
Elisabeth Reisinger
From the mid-1950s, Basel harpsichordist Antoinette Vischer (1909–1973) promoted the harpsichord as a modern instrument, commissioning numerous composers to contribute to a new repertoire. To this end, she turned to György Ligeti, who completed Continuum for her in 1968. The composer had already used the harpsichord in ensembles several times, but now he had to think about it in a soloistic function for the first time, starting from a specific performer with her specific instrument. In this paper, I focus on this relationship between composer, performer-commissioner, and instrument, drawing primarily on the correspondence between Ligeti and Vischer preserved at the Paul Sacher Foundation in Basel. These unpublished letters document their collaboration and how both negotiated their artistic positions and aesthetic concepts of the harpsichord as “some sort of machine.” An in-depth analysis of Ligeti and Vischer's exchange about the instrument's peculiarities and performance issues allows us to better understand their self-conception as artists and their ideas of “modernity.” Furthermore, this case study sheds light on a specific period in the history of an instrument that through the efforts of performers like Vischer was transformed from an artifact of the past to an emblem of the present.
从 20 世纪 50 年代中期开始,巴塞尔大键琴演奏家安托瓦内特-维舍尔(1909-1973 年)将大键琴作为一种现代乐器加以推广,并委托众多作曲家创作新曲目。为此,她向捷尔吉-里盖蒂求助,后者于 1968 年为她完成了《连续》。作曲家曾多次在合奏中使用大键琴,但现在他必须从特定演奏者和特定乐器出发,首次考虑大键琴的独奏功能。在本文中,我主要从保存在巴塞尔保罗-萨赫基金会的利盖蒂与维舍尔的通信中,探讨作曲家、演奏家-委托人和乐器之间的关系。这些未公开的信件记录了他们之间的合作,以及两人如何协商他们的艺术立场和将大键琴视为 "某种机器 "的美学概念。通过深入分析利盖蒂和维舍尔关于乐器的特殊性和演奏问题的交流,我们可以更好地理解他们作为艺术家的自我认知以及他们的 "现代性 "观念。此外,本案例研究还揭示了乐器历史上的一个特定时期,在维舍等演奏家的努力下,乐器从过去的工艺品变成了现在的象征。
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引用次数: 0
Ligeti and Artistic Research 里盖蒂与艺术研究
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00008
Wolfgang Marx
György Ligeti was very interested in many artistic and scientific fields and drew inspiration for his compositional work from them (his engagement with mathematics – particularly fractal geometry and chaos theory – is perhaps the best known). In this chapter I compare the concept of artistic research with Ligeti's practice and oeuvre. While the notion of artistic research was only appearing in embryonic form during the latter stages of Ligeti's career, many – though not all – of his statements seem to be suitable for describing his artistic processes. The benefit of this investigation is expected to be twofold: applying the concept of artistic research to Ligeti's approaches and practices should yield new insights on the relationship between his work and his interest in other humanities and sciences. Yet this look at Ligeti may also help to refine the concept of artistic research as discussed and applied to the artistic output of today.
捷尔吉-里盖蒂(György Ligeti)对许多艺术和科学领域都非常感兴趣,并从中汲取创作灵感(他对数学--尤其是分形几何和混沌理论--的研究可能是最著名的)。在本章中,我将艺术研究的概念与李盖蒂的实践和作品进行比较。虽然艺术研究的概念在利盖蒂职业生涯的后期才以雏形出现,但他的许多--尽管不是全部--言论似乎都适合用来描述他的艺术创作过程。这项研究预计会带来两方面的益处:将艺术研究的概念应用于李盖蒂的创作方法和实践,应该会对他的作品与他对其他人文和科学的兴趣之间的关系产生新的见解。然而,对李盖蒂的研究也可能有助于完善艺术研究的概念,因为这一概念已被讨论并应用于当今的艺术成果。
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引用次数: 0
Ligeti's Autobiographies 利盖蒂自传
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00002
Paul Griffiths
Like his fellow members of the Western European musical avantgarde of the 1950s, 60s, and 70s, Ligeti often expressed himself in articles or lectures on theoretical and analytical topics. Unlike his contemporaries, however, he also wrote on matters autobiographical. Though his first self-examination, dating from 1971, is still concerned overwhelmingly with compositional theory, from the end of that decade he returned several times to personal experiences, especially those of his childhood years and early adulthood. These seemed to become important again now that the musical climate was turning from a hard objectivity that held the composer's personality to be almost irrelevant towards a fuzzier view of how composers could not but be subjectively engaged in their work. At the same time, in their variety of approach, Ligeti's autobiographical writings refuse to tell a single story.
与 20 世纪 50、60 和 70 年代西欧音乐先锋派的其他成员一样,利盖蒂经常在文章或演讲中表达自己对理论和分析主题的看法。但与同时代人不同的是,他也写一些自传性的文章。虽然他在 1971 年发表的第一篇自我审视文章仍主要关注作曲理论,但从这十年末开始,他多次回到个人经历,尤其是童年和成年早期的经历。现在,音乐氛围正在从认为作曲家的个性几乎无关紧要的硬性客观主义转向更加模糊的观点,即作曲家如何才能主观地投入到他们的作品中,这些似乎又变得重要起来。与此同时,利盖蒂的自传体作品手法多样,拒绝讲述单一的故事。
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引用次数: 0
Ligeti's Autobiographies 利盖蒂自传
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00002
Paul Griffiths
Like his fellow members of the Western European musical avantgarde of the 1950s, 60s, and 70s, Ligeti often expressed himself in articles or lectures on theoretical and analytical topics. Unlike his contemporaries, however, he also wrote on matters autobiographical. Though his first self-examination, dating from 1971, is still concerned overwhelmingly with compositional theory, from the end of that decade he returned several times to personal experiences, especially those of his childhood years and early adulthood. These seemed to become important again now that the musical climate was turning from a hard objectivity that held the composer's personality to be almost irrelevant towards a fuzzier view of how composers could not but be subjectively engaged in their work. At the same time, in their variety of approach, Ligeti's autobiographical writings refuse to tell a single story.
与 20 世纪 50、60 和 70 年代西欧音乐先锋派的其他成员一样,利盖蒂经常在文章或演讲中表达自己对理论和分析主题的看法。但与同时代人不同的是,他也写一些自传性的文章。虽然他在 1971 年发表的第一篇自我审视文章仍主要关注作曲理论,但从这十年末开始,他多次回到个人经历,尤其是童年和成年早期的经历。现在,音乐氛围正在从认为作曲家的个性几乎无关紧要的硬性客观主义转向更加模糊的观点,即作曲家如何才能主观地投入到他们的作品中,这些似乎又变得重要起来。与此同时,利盖蒂的自传体作品手法多样,拒绝讲述单一的故事。
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引用次数: 0
For the Honorary Doctorate of Sir John Eliot Gardiner 授予约翰-艾略特-加德纳爵士荣誉博士学位
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00003
K. Komlós
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引用次数: 0
The Hybrid Musical Landscape of Ligeti's Late Concertos 里盖蒂晚期协奏曲的混合音乐景观
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00009
Benjamin R. Levy
Discussing his Horn Trio, György Ligeti imaginatively describes the second movement as a dance that was “inspired by different folk musics of nonexistent people, as if Hungary, Romania, and all of the Balkans were located somewhere between Africa and the Caribbean.” And in more general remarks about his works, he goes on to suggest that, rather than overtly referencing their stylistic features, he abstracted technical principles from various traditions and combined them into an idiosyncratically amalgamated musical language. This essay shows an expansive approach to hybridity in Ligeti's Violin Concerto and Hamburg Concerto, going well beyond previous remarks about African rhythmic influences. Ligeti's practice encompasses not only rhythm, but also texture, pitch, and tuning systems; it spans a wider breadth of traditions as well, including newly identified sources such as flute and panpipe ensembles from New Guinea and yodeling traditions from across the globe. An analysis of passages from these late concertos – undertaken alongside evidence from his ethnomusicological sources, recordings, and sketches housed at the Paul Sacher Stiftung – demonstrates the intricacies and patterns of Ligeti's late style and the compelling statement it makes about the role of hybridity and globalization in contemporary life.
在谈到他的圆号三重奏时,捷尔吉-里盖蒂富有想象力地将第二乐章描述为一种舞蹈,"灵感来自不存在的民族的不同民间音乐,就好像匈牙利、罗马尼亚和整个巴尔干半岛位于非洲和加勒比海之间的某个地方"。在对他的作品进行更概括性的评论时,他继续指出,他并没有公开引用这些作品的风格特征,而是从不同的传统中抽象出技术原理,并将它们结合到一种特异的混合音乐语言中。这篇文章展示了利盖蒂在《小提琴协奏曲》和《汉堡协奏曲》中对混合性的广泛处理方法,远远超出了之前关于非洲节奏影响的论述。利盖蒂的实践不仅包括节奏,还包括质地、音高和调音系统;它还跨越了更广泛的传统,包括新发现的来源,如来自新几内亚的长笛和排箫合奏,以及来自全球各地的约德尔传统。对这些晚期协奏曲段落的分析,以及保罗-萨赫基金会收藏的他的民族音乐学资料、录音和草图中的证据,展示了里盖蒂晚期风格的复杂性和模式,以及它对混杂性和全球化在当代生活中的作用所做的令人信服的陈述。
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引用次数: 0
“Die Natur ist hier … zu Musik geworden”: György Ligeti and (Musical) Nature "这里的自然......已成为音乐":捷尔吉-里盖蒂与(音乐)自然
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00010
Ewa Schreiber
This article traces references to nature and naturalism (understood as an attempt to ground and legitimize art in natural phenomena) in Ligeti's writings, but also in selected aspects of his oeuvre. The references to nature recur here in various manifestations, with romantic depictions of nature appearing alongside more recent, modernist approaches. The concept of nature is associated with the romantic setting for human emotions, with the discovery of scientific laws, with listening to soundscape, with phenomena of auditory perception and with the spectral explorations of sound. Although nature is not a central, strategic concept for Ligeti, it remains a constant, even if hidden, context for his work, a point of reference.
这篇文章不仅追溯了利盖蒂著作中对自然和自然主义(被理解为试图将艺术建立在自然现象的基础上并使之合法化)的引用,还选取了他作品中的一些方面。这里对自然的引用有多种表现形式,既有浪漫主义的自然描绘,也有新近的现代主义手法。自然的概念与人类情感的浪漫背景、科学规律的发现、聆听音景、听觉感知现象以及声音的光谱探索相关联。尽管大自然并不是利盖蒂的核心战略概念,但在他的作品中,大自然始终是一个恒定的背景,即使是隐蔽的背景,也是一个参照点。
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引用次数: 0
The Widow in the Old House or The Elevator is Out of Order 老房子里的寡妇》或《电梯失灵了
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2024-02-01 DOI: 10.1556/6.2023.00011
Péter Laki
On several occasions, Ligeti spoke about an early literary memory that he credited with the origins of his meccanico style. He recalled reading a short story by Gyula Krúdy (1878–1933) at the age of five, in which Krúdy supposedly wrote about a widow who lived in an old house filled with constantly ticking clocks. To date, the best Krúdy experts have been unable to identify the story in question, and it is reasonable to assume that in Ligeti's mind, actual elements from the writer's work were freely recombined and reimagined at a time when the compositions partly inspired by the Krúdy experience had already been written. Ligeti's published interviews contain references to Krúdy that go beyond the story with the clocks, it may be assumed that the writer's influence on the composer goes deeper than what has been acknowledged so far.In addition, there is an aspect of Ligeti's recollection of the Krúdy story that has not received all the attention it deserves. In his conversations with Péter Várnai, the composer spoke of machines that were working or not working (emphasis mine), and elevators stopping at the wrong floor, or not starting at all. Some of the meccanico works are worth revisiting in search of such “malfunctions” as we try to reimagine the old house where not all the clocks might have been running like clockwork.
利盖蒂曾多次谈到他早年的文学记忆,认为这是他的机械风格的起源。他回忆起五岁时读到的久拉-克鲁迪(1878-1933 年)的一篇短篇小说,据说克鲁迪在这篇小说中写了一个寡妇,她住在一栋老房子里,房子里到处都是滴答作响的钟表。迄今为止,最好的克鲁迪专家也无法确认这个故事的真实性,因此我们有理由认为,在里盖蒂的脑海中,作家作品中的实际元素被自由地重新组合和想象,而当时部分受克鲁迪经历启发的创作已经完成。在利盖蒂公开发表的访谈录中,提到克鲁迪的内容远不止与时钟有关的故事,因此可以推测,作家对作曲家的影响远比迄今为止所承认的要深。在与佩特-瓦尔内(Péter Várnai)的谈话中,作曲家谈到了机器运转或不运转的情况(着重号为笔者所加),以及电梯停在错误的楼层或根本没有启动的情况。当我们试图重新想象老房子时,可能并非所有的钟表都像发条一样运转,其中一些机械作品值得我们重温,以寻找这些 "故障"。
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引用次数: 0
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Studia Musicologica
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