Click here to load reader

Gyorgy Ligeti

  • View
    98

  • Download
    13

Embed Size (px)

DESCRIPTION

biography

Text of Gyorgy Ligeti

  • Con

    stan

    tin

    Flor

    os G

    yrg

    y Li

    geti

    Constantin Floros is professor emeritus of Musicology at the Univer-sity of Hamburg. Among his works are volumes on the origin of Gregorian neumes, about Gustav Mahler, Anton Bruckner, Johannes Brahms, Ludwig van Beethoven and Alban Berg.

    Ernest Bernhardt-Kabisch is professor emeritus of English and Compara-tive Literature at Indiana University. He has translated several books by Constantin Floros.

    This monograph is an authoritative study of the oeuvre of one of the most important composers of our time. For the first time, Ligetis key works are presented in the context of their drafts and sketches. His per-sonal and artistic development is set forth and illuminated, and his prin-cipal compositions are analyzed and reinterpreted, based on detailed studies of the scores and drafts, as well as on personal conversations with the composer. In addition, numerous questions concerning todays composing are raised and discussed. Music does not have to be puristic: Ligetis spheres of interest are close to universal, embracing history, natural science, and visual arts, as well as music of diverse eras and eth-nicities. This expanded world of the musical comprises not just tones and sounds, speech and music, the vocal and the instrumental: Ligeti conceives music as a cosmos of acoustic form.

    This study excels all previous monographs on the subject of Ligeti in factual thoroughness and breadth of aesthetic horizon, in fineness of intellectual portraiture and authority of musical analysis. (Lutz Lesle)

    The most exciting, comprehensible, analytically profound and concep-tually lucid study to date, which, in addition, for the first time incor-porates the sketches in the discussion and thereby elucidates the basic ideas underlying many of the works. (Fonoforum)

    www.peterlang.com ISBN 978-3-631-65499-6

    Gyrgy LigetiBeyond Avant-garde and Postmodernism

    Translated by Ernest Bernhardt-Kabisch

    CONSTANTIN FLOROS

    265499_Floros_AK_A5HCk.indd 1 18.09.14 12:29

  • Gyrgy Ligeti

  • For Dr. Vera Ligeti with profound admiration

    C. Fl.

  • Constantin Floros

    Gyrgy Ligeti

    Beyond Avant-garde and Postmodernism

    Translated by Ernest Bernhardt-Kabisch

  • Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio-grafie; detailed bibliographic data is available in the internet at http://dnb.d-nb.de.

    Cover illustration: Gyrgy Ligeti.

    Courtesy of SCHOTT MUSIC GmbH & Co. KG, Mainz/Germany.

    Revised and expanded version of the German original edition: Gyrgy Ligeti. Jenseits von Avantgarde und Postmoderne by Constantin Floros.

    by MUSIKZEIT Verlag Lafite, Vienna/Austria.

    Library of Congress Cataloging-in-Publication Data Floros, Constantin. [Gyrgy Ligeti. English] Gyrgy Ligeti : beyond avant-garde and postmodernism / Floros, Constantin ; translated by Ernest Bernhardt-Kabisch. pages cm Includes bibliographical references and index. ISBN 978-3-631-65499-6 1. Ligeti, Gyrgy, 1923-2006--Criticism and interpretation. I. Bernhardt-Kabisch, Ernest, 1934- translator. II. Title. ML410.L645F5613 2014 780.92--dc23 2014021260

    ISBN 978-3-631-65499-6 (Print) E-ISBN 978-3-653-04783-7 (E-Book)

    DOI 10.3726/ 978-3-653-04783-7

    for the English edition: Peter Lang GmbH Internationaler Verlag der Wissenschaften

    Frankfurt am Main 2014 All rights reserved.

    for all other languages: MUSIKZEIT Verlag Lafite, Vienna PL Academic Research is an Imprint of Peter Lang GmbH.

    Peter Lang Frankfurt am Main Bern Bruxelles New York Oxford Warszawa Wien

    All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without

    the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions,

    translations, microfilming, and storage and processing in electronic retrieval systems.

    This publication has been peer reviewed. www.peterlang.com

  • V

    Table of Contents

    Preface ............................................................................................................................................. 1

    1 Part One: Personality and Fundamental Aspects of the Work .................................... 5

    1.1 Biographical Sketch ............................................................................................................. 9 1.2 Questions of Identity ......................................................................................................... 15 1.3 Towards an Intellectual Physiognomy ............................................................................ 18 1.4 A Non-Puristic Music.................................................................................................... 26 1.5 Metaphors, Allusions and Synaesthesias ......................................................................... 28 1.6 Innovativeness: Aspects of Compositional Technique ................................................. 34 1.7 Motion Types, Tonal Gestures and Expressive Characters ......................................... 40 1.8 Time and Space. Imaginary Space ................................................................................... 44 1.9 New Sound Images New Semantemes.

    Cystoscopy, Vacuum and Music of the Spheres ........................................................ 50 1.10 A Double-Bottomed Relation to Tradition ................................................................ 55 1.11 Diversity of Inspirational Sources. A Universalist Concept of Art and Music ........ 57 1.12 New Ways of Transcending the Tempered System ...................................................... 63 1.13 Backgrounds of Ligetis Popularity .................................................................................. 66

    2 Part Two: Works ............................................................................................................... 71

    2.1 Composing in the Homeland ........................................................................................... 73 2.2 Going beyond Serialism .................................................................................................... 76 2.3 Apparitions and the Dream of the Web ........................................................................... 79 2.4 Atmosphres a Secret Requiem? ...................................................................................... 84 2.5 Micropolyphony ................................................................................................................. 89 2.6 Language and Music in the Requiem ................................................................................. 94 2.7 Lux aeterna ......................................................................................................................... 103 2.8 Continuum ........................................................................................................................... 106 2.9 New Conceptions of the Concertante: Notes on the Cello Concerto .......................... 110 2.10 On the Three Pieces for Two Pianos ............................................................................ 114 2.11 Mad World Theater: Le Grand Macabre.......................................................................... 117 2.12 The Turning Point ca. 1980 ............................................................................................ 140 2.13 pater lAvant-garde:

    Retrospective and Forward-Looking Elements in the Horn Trio............................... 144 2.14 Notes on the Hlderlin Fantasies .................................................................................. 151 2.15 Construction and Imagination: Principles of the Piano Etudes ................................... 156 2.16 Quasi-Equidistance and Polyrhythm: Coordinates of the Piano Concerto ............. 180 2.17 The Violin Concerto ........................................................................................................ 192 2.18 The Horn Concerto ......................................................................................................... 207

  • VI

    Afterword: Beyond Avantgarde and Postmodernism .......................................................... 211

    3 Part Three: Appendix ...................................................................................................... 215

    3.1 Abbreviations ................................................................................................................... 217 3.2 Notes ................................................................................................................................. 218 3.3 Register of Works ............................................................................................................ 231 3.4 Selected Bibliography ...................................................................................................... 236 3.5 Index of names ................................................................................................................. 249

  • 1

    Preface

    From September 30 to October 4, 1962, the Society of Musical Research held its International Musicological Convention in Kassel. I vividly recall the con-cluding session, on Problems of Structure in Contemporary Music, in which Gyrgy Ligeti, in a captivating paper on electronic music, pleaded for a conception of music capable of accommodating also the intersti

Search related