Musical Pluralism in the 1960s

8/17/2019 Musical Pluralism in the 1960s

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Musical Pluralism in the 1960s: Luciano Berio and György Ligeti by nyu — last modified 006!0"!1# :1"By $harles Loc%&ood9 '(ril 00)0th $entury Music * Professor Milan +la,ic%y

-uro(ean music during the t&o decades after 19#" has been characteri.ed in a ,ariety of &ays/ es(ecially by its o,er&helming (luralism/ and the music of the 1960s/ in

(articular/ can be seen as a res(onse to the t&in trends of serialism/ on the one hand/ andindeterminacy or aleatoric music/ on the other/ that de,elo(ed significantly during theyears immediately follo&ing after 19#" +erialism/ as (racticed by figures such as PierreBoule. b 19"2 and 3arlhein. +toc%hausen b 1942/ &as rooted in the com(ositionalinno,ations of 'nton 5ebern 144)*19#"2 and concei,ed as a manner of consistently/and obecti,ely/ treating all musical elements — (itch/ rhythm/ dynamics/ te7ture/ ande,en musical form — according to strictly serial (rocedures/ resulting in an com(letede(arture from (re,ious musical assum(tions/ es(ecially the notion that musical

elements are determined by a (re!established set of relationshi(s 8ndeterminacy/ asdescribed by one of its leading (ro(onents/ ohn $age b 1912/ &as grounded in t&o

basic (rinci(les that/ on the surface/ clearly distinguish it from serialism he first ofthese (rinci(les is the idea that music is ultimately an ;organi.ation of sound/< &ith;sound< seen as encom(assing all ty(es of noises as &ell as con,entional musicale,ents/ &hile the second is the (rinci(le that/ according to $age/ ;the (resent methodsof &riting music/ (rinci(ally those &hich em(loy harmony and its reference to

(articular ste(s in the field of sound/ &ill be inade=uate for the com(oser/ &ho &ill befaced &ith the entire field of sound< 1

8n a sense/ then/ the leading trends of serialism and indeterminacy could be seen tore(resent a dichotomy in (ost&ar music — the first a rational/ largely calculateda((roach to com(osition/ and the second a more intuiti,e/ non!systematic or non!calculated one — yet both a((roaches can be seen as using systems that are e7ternal to/and arbitrarily im(osed u(on/ the musical materials that they organi.e/ and botha((roaches can be seen as dissol,ing musical con,entions at the center of the common

(ractice (eriod he most uni,ersal of these con,entions are/ according to >obertMorgan/ ;goal!oriented (itch structure/< on the one hand/ and ;metrically organi.edrhythm/< on the other +erialism?s em(hasis on mechanical (ermutations of (itch andthe duration of sounds/ along indeterminate or aleatoric music?s use of utterly un!mechanical and seemingly unorgani.ed tem(oral and (itch relationshi(s in

indeterminate or aleatoric music/ can be seen to ha,e dissol,ed clear connections bet&een (itches or bet&een rhythms and/ in the end/ to ha,e destroyed all sense oftem(oral or metrical structure ogether/ serialism and indeterminacy seem to ha,e

(roduced/ in Morgan?s &ords/ a ;neutrali.ation of musical content/< ) dissol,ingmelody/ counter(oint/ harmony/ and metrical order into a sort of single/ amor(houssound mass

-s(ecially in the 1960s/ a gro&ing (luralism in -uro(ean music arose out of this legacyof serialism and indeterminacy 8t significant to note/ moreo,er/ that during this era/more than any other since 19#"/ freedom of indi,idual e7(ression &as considered to beof the highest (riority in musical com(osition/ as in so many other art forms 8n

(articular/ the com(ositions of the 8talian com(oser Luciano Berio b 19"2 and the@ungarian com(oser György Ligeti b 19)2 illustrate the (luralistic nature of this


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legacy/ both across the oeu,res of the t&o com(osers and &ithin the oeu,re of eachcom(oser Aet both Berio and Ligeti sho& a strong consideration/ ty(ical of the 1960s/for such uni,ersal musical attributes — e,en beyond goal!oriented (itch structure andmetrically organi.ed rhythm — as te7tural density and timbral balance rom early onin his career/ Berio had a strong interest in &riting music — often highly detailed and

allusi,e — for instruments beyond the con,entional large orchestra/ including thehuman ,oice/ &ith all its uni=ue features/ and the electronic medium/ for &hich ne&/inno,ati,e techni=ues &ere constantly being de,elo(ed Ligeti could be seen as ta%ingthe con,entional large orchestra/ as &ell as smaller ensembles/ as a sort of ra& materialout of &hich music might start to be sha(ed not out of the common method ofaccumulating many indi,idual musical details — harmonic/ rhythmic/ or other&ise —

but instead more abstractly/ through o,erarching sonic attributes @o&e,er/ Berio?s&or% through the 1960s can be seen as a mo,e to&ard embracing the large orchestra/along &ith the range of effects that it can (roduce/ as a significant musical medium/e,en as Ligeti can be seen to ha,e seen the limitations of a music concei,ed souncom(romisingly around te7ture/ &ith its tendency to em(hasi.e (urely surface

effects/ and to ha,e mo,ed/ in a &ay/ to&ard the sort of harmonic details that he soughtto a,oid in his earlier com(ositions

8 &ill begin by considering Berio?s a bit of musical bac%ground and some of hissignificant com(ositions from the late 19"0s and 1960s/ including hema: Cmaggio aoyce 19"42/ Laborintus 88 196"2/ and +infonia 19642 Cne of the most im(ortantmoments in Berio?s early career might be his founding/ along &ith Bruno Maderna190*D)2/ of the +tudio di onologia Musicale at the >adio 'udi.ione 8taliane >'82

broadcast station in Milan in 19"" 8t &as here in Milan that the t&o leading a((roachesto electronic music of the time — the $ologne!based electronic a((roach/ using soundscreated ;(urely< through artificial electronic means/ and the Paris!based concretea((roach/ using sounds recorded from the e,eryday acoustics of the en,ironment —&ere freely/ and simultaneously/ accommodated/ gi,en Berio?s and Maderna?s notionthat method and style &ere considered matters of (ersonal (reference/ rather than ofideology 's if to illustrate the eclecticism that reigned in the Milan studio in the late19"0s/ three enormously contrasting &or%s &ere created there bet&een 19"D and 19"4/including Berio?s hema: Cmaggio a oyce/ as &ell as @enri Posseur?s +cambi 19"D2and $age?s ontana Mi7 19"42 he uni=ue (lace of Berio?s Cmaggio a oyce amongthese three &or%s is sho&n by the fact that/ &hile +cambi &as created from a singleelectronically generated source — &hite noise/ containing all audible fre=uencies at thesame am(litude or loudness — and (ro,ided a com(letely abstract musical e7(erience/

&ith no familiar musical (oints of reference/ and &hile $age?s ontana Mi7 united bothelectronic and concrete methods/ ultimately lea,ing the final reali.ation of the (iececom(letely o(en!ended and un(redictable/ Berio?s &or% resisted this degree ofabstraction 8t relied/ instead/ on (ainsta%ing com(ositional strategies based on theongoing tension bet&een a familiar element/ the human ,oice/ and the remar%ableelectronic transformations it can undergo # he (remise of the &or% is that a female,oice reads from the ele,enth cha(ter of ames oyce?s Elysses/ a recogni.ed &or% fromthe literary canon/ after &hich her &ords are subected to a &ide range of ta(emani(ulations/ including montage intercutting/ s(eed and direction change/ loo(ing/ andta(e delay

Cmaggio a oyce offers a startling range of sonic effects/ to be sure/ but its realsignificance seems to lie in illustrating the ne& dimension that electronic technology


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can bring to &or%s that unite music/ on the one hand/ and te7t/ on the other Berio?s (articular interest in this union of music and te7t &as no doubt influenced by theuncanny ,ocal agility and theatrical intensity of so(rano $athy Berberian 19"*194)2/his &ife @ighly e7tro,erted/ she offered an uninhibited a((roach to ,ocal (erformance

— an a((roach/ many ha,e noted/ that is rarely &itnessed on the nono(eratic stage +he

&or%ed to be able to (roduce the unorthodo7 and ,ocally demanding modes of sound (roduction that Berio began to call for in his &or%s/ including half!sung &ords/&his(ered &ords/ ras(y tones/ tones &ithout ,ibrato/ singing &hile inhaling/ tonguerolls/ tongue clic%s/ shouting/ humming/ groaning/ gas(ing/ laughing/ and coughing-s(ecially in her ability to ma%e sudden/ ra(id/ and un(redictable shifts bet&eencontrasting sounds/ at different dynamic le,els/ she could be seen as transforming ,ocal

(erformance on the concert stage into a theatrical e,ent

Laborintus 88196"2 &as &ritten by Berio as a commission to mar% the D00thanni,ersary of the birth of Fante 'lighieri/ the famed lorentine (oet 5ritten for alarge grou( of instrumentalists and a small grou( of ,ocalists/ Laborintus 88is mar%ed/

li%e Cmaggio a oyce/ by its turn to&ard theater and its use of the human ,oice in anuncon,entional &ay 't ,arious times/ the three soloists either sing out brightly/combining to create semitone clusters/ or shout/ or &his(er/ or hum/ or gas(/ often

u7ta(osed against the unsynchroni.ed murmurings of a small bac%ground chorus andthe e(isodic interections of a range of orchestral instruments he &or%/ lasting ))minutes/ is di,ided into only t&o mo,ements/ but on the &hole/ tal% of discretemo,ements does little to ca(ture the s(irit of the &or% instead/ the &or% isdistinguished by ;the ha.y in!bet&een/< " the fluid mo,ement from one segment orsituation to another urthermore/ Laborintus 88is often o,er&helmingly (ro(ulsi,e/rather than static/ and (articularly scattered in its &ide range of ,erbal and musicalallusions: to (hrases and images from Fante?s 8nferno and his Hita Iuo,a to idioms —

both ,erbal and musical — (articularly significant to Berio and to ,erbal and musicalelements of Laborintus 88itself/ &ith the te7t and music ser,ing as runningcommentaries/ each u(on the other 8t &ould seem that this &ide array of allusions andreferences might only be (ossible in a &or% — such as this one — that has no e7(licitaction/ but it has been said that the &or%/ &hen (erformed in concert/ ;tends to soundli%e an unstaged o(era/< 6 as if it has a narrati,e to (roect that lies beyond the ratherinscrutable obser,ations (ro,ided by Berio?s o&n narrator 'side from the &or%?so,er&helmingly allusi,e character/ (articularly note&orthy is the o(ening of the &or%?ssecond mo,ement: it =uic%ly ta%es off li%e an a,ant!garde a.. (iece/ &ith a s(ace foran im(ro,ised double bass solo and &ild drumming/ but the a.. element — a nod a&ay

from the academic a,ant!garde/ to&ard (o(ular music — soon dissol,es into s(utteringsof ta(e music clearly ins(ired by the electronic music techni=ues (ioneered in Germanyse,eral years before

8n the +infonia 19642/ also scored for a large grou( of instrumentalists and a smallgrou( of ,ocalists/ Berio continues to e7(lore the (ossibilities of mani(ulating thehuman ,oice in uncon,entional &ays and of imbuing a theatrical element to &hat isostensibly a concert (iece/ yet he seems to abandon some of the free!&heeling loosenessof Laborintus 88in fa,or of a more focused/ highly structured com(osition that is/ in fact/shorter in length than Laborintus 88but di,ided into fi,e discrete mo,ements +cored fora large orchestra fronted by eight am(lified ,oices/ the &or%/ des(ite its clearly!

differentiated mo,ements/ retains some of the labyrinthine/ multi!layered constructionof Laborintus 88/ nonetheless/ gi,en its continuous commentary on/ and reference bac%


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to/ the ideas set u( in the first mo,ement 8n this first mo,ement/ the ,oices e7(lore therelationshi( bet&een fragments of te7t ta%en from the anthro(ologist $laude LJ,i!+trauss?s Le $ru et le $uit/ a &or% that analy.es certain Bra.ilian myths concerning theorigins of &ater/ including the recurrent theme of a hero &hose trials e,entually leadhim to death 8n the second mo,ement/ ;C 3ing/< Berio lin%s this myth to &hat &as

then the recent murder of the ci,il rights leader Martin Luther 3ing/ r Fes(ite this&ide range of ,erbal and te7tual allusions/ recalling Berio?s strategy in Laborintus 88/the most stri%ing musical allusions occur in the third mo,ement of the +infonia/ in&hich Berio includes the entirety of the +cher.o mo,ement from Gusta, Mahler?s+ym(hony Io / the ;>esurrection< +ym(hony/ and treats Mahler?s music as a sort offragment from an outside &orld/ contrasting &ith the ;frame< of Berio?s o&n music anda number of re(eated &ords and (hrases — the most ob,ious e7am(le being the cry;3ee( goingK< — that are set around it his method of musical =uotation — in &hichMahler?s idiom is not used to sha(e Berio?s o&n musical language/ or is not translatedsomeho& into Berio?s o&n idiom/ but is/ instead/ offered ,erbatim as something foreign/or un!translatable — contra,enes the allusi,e method ado(ted so memorably by 8gor

+tra,ins%y 144*19D12/ in his neo!Baro=ue Pulcinella suite/ or by +ergei Pro%ofie,1491*19")2 in his $lassical +ym(hony 8t seems/ moreo,er/ that the third mo,ement of the +infonia has/ in its o,erla( of &ildly di,ergent musical idioms/ some e=ui,alent inthe o(ening of the second mo,ement of Laborintus 88/ &ith its transition from a free a..section to electronic ta(e music C,erall/ the +infonia can be seen as truly a ;soundingtogether/< as the title suggests/ of dis(arate musical ideas and influences &hich aresynthesi.ed/ someho&/ to become a ,ast musical ri,er/ s&ee(ing along e,erything in its&a%e

Li%e Berio/ Ligeti had a bac%ground in the &orld of electronic music studios and — as a@ungarian nati,e &ho fled his country in 19"6 — had been %no&n in 5estern -uro(eand in 'merica (rimarily as an associate of +toc%hausen?s at the $ologne electronicstudio until 1960 @o&e,er/ in his 1960 essay ;Metamor(hoses of Musical orm/<&hich a((eared in Fie >iehe/ Ligeti cited e7am(les from Boule./ +toc%hausen/ andother serialists to sho& ho& serial (rinci(les had either (ro,ed self!defeating — as theserialist interest in small!scale/ (ainsta%ing details of com(osition often obscured orignored the larger &hole that &as being created — or had been re(laced &ith ;higherorder< (rinci(les/ such as those go,erning the tem(oral structure of Gru((en Gru((en&as/ of course/ +toc%hausen?s ne& a((roach to com(osition/ in the late 19"0s/ &hich&or%ed around a number of distinct formal segments/ or ;grou(s/< each &ith its o&n

(articular musical characteristics hese musical characteristics go,erning the ,arious

;grou(s< &ere determined not by indi,idual features/ such as harmonies/ s(ecificinter,als/ or thematic moti,es/ but instead by more generali.ed attributes/ such aste7tural density/ instrumental sonority/ a,erage length of durations/ and total inter,alcontent D 8n his analysis of serial (rinci(les in ;Metamor(hoses of Musical orm/<Ligeti arri,ed at the notion of ;(ermeability< in music/ in &hich a musical structure isconsidered ;(ermeable< if it allo&s a free choice of inter,als and ;im(ermeable< if notPalestrina?s music/ according to Ligeti/ &ould =ualify as ;im(ermeable< to a

(articularly high degree because it is strictly defined by harmonic rules or Ligeti/moreo,er/ (ermeability and im(ermeability could be considered features of te7ture/rather than harmony: some musical structures &ill mi7 &ith others in a seamless te7ture/&hile other structures &ill stand a(art


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5ith 'tmos(heres 19612 — for 44!(iece orchestra/ roughly 9 minutes in length —Ligeti could be seen as (utting into (ractice his analysis of (ermeability andim(ermeability/ as related to musical te7ture/ gi,en that there is no attem(t to treat unitsof (itch/ duration/ loudness/ and timbre in a serial manner/ or in any other systematic&ay/ but instead an attem(t to use instruments sim(ly as a source of ra& sound from

&hich te7tures mani(ulated or layered @is aim — it &ould seem — &as to (roduce an;atmos(here< out of the comings and goings of sound o this end/ he sus(endsharmony by the ongoing use of (itch clusters he eliminates a sense of rhythmicmo,ement by staggering and carefully o,erla((ing the instrumental entries in a mannerthat he began to call ;micro(oly(hony


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ine,itably brings/ in a manner that recalls/ in a &ay/ Berio?s Cmaggio a oyce — gi,enthat &or%?s une7(ected electronic transformations of the human ,oice — yet ',enturesrelies not on electronic mani(ulations/ but on Ligeti?s o&n decision to ;com(ose< sortof nonsense (honetic syllables and e7clamations/ or ;&ords/< &hich cannot be found inany language he &ords succeed/ ho&e,er/ in e,o%ing a range of human emotions and

res(onses/ including — to use Ligeti?s o&n &ords — ;understanding and dissension/dominion and subection/ honesty and deceit/ arrogance disobedience< he ;&ords<s(o%en by the three singers — each of &hom has fi,e roles to (lay/ e7(loring fi,e areasof emotion — are (unctuated dramatically by the often short/ cris( interections ofinstrumentalists/ creating a li,ely interchange that con,eys the ,icissitudes of the fi,e

(ersonalities that Ligeti (resents 5ith ',entures/ Ligeti seems to ha,e &idened hisinterests to include not only the abstract language of sounds found in the te7ture!dri,en'tmos(heres — &hich might be considered a sonic narrati,e of its o&n/ or anaccom(animent to some other imagined/ or im(lied/ narrati,e se=uence — but also the,erbal element of ;&ords/< combined &ith an abstract sonic language/ that can create acon,incing (erformance and offer meaningful narrati,e content Ie,ertheless/ one critic

has said that the e7(ressi,eness of the &or% — &hat Ligeti called the ;&ildgesticulating< of the singers and instrumentalists — is ultimately im(ersonal/ or %e(t ata safe distance from the listener/ ;as if &e the listeners &ere ,ie&ing a dis(lay of

bla.ing and na%ed emotions through a (ane of glass/ or a sheet of ice< 9 8t is/ (erha(s/this (ercei,ed detachment in ',entures — a &or% intended/ it &ould seem/ as a series of rather ,isceral ;ad,entures< in form and e7(ression — that may ha,e ins(ired the manyattem(ts to stage the &or% fully/ com(lete &ith set and (ro(s/ e,en though Ligeti is saidto ha,e concei,ed the &or% as a (iece for chamber musicians to (erform in the concerthall/ not in the theater

8n the mid!1960s/ as Berio?s Laborintus 88 in,ested the s(o%en language of singers &itha more recogni.able/ clearly allusi,e content/ Ligeti can be seen to ha,e mo,ed/ in some&ay/ from &or% in,ol,ing the theatrical use of s(o%en language to&ard a sort ofrea((raisal of his te7ture!dri,en music 'n element of this rea((raisal can be found/ atleast in (art/ in his Lu7 'eterna 19662 for 16!(art unaccom(anied chorus/ a setting of aLatin te7t from the Mass for the Fead and a sort of com(lement to his >e=uiem/ for t&osoloists/ t&o choruses/ and orchestra/ of the (re,ious year 5hile the &or% is ratherminor &hen com(ared to the &ide range of Ligeti?s out(ut during the 1960s/ it is oftenseen as a turning (oint in the com(oser?s career because it is seen as confirming atendency already e,ent in the ;Lacrimosa< of his >e=uiem — that is/ of course/ the re!emergence of harmony in his &or% 5hile Lu7 aeterna certainly features harmonically!

ambiguous/ te7ture!dri,en effects — including sonorities that in,ol,e clouds of slo&ly!e,ol,ing semitone clusters — it also shares something of the more harmonically!oriented/ contra(untally!based s(irit of earlier choral &or%s/ such as the ;+anctus< from+tra,ins%y?s Mass/ &ith its u7ta(osition of long/ high sustained notes in the u((er,oices and rich/ dense/ for&ard!mo,ing lines in the lo&er ,oices 8t is interesting to notethat/ early in his career/ Ligeti &as a teacher of counter(oint/ and that for him/ there &asundeniably a lin% — a contra(untal lin%/ e,en/ if counter(oint is understood broadly asthe integration of distinct ,oices/ or strands of sonority/ into a larger sonic &hole —

bet&een his &or% in the electronic studios in $ologne/ his te7ture!dri,en com(ositionsof the early 1960s/ such as 'tmos(heres/ and his more con,entionally harmonic &or%slater in the decade 8n Ligeti?s o&n mind/ it seems that ;su(erim(osing layers of

recorded sound/< 10 as Ligeti described his &or% in $ologne/ &as nonetheless related tohis mani(ulation of sonic te7ture — through (ermeable and im(ermeable strands/ or


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layers/ of sound — in such &or%s as 'tmos(heres/ and also &ith his return/ in Lu7aeterna/ to the sort of harmonic hierarchy in &hich counter(oint/ in its narro&est sense/can ha,e meaning

8n 196D — the year follo&ing the com(osition of Lu7 aeterna — Ligeti returned to

&riting for large orchestra &ith Lontano 8n this &or%/ roughly 1) minutes in length/Ligeti continues to e7(lore the (ossibilities of musical te7ture e,en as it embraces amore ob,iously harmonic (alette he indi,idual lines are less li%e mere (articles in asound mass and more li%e distinct ,oices/ many in number/ &hich are carefullyinter&o,en into a dense fabric Li%e 'tmos(heres/ the &or% begins =uietly and ends&ith a (rolonged fade/ as if it arri,es from far a&ay — da lontano — and slo&lyde(arts/ but unli%e 'tmos(heres/ &ith that &or%?s strong em(hasis on the surface effectsof te7ture/ there is in Lontano a greater sense of s(ace or distance/ of a significant sonicdimension belo& the surface his sort of sonic distance/ or de(th/ is es(eciallynoticeable in the &ay that the simultaneous sounding of ,ery high and ,ery lo& notes inthe &or% suggests a high ,ertical e7tension/ as &ell as in Ligeti?s careful attention to the

&ay that the layout of the orchestra — gi,ing the brass more (resence than the strings/for e7am(le — can affect the ;s(ace< in &hich the listener (ercei,es sounds heelement of distance im(lied by the &or%?s title can be seen not only in the s(atial realm/

but also in the realms of memory/ or of history/ gi,en that Ligeti himself considered the&or% as alluding to the far!off ;dream &orlds of late >omantic music< 11 8n a (assagenear the end of Lontano/ for e7am(le/ the soft/ lush entrance of the horns &as seen byLigeti as a sort of recollection/ or emulation/ of the coda closing the slo& mo,ement of'nton Bruc%ner?s -ighth +ym(hony

8n the end/ it seems significant that/ at the close of a decade as tumultuous andmultifaceted as the 1960s/ both Berio/ in his +infonia/ and Ligeti/ in his Lontano/ seemto challenge the formal con,entions of musical and to incor(orate the ongoing interestin discontinuity — seen more and more since 19#" as a legitimate sort of musical fabric

— e,en as they seem to turn more and more a&ay from the (urity of academic a,ant!gardisms/ including the interest in the amor(hous sound mass that Morgan has seen as a;neutrali.ation of musical content/< in fa,or of references to their o&n musical roots/ orto music?s collecti,e historical memory/ in the form of classical 5estern art music

N

1 ohn $age/ in >obert P Morgan/ &entieth!$entury Music: ' @istory of Musical

+tyle in Modern -uro(e and 'merica Ie& Aor%: 5 5 Iorton O $om(any/ 8nc/19912/ (( )"9!)60 Morgan/ ( )40) 8bid/ ( )41# -lliott +ch&art. and Faniel Godfrey/ Music +ince 19#": 8ssues/ Materials/ andLiterature Ie& Aor%: +chirmer Boo%s/ 199)2/ (( 11"!116" Paul Griffiths/ Modern Music and 'fter C7ford: C7ford Eni,ersity Press/ 199"2/ (1D66 8bidD Morgan/ ( )414 5itold Lutosla&s%i/ in Morgan/ (( )D"!)D6


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9 +te(hen Plaisto&/ in the liner notes to the Feutsche Grammo(hon recording #) ##! of Ligeti?s $hamber $oncerto/ >amifications/ +tring uartet Io / ',entures/ andLu7 aeterna10 György Ligeti/ in Plaisto&11 Paul Griffiths/ in the liner notes to Feutsche Grammo(hon recording #9 60! of

the 5iener Philharmoni%er (laying 5olfgang >ihm?s Fe(art/ Ligeti?s 'tmos(heres andLontano/ Luigi Iono?s Liebeslied/ and Pierre Boule.?s Iotations 8!8H

Pluralismo musical en los aQos 60: Luciano Berio y György Ligeti (or el nyu ! Last modified 006!0"!1# :1"Por $harles Loc%&ood9 de abril de 00),igJsimo MRsica del siglo ! (rofesor Milano +la,ic%y

La mRsica euro(ea durante las dos dJcadas des(uJs de 19#" ha sido caracteri.ada enuna ,ariedad de maneras/ es(ecialmente (or su (luralismo abrumador/ y la mRsica delos aQos 60/ (articularmente/ se (uede considerar como una res(uesta a las tendenciasdel gemelo del serialism/ en la una mano/ y mRsica del indeterminacy o aleatoric/ en laotra/ =ue se con,irtiS (erce(tiblemente durante los aQos inmediatamente des(uJsdes(uJs de 19#" +erialism/ segRn lo (racticado (or las figuras tales como Pierre Boule.B 19"2 y 3arlhein. +toc%hausen B 1942/ fue arraigado en las inno,acionescom(ositi,as de 'ntSn 5ebern 144)!19#"2 y concibiS mientras =ue una manera deconstantemente/ y obeti,o/ tratando todos los elementos musicales ! echada/ ritmo/dinTmica/ te7tura/ e incluso forma musical ! segRn (rocedimientos terminantementeseriales/ dando (or resultado una salida com(leta de asunciones musicales anteriores/es(ecialmente la nociSn =ue los elementos musicales son determinados (or un sistema

(reestablecido de relaciones 8ndeterminacy/ segRn lo descrito (or uno de sus autores (rinci(ales/ aula de uan B 1912/ fue (uesto a tierra en dos (rinci(ios de base esos/en la su(erficie/ la distingue claramente de serialism -l (rimer de estos (rinci(ios es laidea =ue la mRsica es en Rltima instancia una ;organi.aciSn del sonido/< con el ;sonido<,isto como abarcar todos los ti(os de ruidos asU como acontecimientos musicalescon,encionales/ mientras =ue el segundo es el (rinci(io =ue/ segRn aula/ ;los actualesmJtodos de escribir mRsica/ los =ue em(leen armonUa y su referencia a los (asos

(articulares en el cam(o del sonido/ serT (rinci(almente inadecuado (ara el com(ositor/

=ue serT hecho frente con el cam(o entero del sonido< 1

-n un sentido/ entonces/ las tendencias =ue conducUan del serialism e indeterminacy se (odrUan ,er (ara re(resentar una dicotomUa en mRsica de la (osguerra ! la (rimera unracional/ acercamiento en gran (arte calculado a la com(osiciSn/ y el segundo un mTsintuiti,o/ no!sistemTtico o no!calculado ! con todo ambos acercamientos se (uedenconsiderar como usar los sistemas a los cuales ser e7terno/ e im(uesto arbitrariamentesobre/ los materiales musicales =ue organi.an/ y ambos acercamientos se (uedenconsiderar como disol,er a con,enciones musicales en el centro del (erUodo comRn dela (rTctica -l uni,ersal de estas con,enciones estT mTs/ segRn >oberto Morgan/;estructura meta!orientada de la echada/< en la una mano/ y ;organi.S mJtrico ritmo/<

en la otra -l Jnfasis de +erialism en (ermutaciones mecTnicas de la echada y de laduraciSn de sonidos/ a lo largo del uso de la mRsica indeterminada o aleatoric de


9/16

com(letamente un!mecTnico y unorgani.ed a(arentemente tem(oral y las relaciones dela echada en mRsica indeterminada o aleatoric/ se (ueden ,er (ara tener cone7ionesclaras disueltas entre las echadas o entre los ritmos y/ en el e7tremo/ (ara haberdestruido todo el sentido de la estructura tem(oral o mJtrica unto/ el serialism y elindeterminacy se (arecen haber (roducido/ en las (alabras de Morgan/ una

;neutrali.aciSn del contenido musical/< ) melodUa =ue disuel,e/ counter(oint/ armonUa/y orden mJtrica en una clase de masa sola/ amorfa de los sonidos

-s(ecialmente en los aQos 60/ un (luralismo cada ,e. mayor en mRsica euro(ea se (resentS fuera de esta herencia del serialism y del indeterminacy Vl significati,o a lanota/ (or otra (arte/ =ue durante esta era/ mTs =ue cual=uier otro desde 19#"/ libertad dela e7(resiSn indi,idual era considerada estar de la (rioridad mTs alta de la com(osiciSnmusical/ como en tan muchas otras formas de arte Particularmente/ las com(osicionesdel com(ositor italiano Luciano Berio B 19"2 y del com(ositor hRngaro GyörgyLigeti B 19)2 ilustran la naturale.a (luralista de esta herencia/ a tra,Js de los oeu,resde los dos com(ositores y dentro del oeu,re de cada com(ositor $on todo Berio y

Ligeti demuestran una consideraciSn fuerte/ tU(ica de los aQos 60/ (or=ue de talescualidades musicales uni,ersales ! incluso mTs allT de la estructura meta!orientada de laechada y del ritmo mJtrico organi.ado ! como densidad te7tural y del e=uilibrio timbral' (rinci(ios de adentro de su carrera/ Berio tenUa un interJs fuerte en la mRsica de laescritura ! a menudo altamente detallada y alusi,a ! (ara los instrumentos mTs allT de laor=uesta grande con,encional/ incluyendo la ,o. humana/ con todas sus caracterUsticasRnicas/ y el medio electrSnico/ (ara el cual las nue,as/ inno,adoras tJcnicas erandesarrolladas constantemente Ligeti se (odrUa ,er como tomar a la or=uesta grandecon,encional/ asU como conuntos mTs (e=ueQos/ (ues una clase de materia (rima fuerade la cual la mRsica (udo comen.ar a ser formado no del mJtodo comRn de acumularmuchos detalles musicales indi,iduales ! armSnicos/ rUtmicos/ o de otra manera ! sino=ue (or el contrario mTs abstractly/ con o,erarching cualidades sonic +in embargo/ eltrabao de Berio con los aQos 60 se (uede considerar como mo,imiento hacia el abra.ode la or=uesta grande/ unto con la gama de los efectos =ue (uede (roducir/ como mediomusical significati,o/ asU como Ligeti (uede ser considerada (ara haber considerado laslimitaciones de una mRsica concebida tan uncom(romisingly alrededor de te7tura/ consu tendencia a acentuar los efectos (uramente su(erficiales/ y (ara haberse mo,ido/ deuna manera/ hacia la clase de detalles armSnicos =ue Jl intentS e,itar en suscom(osiciones anteriores

$omen.arJ considerando (edacito del +' de BerioW del fondo musical y algo de sus

com(osiciones significati,as a (artir de los Rltimos aQos "0 y aQos 60/ incluyendohema: Cmaggio un oyce 19"42/ Laborintus 88 196"2/ y +infonia 19642 Eno de losmomentos mTs im(ortantes de la carrera tem(rana de Berio (udo ser su fundaciSn/ untocon Bruno Maderna 190!D)2/ del estudio di onologia Musicale en la estaciSn deradio de la difusiSn de 'udi.ione 8taliane >'82 en Milano en 19"" -staba a=uU enMilano =ue los dos acercamientos =ue conducUan a la mRsica electrSnica del tiem(o ! elacercamiento electrSnico $olonia!basado/ el usar suena creado ;(uramente< con medioselectrSnicos artificiales/ y el acercamiento concreto ParUs!basado/ usando los sonidosregistrados de la acRstica diaria del ambiente ! eran libremente/ y simultTneamente/acomodS/ dado Berio y la nociSn de Maderna =ue el mJtodo y el estilo eranconsiderados im(orta de (referencia (ersonal/ mTs bien =ue de ideologUa $omo si (ara

ilustrar el eclecticism =ue reinS en el estudio de Milano en los Rltimos aQos "0/ trestrabaos enormemente =ue (onUan en contraste fueran creados allU entre 19"D y 19"4/


10/16

incluyendo hema de Berio: Cmaggio un oyce/ tan bien como +cambi de @enriPosseur 19"D2 y la me.cla de ontana de la aula 19"42 -l lugar Rnico de Cmaggio deBerio el hecho demuestra un oyce entre estos tres trabaos de =ue/ mientras =ue +cambifue creado de una sola fuente electrSnicamente generada ! ruido blanco/ conteniendotodas las frecuencias audibles en la misma am(litud o intensidad ! y con tal =ue una

e7(eriencia musical totalmente abstracta/ sin (untos musicales familiares de lareferencia/ y mientras =ue la me.cla de ontana de la aula uniS los mJtodoselectrSnicos y concretos/ en Rltima instancia saliendo de la reali.aciSn final del (eda.ototalmente am(liable e im(re,isible/ =ue trabao de Berio resistiS este grado de laabstracciSn $onfiS/ en lugar/ en las estrategias com(ositi,as cuidadosas basadas en latensiSn en curso entre un elemento familiar/ la ,o. humana/ y las transformacioneselectrSnicas notables =ue (uede e7(erimentar # la (remisa del trabao es =ue una ,o.femenina lee en el undJcimo ca(Utulo de Elises de ames oyce/ un trabao reconocidodel canon literario/ des(uJs de lo cual la las (alabras suetan a una am(lia gama de lasmani(ulaciones de la cinta/ incluyendo el montage intercutting/ ,elocidad y el cambiode direcciSn/ la colocaciSn/ y la cinta retrasa

Cmaggio un oyce ofrece una gama alarmante de efectos sonic/ (ara ser seguro/ (ero susignificaciSn ,erdadera se (arece mentir en ilustrar la nue,a dimensiSn =ue latecnologUa electrSnica (uede traer a los trabaos =ue unen mRsica/ en la una mano/ y elte7to/ sobre la otra -l interJs (articular de Berio en esta uniSn de la mRsica y del te7tono era ninguna duda influenciada (or la agilidad ,ocal uncanny y la intensidad de teatrodel so(rano $athy Berberian 19"!194)2/ su es(osa -7tro,erted altamente/ ella ofreciSuninhibited acercamiento al funcionamiento ,ocal ! un acercamiento/ muchos haobser,ado/ =ue se atestigua raramente en la eta(a nono(eratic -lla trabaS (ara (oder

(roducir el (oco ortodo7o y los modos ,ocally e7igentes de la (roducciSn sana =ueBerio comen.S a llamar (ara en sus trabaos/ incluyendo (alabras mitad!cantadas/susurraron las (alabras/ tonos ras(y/ tonos sin el ,ibrato/ cantando mientras =ueinhalaban/ lengXeta ruedan/ lengXeta chascan/ grito/ tarareo/ el gemir/ adeo/ el reUr/ y eltoser -s(ecialmente en su ca(acidad de hacer las cambios re(entinas/ rT(idas/ eim(re,isibles entre los sonidos =ue (onUan en contraste/ en di,ersos ni,eles dinTmicos/ella (odrUa ser ,ista como transformar funcionamiento ,ocal en la eta(a del concierto enun acontecimiento de teatro

Laborintus 88 196"2 fue escrito (or Berio como comisiSn (ara marcar el D00oani,ersario del nacimiento de Fante 'lighieri/ el (oeta florentino famoso -scrito (araun gru(o grande de instrumentalists y un gru(o (e=ueQo de ,ocalists/ Laborintus 88is

marcS/ como Cmaggio un oyce/ (or su ,uelta hacia teatro y su uso de la ,o. humanade una manera (oco con,encional -n las ,arias horas/ los tres soloists cantan haciafuera brillantemente/ combinando (ara crear racimos del semitone/ o grito/ o susurro/ oron=uido/ o el grito de asombro/ u7ta(osed a menudo contra unsynchroni.edmurmurings de un estribillo (e=ueQo del fondo y las interecciones e(isSdicas de unagama de instrumentos de or=uesta -l trabao/ durando )) minutos/ se di,ide ensolamente dos mo,imientos/ (ero en el conunto/ la charla de mo,imientos discretoshace (oco (ara ca(turar el alcohol del trabao en lugar/ el trabao es distinguido (or ;elmedio/< los " el mo,imiento flRido a (artir de un segmento o la situaciSn nebulosos aotro 'demTs/ Laborintus 88is a menudo de forma a(lastante (ro(ulsi,o/ mTs bien =ue

(arTsitos atmosfJricos/ y dis(ersado (articularmente en su am(lia gama de alusiones

,erbales y musicales: a las frases y a las imTgenes del infierno y de su Hita Iuo,a deFante a los idiomas ! ,erbal y musical ! (articularmente significati,o a Berio y a los


11/16

elementos ,erbales y musicales de Laborintus 88itself/ con la (orciSn del te7to y de lamRsica como comentarios corrientes/ cada uno sobre el otro +e (arecerUa =ue estaam(lia gama de alusiones y de referencias (udo solamente ser (osible en un trabao ! talcomo estos un =ue no tiene ninguna acciSn e7(lUcita/ (ero se ha dicho =ue el trabao/cuando estT reali.ado en concierto/ ;tiende (ara sonar como unstaged S(era/< 6 como si

tenga una narrati,a (ara (royectar =ue las mentiras mTs allT de las obser,aciones algoinescrutables (ro(orcionaron (or (ro(io narrador de Berio '(arte del carTcter de formaa(lastante alusi,o del trabao/ (articularmente significati,o estT la abertura delmo,imiento del trabao segundo: saca rT(idamente como un (eda.o ,anguardista del

a../ con un es(acio (ara un solo doble im(ro,isado del bao y teclear sal,ae/ (ero elelemento del a.. ! un cabeceo leos del ,anguardismo acadJmico/ hacia mRsica (o(ular ! (ronto disuel,e en los s(utterings de la mRsica de la cinta ins(irados claramente (orlas tJcnicas electrSnicas de la mRsica iniciadas en 'lemania ,arios aQos antes

-n el +infonia 19642/ tambiJn anotado (ara un gru(o grande de instrumentalists y ungru(o (e=ueQo de ,ocalists/ Berio continRa e7(lorando las (osibilidades de mani(ular la

,o. humana de maneras (oco con,encionales y de imbuir un elemento de teatro a cuTles a(arentemente un (eda.o del concierto/ con todo Jl se (arece abandonar algo de lafloedad free!&heeling del fa,or de Laborintus 88in de una com(osiciSn enfocada/altamente mTs estructurada es decir/ de hecho/ mTs corto en longitud =ue Laborintus88but di,idido en cinco mo,imientos discretos 'notado (ara una or=uesta grandeafrontada (or ocho ,oces am(lificadas/ el trabao/ a (esar de sus mo,imientos claro!distinguidos/ conser,a algo del labyrinthine/ construcciSn de ,arias ca(as de Laborintus88/ no obstante/ dado su comentario continuo encendido/ y referencia de nue,o a/ lasideas fiadas (ara arriba en el (rimer mo,imiento -n este (rimer mo,imiento/ las ,ocese7(loran la relaciSn entre los fragmentos del te7to tomados de Le $ru de $laude LJ,i!+trauss et de le $uit/ un trabao del antro(Slogo =ue analice ciertos mitos brasileQosreferentes a los orUgenes del agua/ incluyendo el tema recurrente de un hJroe =ueensayos lo condu.can e,entual a la muerte -n el segundo mo,imiento/ el ;rey de C/<Berio liga este mito a cuTl era entonces el asesinato reciente del lUder de las derechasci,iles Martin Luther 3ing/ r ' (esar de esta am(lia gama de alusiones ,erbales yte7tuales/ la estrategia de Berio recalling en Laborintus 88/ las alusiones musicales mTsllamati,as ocurre en el tercer mo,imiento del +infonia/ en el cual Berio incluye latotalidad del mo,imiento del +cher.o de la sinfonUa no / la sinfonUa de Gusta, Mahlerde la ;resurrecciSn


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$omo Berio/ Ligeti tenUa un fondo en el mundo de los estudios electrSnicos de lamRsica y ! como natural hRngaro =ue huyS su (aUs en 19"6 ! habUa sido sabido en-uro(a occidental y en 'mJrica sobre todo como asociado de +toc%hausen en el estudioelectrSnico de $olonia hasta 1960 +in embargo/ en su ensayo 1960 ;transforma de la

forma musical/< =ue a(arecUa en el dado >iehe/ eem(los citados Ligeti de Boule./ de+toc%hausen/ y de otros serialists demostrar cSmo los (rinci(ios seriales tenUan unomismo!derrotar (robado ! como el interJs del serialist en detalles en reducida escala/cuidadosos de la com(osiciSn obscureciS o no hi.o caso a menudo de entero mTsgrande =ue era creada ! o habUan sido substituidos (or (rinci(ios de una ;orden mTsalta


13/16

nota -stas cambios en la duraciSn tem(oral de sonidos ayudan a conducir el trabao (oderosamente hacia adelante en los (untos/ como si en un frenesU/ no desemeante delmo,imiento de delantero!batido del PacUfico )1 de 'rturo @onegger =ue fecha a (artirde casi cuatro dJcadas antes -l interJs de Ligeti en crear te7turas sonic de (ulso selle,a hacia fuera/ (or otra (arte/ en su esti(ulaciSn =ue muchos de los instrumentalists

en el conunto utili.an simultTneamente tJcnicas =ue uegan anormales en susinstrumentos res(ecti,os

-s interesante obser,ar el interJs fuerte de ese Ligeti en crear la te7tura musical/e,idenciada (articularmente en atmSsferas/ (uede ser ,isto segRn lo relacionado no sSlocon los mJtodos de Gru((en de +toc%hausen/ (ero tambiJn con el trabao/ durante losaQos 60 tem(ranos/ de com(ositores/ tales como 5itold Lutosla&s%i/ =ue acomodStJcnicas aleatoric en busca de los efectos te7tural =ue (odrUan im(licar mRlti(le/ contodo no coordinado/ las ca(as de acti,idad rUtmica +obre su (ro(io uso de aleatoric/ ode indeterminado/ las tJcnicas/ Lutosla&s%i escribieron =ue ;t Jl (unto en la ediciSnno es una cuestiSn de diferencias entre un funcionamiento y otro como (uede ser =ue

haya estado (ara la aula o (ara +toc%hausen Io (ensJ/ tam(oco/ liberarse de la (artede mi res(onsabilidad del trabao transfiriJndolo a los ugadores -l (ro(Ssito de misesfuer.os era solamente un resultado (articular en sonido< 4 Ligeti se (arece com(artiralgo del interJs de Lutosla&s%i en indeterminacy el incor(orar/ o las tJcnicas aleatoric !la re(eticiSn libre de un (atrSn de la cuatro!nota en atmSsferas/ (or eem(lo ! (ara unresultado sonic/ mTs bien =ue (or no,edad Para Ligeti/ los blo=ues o las masas delsonido fueron considerados como ser,ir del mismo modo =ue como acordes/ o notasindi,iduales/ en formar un discurso musical/ desde una ;masa de los sonidos< ! liberadade ser oUdo en tJrminos de echadas o acordes es(ecUficos ! se (ueden mani(ular conres(ecto a ritmo/ al registro/ al timbre/ a la dinTmica/ y a otras ,ariables/ (ero se (uedentambiJn mani(ular en tJrminos de ;(eso< o ;densidad/< y en tJrminos de com(leidadrelati,a de su su(erficie Por lo tanto/ las lUneas indi,iduales de la mRsica en te7turas dela sonido!masa ! en un trabao como las atmSsferas/ (or lo menos ! se (iensan como

(artes indistinguibles de una tela mTs grande

La tela sonic =ue Ligeti intentaba crear creciS mTs com(lea/ no obstante con (ocosrecursos instrumentales/ en ',entures 1962/ un trabao anotado (ara tres cantantes ysiete instrumentalists -ste trabao introduce discurso/ con (osibilidad de teatro =ue eldiscurso trae ine,itable/ de una forma =ue recuerda/ de una manera/ Cmaggio de Berioun oyce ! dado =ue las transformaciones electrSnicas ines(eradas del trabao de la ,o.humana ! con todo ',entures confUa no en mani(ulaciones electrSnicas/ (ero en (ro(ia

decisiSn de Ligeti ;com(oner< la clase de sUlabas fonJticas y de e7clamations delabsurdo/ o las ;(alabras/< =ue no se (ueden encontrar en ninguna lengua Las (alabrastienen J7ito/ sin embargo/ en la e,ocaciSn de una gama de emociones y las res(uestashumanas/ incluyendo ! (alabras de Ligeti del uso a (ro(ias ! ;entender y disensiSn/ eldominio y sometimiento/ honrade. y enganYo/ la desobediencia de la arrogancia<;>edacta< hablado (or los tres cantantes ! cada uno de =uiJn tiene cinco (a(eles a ugar/e7(lorando cinco Treas de la emociSn ! son (untuados dramTticamente (or lasinterecciones a menudo cortas/ =uebradi.as de instrumentalists/ creando un intercambioanimado =ue trans(orte las ,icisitudes de las cinco (ersonalidades =ue Ligeti (resenta$on ',entures/ Ligeti se (arece haber ensanchado sus intereses de incluir no sSlo lalengua abstracta de sonidos encontrados en las atmSsferas te7tura!conducidas ! =ue se

(udieron considerar una narrati,a sonic sus el (ro(ios/ o de un acom(aQamiento a algRnotro imaginado/ o secuencia im(licada/ narrati,a ! (ero tambiJn el elemento ,erbal de


14/16

;(alabras/< combinS con una lengua sonic abstracta/ =ue (uede crear un funcionamientocon,incente y ofrecer el contenido narrati,o significati,o +in embargo/ un crUtico hadicho =ue la e7(resi,idad del trabao ! =uJ Ligeti llamS ;gesticulating sal,ae< de loscantantes y de los instrumentalists ! es en Rltima instancia im(ersonal/ o ha guardado enuna distancia de seguridad del oyente/ ;como si los oyentes ,iJramos una e7hibiciSn

de arder y de emociones desnudas a tra,Js de un cristal del cristal/ o de una hoa delhielo< 9 =ue es/ =ui.Ts/ Jste se(araciSn (ercibida en ',entures ! un trabao (re,isto/ Jlse (arecerUan/ como serie de ;a,enturas algo ,iscerales< en forma y la e7(resiSn =ue

(uede haber ins(irado las muchas tentati,as de efectuar el trabao com(letamente/com(leta con el sistema y los a(oyos/ aun cuando Ligeti se dicen (ara haber concebidoel trabao como (eda.o (ara =ue los mRsicos del com(artimiento se realicen en el salSnde conciertos/ no en el teatro

-n los mediados de los aQos sesenta/ como Laborintus 88 de Berio in,irtiS la lenguahablada de cantantes con un contenido mTs reconocible/ claramente mTs alusi,o/ Ligeti

(uede ser ,isto (ara haberse mo,ido/ de cierta manera/ desde el trabao =ue im(licaba el

uso de teatro de la lengua hablada hacia una clase de nue,a estimaciSn el suyo mRsicate7tura!conducida En elemento de esta nue,a estimaciSn se (uede encontrar/ (or lomenos en (arte/ en su lu7 'eterna 19662 (ara 16 (orciones unaccom(anied a estribillo/a un auste de un te7to latino de la masa (ara los muertos y de una clase decom(lemento a su >e=uiem/ (ara dos soloists/ a dos estribillos/ y a or=uesta/ del aQoanterior Mientras =ue el trabao es algo de menor im(ortancia cuando estT com(arado ala am(lia gama de la salida durante los aQos 60/ de Ligeti se ,e a menudo (ues unmomento crucial en la carrera del com(ositor (or=ue se ,e como confirmar unacontecimiento de la tendencia ya en el ;Lacrimosa< de su >e=uiem =ue/ (or su(uesto/es la re!a(ariciSn de la armonUa en su trabao Mientras =ue el aeterna del lu7 ofrececiertamente armSnicamente!ambiguo/ los efectos te7tura!conducidos ! incluyendo lossonorities =ue im(lican las nubes del semitone de lento!desarrollo arracima ! tambiJncom(arte algo del alcohol armSnicamente!orientado/ contra(untally!basado de trabaoscorales anteriores/ tales como el ;+anctus< de la masa de +tra,ins%y/ con suyu7ta(osiciSn de notas sostenidas largas/ altas en las ,oces su(eriores y rico/ denso/ ladelantero!mudan.a alinea en las ,oces mTs baas -s interesante obser,ar =ue/ tem(ranoen su carrera/ Ligeti era (rofesor del counter(oint/ y Jse (ara Jl/ allU era innegable unaco(lamiento ! un aco(lamiento contra(untal/ incluso/ si el counter(oint se entiendeam(liamente como la integraciSn de ,oces distintas/ o filamentos del sonority/ en unentero sonic mTs grande ! entre su trabao en los estudios electrSnicos en $olonia/ lasuya las com(osiciones te7tura!conducidas de los aQos 60 tem(ranos/ tales como

atmSsferas/ y su armSnico trabaa mTs con,encionalmente mTs adelante en la dJcada-n (ro(ia mente de Ligeti/ se (arece =ue ca(as las ;de los su(erim(os ing del sonidoregistrado/< 10 como Ligeti describiS su trabao en $olonia/ no obstante fue relacionadocon su mani(ulaciSn de la te7tura sonic ! a tra,Js de filamentos (ermeables eim(ermeables/ o ca(as/ del sonido ! en los trabaos tales como las atmSsferas/ y tambiJncon su ,uelta/ en aeterna del lu7/ a la clase de erar=uUa armSnica en la cual elcounter(oint/ en su sentido mTs estrecho/ (uede tener significado

-n 196D ! el aQo =ue sigue la com(osiciSn del aeterna del lu7 ! Ligeti ,ol,iS a escribir (ara la or=uesta grande con Lontano -n este trabao/ Ts(ero 1) minutos en la longitud/Ligeti continRan e7(lorando las (osibilidades de te7tura musical asU como =ue abra.a

una gama de colores mTs ob,iamente armSnica Las lUneas indi,iduales son menoscomo (artUculas meras en una masa de los sonidos y mTs biJn las ,oces distintas/


15/16

muchas en gran nRmero/ =ue se entreteen cuidadosamente en una tela densa $omo lasatmSsferas/ el trabao comien.a reser,ado y los e7tremos con (rolongados sedescoloran/ como si Jl llegan de leano ! lontano del da ! y salen lentamente/ (erodesemeante de las atmSsferas/ con el Jnfasis fuerte de ese trabao en los efectossu(erficiales de la te7tura/ hay en Lontano un mayor sentido del es(acio o de la

distancia/ de una dimensiSn sonic significati,a debao de la su(erficie -sta clase dedistancia sonic/ o de (rofundidad/ es es(ecialmente sensible de la manera =ue el sonarsimultTneo las notas de muy arriba y muy baas en el trabao sugiere una alta e7tensiSn,ertical/ asU como en la atenciSn cuidadosa de Ligeti a la manera =ue la dis(osiciSn dela or=uesta ! dando al latSn mTs (resencia =ue las secuencias/ (or eem(lo ! (uedeafectar el ;es(acio< en cuTl (ercibe el oyente sonidos -l elemento de la distanciaim(licado (or el tUtulo del trabao se (uede considerar no sSlo en el reino es(acial/ (erotambiJn en los reinos de la memoria/ o de historia/ dado =ue Ligeti mismo considerabael trabao como refiriendo a los ;mundos ideales remotos de la Rltima mRsicaromTntica< 11 en un (aso cerca del final de Lontano/ la entrada (or eem(lo/ sua,e/lush de los cuernos fue ,isto (or Ligeti como clase de recuerdo/ o la emulaciSn/ del

coda =ue cerraba el mo,imiento lento de la sinfonUa de 'ntSn Bruc%ner octa,o

-n el e7tremo/ se (arece significati,o =ue/ en el cierre de una dJcada tan tumultuous ymultifaceted como los aQos 60/ Berio/ en su +infonia/ y Ligeti/ en su Lontano/ se (arecedesafiar las con,enciones formales del musical e incor(orar el interJs en curso en ladiscontinuidad ! ,ista cada ,e. mTs (uesto =ue 19#" como clase legUtima de telamusical ! asU como se (arecen dar ,uelta cada ,e. mTs leos de la (ure.a de a,ant!gardisms acadJmicos/ incluyendo el interJs en la masa amorfa de los sonidos =ueMorgan ha ,isto como ;neutrali.aciSn del contenido musical/< a fa,or de referencias asus (ro(ias raUces musicales/ o a la memoria histSrica colecti,a de la mRsica/ bao laforma de mRsica occidental clTsica del arte

N

1 aula de uan/ en >oberto P Morgan/ mRsica del HigJsimo!+iglo: Ena historia delestilo musical en -uro(a y 'mJrica modernas Iue,a Aor%: 55 Iorton O $om(any/8nc/ 19912/ (( )"9!)60 Morgan/ P )40) 8bid/ P )41# -lliott +ch&art. y Faniel Godfrey/ mRsica desde 19#": -diciones/ materiales/ yliteratura Iue,a Aor%: +chirmer Boo%s/ 199)2/ (( 11"!116

" Paul Griffiths/ mRsica moderna y des(uJs de C7ford: Prensa de la uni,ersidad deC7ford/ 199"2/ P 1D66 8bidD Morgan/ P )414 5itold Lutosla&s%i/ en Morgan/ (( )D"!)D69 +te(hen Plaisto&/ en las notas del tra.ador de lUneas al Feutsche Grammo(hon =ueregistra #) ##! del aeterna del $oncerto/ de las ramificaciones/ de la secuencia delcuarteto no / de ',entures/ y del lu7 del com(artimiento de Ligeti10 György Ligeti/ en Plaisto&11 Paul Griffiths/ en las notas del tra.ador de lUneas a Feutsche Grammo(hon =ueregistra #9 60! de la salchicha de rancfort Philharmoni%er =ue uega a 5olfgang

>ihm salen/ las atmSsferas y Lontano de Ligeti/ Liebeslied de Luigi Iono/ y lasnotaciones 8!8H de Pierre Boule.


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Documents

Musical Pluralism in the 1960s