HAUNTING SOUNDSCAPES OF TRANSYLVANIA: LIGETI’S RESEARCH STAY AT THE FOLKLORE INSTITUTE IN BUCHAREST

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dc.coverageSTUDIA UBB MUSICA, Volume 63 (LXIII), No. 2, December 2018, pp. 311-326, DOI: 10.24193/subbmusica.2018.2.21en-US
dc.creatorŢIPLEA TEMEŞ, Bianca
dc.date2018-12-17
dc.date.accessioned2026-02-21T20:15:28Z
dc.descriptionLigeti’s visit to the Folklore Institute in Bucharest in 1949/50 was a brief but defining episode of his youth, and one which proved to have a strong impact on his work. As one of the least explored stages of his early development, this Romanian research stay provided the composer with an entirely new set of ideas which were later manifested in his works, first as direct citations (Baladă și joc, Romanian Concerto, Musica ricercata, Bagatelles for Wind Quintet), and then as distant, barely discernible echoes (Piano Concerto, Violin Concerto, Hamburgisches Konzert). According to Ligeti’s own comments and manuscript sketches (held at the Paul Sacher archives), he derived and developed some of his most original compositional techniques from folk genres such as colinda, hora lungă, bucium signals and  bocet originating in Transylvania, Banat and Muntenia, music he heard in various villages of the Carpathian region, and on wax cylinders in Bucharest. In order to show the long-term impact of Romanian folklore on his music the approach will capture two images of Ligeti on either side of the Iron Curtain: first it will explore how he managed, without political compromise, to avoid falling foul of the rules of the communist regime on the use of ethnic elements in the new ideology aesthetics and then how he turned this source of inspiration into a uniquely modern idiom after relocating to the west. Employing Romanian folk elements while in eastern and, later, in western Europe, Ligeti allows the listener to perceive the diverse multi-ethnic roots of his music, which pervaded his inspiration and generated a unique sound world.en-US
dc.formatapplication/pdf
dc.identifierhttps://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/2347
dc.identifier10.24193/subbmusica.2018.2.21
dc.identifier.urihttps://hdl.handle.net/20.500.14637/1822
dc.languageeng
dc.publisherBabeș-Bolyai University / Cluj University Pressen-US
dc.relationhttps://studia.reviste.ubbcluj.ro/index.php/subbmusica/article/view/2347/2269
dc.rightsCopyright (c) 2018 Studia Universitatis Babeș-Bolyai Musicaen-US
dc.rightshttps://creativecommons.org/licenses/by-nc-nd/4.0en-US
dc.sourceStudia Universitatis Babes-Bolyai Musica; Volume 63, No. 2, December 2018; 311-326en-US
dc.source2065-9628
dc.source1844-4369
dc.source10.24193/subbmusica.2018.2
dc.subjectLigeti, Enescu, Romanian folk music, Iron Curtain, Bucharest, Transylvania.en-US
dc.titleHAUNTING SOUNDSCAPES OF TRANSYLVANIA: LIGETI’S RESEARCH STAY AT THE FOLKLORE INSTITUTE IN BUCHARESTen-US
dc.typeinfo:eu-repo/semantics/article
dc.typeinfo:eu-repo/semantics/publishedVersion
dc.typePeer-reviewed Articleen-US
dc.typetexten-US

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