but a special sort of critique, since the critique itself results from musical means. … The “verbal score” is only one aspect of this critique, and it is admittedly rather ironic. The other aspect is, however, the work itself. … What bothers me nowadays are above all ideologies (all ideologies, in that they are stubborn and intolerant towards others), and Poème Symphonique is directed above all against them. So I am in some measure proud that I could express criticism without any text, with music alone. It is no accident that Poème Symphonique was rejected as much by the petit-bourgeois (see the cancellation of the TV broadcast in the Netherlands) as by the seeming radicals…. Radicalism and petit-bourgeois attitudes are not so far from one another; both wear the blinkers of the narrow-minded. (Ligeti, cited in Nordwall 1971, 7–8)
Me encanta la equivalencia final qeu hace entre las actitudes radicales y burguesas, que le resulta (y suelen ser en mi experiencia) igual de miopes.
La obra son 100 metrónomos. Tras un momento de silencio se les pone en marcha y se les deja acabar. Es fascinante escuchar los momentos en que parecen sincronizarse. Y también, el último y solitario metrónomo antes de parar.
Y aquí una versión György Ligeti – Poème Symphonique for 100 metronomes:
The score calls for a long silence and then up to an hour of ticking. We decided to shorten this considerably. The metronomes are supposed to be fully wound but we had to limit that to 13 turns on average (more for faster tempos and fewer for slower tempos). A team of festival volunteers, cooks, and musicians then set them off, on cue, as quickly as possible for escaping.
Never forget to entertain the possibility that the composer is just out to make fun of us.