专辑简介

The three Etudes represents thoroughly Ligeti’s late style, not only from his compositional penchant but, most importantly, the ideological shift from his earlier works that are primarily inclined to theoretical concepts. They embody an esthetic relation to a more extended realm of subjects through the flow of time, opposition, space, inertness, mobility, expansion, regression, and reiteration, inevitably coinciding with Ligeti’s interests in philosophy, literature, arithmetic, symbolism, and paradox.Forbidden a more radical approach to address innovations in earlier stages, such as micropolyphony, Ligeti adopted an implicitly connotative utterance to polish his Études, “a metaphysic for my music” in György Ligeti’s words. A combo of the three-etude Fanfares, Arc-en-ciel and L’escalier du diable represents the culmination in metaphysics to the world of sound and space in divergent ways.

“三首练习曲”是对利盖蒂晚期风格的音乐探索总结之一，不仅体现了他的作曲习性，更显露出他与早期作品中主要偏向于理论概念相驳的作曲思想。它们通过时间的流动、对立、空间、静态、流动性、扩展、回归和重复，完美地展示了与更广泛主题之间的审美关

系，这些主题在哲学、文学、数学、象征主义和悖论方面与利盖蒂的个人兴趣不谋而合。不同于早期更为激进的概念化（例如：微复调）创作模式，利盖蒂着重于在练习曲中创造的多重隐喻和联想，正如作曲家本人所说：“我只想为我的音乐提供一种形而上学”，这也

在《练习曲》中得到了充分的映衬。由“号角”，“彩虹” 与 “魔鬼的阶梯” 构成的这样一种组合，以不同的方式代表了音响和空间世界中形而上学的巅峰。