Description
Book SynopsisGyÃrgy Ligetiâs Le Grand Macabre (1974â77, revised 1996) has consolidated its position as one of the major operatic works of the twentieth century. Few operas composed since the 1970s have received such numerous productions, bringing the eclectic score to a global audience. Famously dubbed by Ligeti as an âanti-anti-operaâ, the piece is a highly ambiguous, apocalyptic fable about the human condition, fear of death and the final judgement. As the first book in English solely dedicated to discussion of this work, GyÃrgy Ligetiâs Le Grand Macabre: Postmodernism, Musico-Dramatic Form and the Grotesque offers new perspectives on the operaâs musico-dramatic identity in the context of musical postmodernism. Peter Edwards draws on a range of modernist and postmodernist theories to explore the collision of past styles and genre models in the opera, its expressive states and its engagement with the grotesque. This is ably supported by musical analysis and extensive study of Ligetiâs sketch materials held at the Paul Sacher Foundation in Basel. Edwardsâs analyses culminate in a new approach to examining the operaâs rich multiplicities, the composition of the musical material and the nature of Ligetiâs relationship with the musical past. This is a key reference work in the fields of musical modernism and postmodernism, opera studies and the music of Ligeti.
Trade Review"Readers seeking a wide-ranging introduction emphasising the opera’s music and dramatic character will find much useful information here" - Arnold Whittall, The Musical Times
Table of ContentsContents: List of Plates List of Tables List of Musical Examples Preface and Acknowledgements Introduction 1 An Anti-Anti-Opera 2 A Conception of Musico-Dramatic Form 3 Arias, ‘Leit-Characteristics’ and Expressive States 4 Allusion and Transformation 5 Stylistic Dissonance and the Collage 6 Resisting Closure: The Passacaglia Finale 7 From Electronic Music to Music Theatre 8 A Musical Grotesque Select Bibliography Index
