Ramifications for string orchestra or 12 solo strings 李盖悌 分岐弦乐团 弦乐器 总谱 朔特版

Ramifications 代表了我的复杂音乐网格式作曲方法的进一步发展；可以说，它是从密集和静态发展到破碎和流动的终点。标题指的是复调的声部写作技巧；在一条在线，缠绕在一起的各个声部向不同的方向移动，从而使声音的链条逐渐变得支离破碎。总的形式是由各部分的分支和统一的交替，以及由此产生的网状结构的租金或束缚构成的。除此以外，这首作品中还出现了微调和谐的新方面。甚至在更早之前，我偶尔也会使用偏离平均律的调式（《安魂曲》、《Volumina》、《和声》、《第二弦乐四重奏》）。但这首曲子的新颖之处在于始终如一地运用了超色调和声的理念。由于一半弦乐器的音调比其他乐器高四分之一个音调，这一点成为可能。乐器演奏时自动产生的音调差异导致音高波动，人们几乎听不到精确的四分之一音程。只有在少数密集的地方，才会产生近似四分之一音的音群；除此之外，我们还发现了一种全新的不确定和声，就好像和声已经腐烂了一样：这种和声有一种强烈的味道，腐朽已经渗透到音乐之中

作曲家: Ligeti, György
乐器: string orchestra or 12 solo-strings
出版社: Schott Music
原文简介:
Ramifications represents a further development of my method of composition with complex musical net-formations; it is, as it were, a terminus in the development from dense and static to broken-up and mobile. The title refers to the polyphonic technique of the part-writing; in one skein, individual parts that are twisted together move in divergent directions so that the strand of the voice gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. And as well as that, there are in this piece new aspects of a micro-tonal harmony. Even earlier I was occasionally working with deviations from the equal temperament (Requiem, Volumina, Harmonies, Second String Quartet). But what is new here is the consistent application of an idea of hyperchromatic harmony. This is made possible by one half of the string instruments being tuned a quarter-tone higher than the others. From the automatically ensuing differences in intonation when the instruments are played, arises a fluctuation in pitch such that one can hardly ever hear exact quarter-tone intervals. In only a few dense places approximative quarter-tone clusters result; apart from that we find a totally new kind of uncertain harmony, as though the harmonies had rotted: thex have a strong taste and decay has permeated the music.- György Ligeti