Author:
Elisabeth Reisinger Department of Musicology and Performance Studies, University of Music and Performing Arts Vienna, Seilerstätte 26, A-1010 Vienna, Austria

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Abstract

From the mid-1950s, Basel harpsichordist Antoinette Vischer (1909–1973) promoted the harpsichord as a modern instrument, commissioning numerous composers to contribute to a new repertoire. To this end, she turned to György Ligeti, who completed Continuum for her in 1968. The composer had already used the harpsichord in ensembles several times, but now he had to think about it in a soloistic function for the first time, starting from a specific performer with her specific instrument. In this paper, I focus on this relationship between composer, performer-commissioner, and instrument, drawing primarily on the correspondence between Ligeti and Vischer preserved at the Paul Sacher Foundation in Basel. These unpublished letters document their collaboration and how both negotiated their artistic positions and aesthetic concepts of the harpsichord as “some sort of machine.” An in-depth analysis of Ligeti and Vischer's exchange about the instrument's peculiarities and performance issues allows us to better understand their self-conception as artists and their ideas of “modernity.” Furthermore, this case study sheds light on a specific period in the history of an instrument that through the efforts of performers like Vischer was transformed from an artifact of the past to an emblem of the present.

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  • Elste, Martin. Modern Harpsichord Music: A Discography (Westport, CT, and London: Greenwood Press, 1995).

  • Epstein, Louis K. The Creative Labor of Music Patronage in Interwar France (Woodbridge: The Boydell Press, 2022).

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  • Kirnbauer, Martin.‘ein Kleid nach Mass’: Jacques Wildbergers Concentrum für das zeitgenössische Cembalo der Antoinette Vischer (1956),” in Das linke Ohr: Der Komponist Jacques Wildberger, ed. by Michael Kunkel (Büdingen: PFAU-Verlag, 2021).

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  • Kirnbauer, Martin.‘… toutes écrites pour la mécène’. Antoinette Vischer und ihr modernes Cembalo,” in Entre Denges et Denezy…”: Dokumente zur Schweizer Musikgeschichte 1900–2000, ed. by Ulrich MOSCH (Mainz: Schott, 2000).

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  • Lichtenfeld, Monika (ed.). György Ligeti: Gesammelte Schriften, 2 vols. (Mainz: Schott, 2007).

  • Neupert, Wolf Dieter. 1868–2018. J.C. Neupert. 150 Jahre Musikinstrumentenbau (Bamberg: Verlag K. Urlaub, 2018).

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  • Troxler, Ule. Antoinette Vischer: Dokumente zu einem Leben für das Cembalo (Basel: Birkhäuser, 1976).

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Senior editors

Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)

Assistant Editor(s):
Patrick DEVINE (Maynooth University, Maynooth, IRL)
Anna LASKAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Editorial Board

  • Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
  • William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
  • Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
  • Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
  • Vjera KATALINIĆ (HR)
  • Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
  • Valeria LUCENTINI (University of Bern, CH)
  • Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
  • Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

 

Editorial Secretary

  • István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

STUDIA MUSICOLOGICA
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2022  
Web of Science  
Total Cites
WoS
56
Journal Impact Factor 0.1
Rank by Impact Factor

n/a

Impact Factor
without
Journal Self Cites
0.1
5 Year
Impact Factor
0.1
Journal Citation Indicator 0.08
Rank by Journal Citation Indicator

Music (Q4)

Scimago  
Scimago
H-index
5
Scimago
Journal Rank
0.1
Scimago Quartile Score

Music (Q4)

Scopus  
Scopus
Cite Score
0.1
Scopus
CIte Score Rank
Music 154/167 (8th PCTL)
Scopus
SNIP
0.240

2021  
Web of Science  
Total Cites
WoS
67
Journal Impact Factor not applicable
Rank by Impact Factor not applicable
Impact Factor
without
Journal Self Cites
not applicable
5 Year
Impact Factor
not applicable
Journal Citation Indicator 0,04
Rank by Journal Citation Indicator Music 100/112
Scimago  
Scimago
H-index
5
Scimago
Journal Rank
0,101
Scimago Quartile Score Music (Q4)
Scopus  
Scopus
Cite Score
0,1
Scopus
CIte Score Rank
Music 130/153 (Q4)
Scopus
SNIP
0,000

2020  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
5/56=0,1
Scopus
Cite Score Rank
Music 118/147 (Q4)
Scopus
SNIP
0
Scopus
Cites
11
Scopus
Documents
0
Days from submission to acceptance 112
Days from acceptance to publication 413

 

2019  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
1/66=0
Scopus
Cite Score Rank
Music 122/142 (Q4)
Scopus
SNIP
0,000
Scopus
Cites
4
Scopus
Documents
0

 

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Studia Musicologica
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ISSN 1788-6244 (Print)
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