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accorded widespread acceptance as authentic lines. 21 The Gorgons, at any rate, are suitable cameo horrors for the infernal regions. 22 Ultimately none of the grim apparitions that greet Aeneas and the Sibyl are of any lasting consequence; the hero quickly
Weissmann about his work in progress, Apparitions: I consider [it] my first composition; I feel that I now start from zero point, and what I’ve written so far is worth nothing. I will state that there is no Stock- hausenism in it, it is not “serial” music
means of dynamic and textural changes and the grouping of sound stimuli according to register, e.g. by placing the individual steps of a chromatic scale in different octaves ( Apparitions , 1958–1959; Cello Concerto , 1966) Ligeti also makes use of
region of Italy. Her research interests include studies on contemporary spirituality, apparitions of “The Virgin Mary,” and “à répit” sanctuaries.
The journeys of Orpheus
Itinerary between the world and the underworld, between life and death of the Thracian singer
heart-wrenching. Eurydice, who was on the cusp of reuniting with the world of the living, begins to fade away. Her form becomes ethereal, slipping through Orpheus' fingers like a ghostly apparition. The gods' decree has been violated, and the price for
entry at the town, which the astonished crowd welcomes as a god's apparition, see Braswell (1988) 182; Potamiti (2015) 5–6: “Jason's extraordinary appearance gives the people a strong impression of divinity”. Livrea (2006) 13 puts this scene in
described in four distinct stages ( Gollnhofer & Sillans, 1985 ). The first stage consists primarily of incoherent images devoid of religious significance, while the second stage is characterised by a series of apparitions of menacing looking animals that
in Musica ricercata (1951–1953). 57 Of the new musical ideas he envisioned in the early 1950s, the most lasting was that of static music, which eventually led to Apparitions (1959–1960) and Atmosphères (1961). He repeatedly stated that the idea
“Some Sort of Machine without a Body”
György Ligeti and Antoinette Vischer Explore the Modern Harpsichord
not be determined which recordings Ligeti received. The two mentioned above may well have been among them, given the chronological overlap. 16 Ligeti to Vischer, October 16, 1965 (CH-Bps AVC). He had used the harpsichord, for example, in Apparitions
for the murder with the spirit of the murdered person. 56 In a further “evolutionary” phase it is only the spirit of the murdered who avenges the murderer, 57 whether they decide to do it on their own or are sent in the form of an apparition or a
