Apesar da parca participação, a harpa (des)temperada (Partch Harp é o título original),causou acesa discussão off-blog. O João não andou longe. Trata-se de facto de um aluno de Ligeti e que „herdou“ o interesse do professor pela música de culturas extra-ocidentais. Ei-lo.

Lendo o excerto da entrevista do compositor de 1990 abaixo publicado, ocorre-me que o Ligeti-Professor não é muito diferente do Ligeti-Compositor-pós-moderno.

Manfred Stahnke talks to Canzona
Interview September 1990, Wellington

Canzona: For many years you studied composition with Gyoergy Ligeti in Hamburg. How does he teach? What effect has he had on your own musical thinking and approaches?

Manfred Stahnke: Well, in fact Ligeti doesn't teach any more - he retired two years ago. This year, 1990, he has given lectures only once, in Hungary.

But how did he teach during the fifteen years in Hamburg? He was very decisive in his views, for example he rejected a lot of the music of the fifties and sixties. If his students came with music related to it - for instance using the 'new complexity', serialism or whatever - he didn't appreciate it. What he proposed very strongly was for us to search for really new attitudes towards writing music; to find music out in the world, to go to Africa or South America or to the South Pacific (in fact he proposed I come here to collect things), then to re-think our Western compositional attitudes. He didn't want to just go on in the old terms of art music. But he himself is schizophrenic about this, because his attitude is actually very artistic and very Central European.

[a entrevista completa aqui]