When each metronome reaches the specified number of impulses, it shuts itself off. Therefore, there was no need to account for this variable in imitating a mechanical metronome: the piece could be simulated by assigning a set number of impulses to each metronome – “higher tension” is simulated as a greater number of impulses. Many mechanical metronomes have grooves in the length of the pendulum’s arm that preclude tempi in between these markings, and so this limitation was implemented.įortunately, more refined mechanical metronomes do not decelerate as their wound spring loses tension. In both performance modes, each metronome is assigned a tempo randomly selected from the thirty-nine standard metronome markings available, ranging from 40 to 208 beats per minute. ![]() Ligeti specifies two slightly different modes of performance in his score, each presenting unique programming challenges, discussed below. The most variable element then is the tempo of each metronome. Here is a general schematic of the architecture of the program: Perfect: Max functions best as a modular programming environment, so each “player” of ten metronomes was treated as a replicable unit, controlled by a main “conductor” module. at a sign from the conductor, all the metronomes are set in motion by the players.” The metronomes must be brought onto the stage with a completely run-down clockwork. “ The work is performed by 10 players under the leadership of a conductor. Ligeti specifies a few conditions that gave a good place to start in programming the reconstruction. Because Poème Symphonique is dependent on the eventual release of mechanical tension in its “instruments,” a main goal of the digital model was to imitate the behavior of mechanical metronomes as closely as possible. Though it certainly loses the absurd theatricality of the intended realization, it is simple to recreate the piece in real time and experience a simulation of the world that fascinated Ligeti throughout his musical career. This project, a reconstruction programmed in Max/MSP, attempted to model Ligeti’s famous piece. ![]() “ On each the work is dedicated to the person (or persons) who have helped to bring about the performance through the contribution of instruments, by any means whatsoever, whether it be executive council of a city, one or more of the music schools, one or more businesses, one or more private persons.” Even in 1962 when the "instruments" were certainly more common, Ligeti devoted a large portion of the score to informing the presenter about how one hundred metronomes may be acquired – also going so far as specifying that each performance be dedicated to those who contributed their personal instruments or helped procure them: However, with the obsolescence of the mechanical metronome, gathering enough instruments for a performance proves difficult. Thus, the shape and energy of the piece, if not the duration, is always the same: a tendency towards sparser texture and eventually silence as the metronomes unwind. The piece, notated as a short text score, lasts as long as it takes one hundred mechanical metronomes, all set in motion at the same time, to unwind and stop ticking. But no piece in Ligeti’s catalogue better distills the composer’s fascination with chaos, order, and broken systems. Gÿorgy Ligeti’s 1962 composition for 100 metronomes, Poème Symphonique, owes much of its success to its presentation as a ridiculous spectacle.
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