The second issue dedicated to the studies from the Paul Sacher Stiftung (PSS) explores eight of the archive’s rich and growing collections. The archive was founded in Basel, Switzerland in 1973 by Paul Sacher, a prominent Swiss conductor, performer, patron, and promoter of contemporary music. Sacher commissioned over 300 pieces from many notable twentieth-century composers, which he performed with his Basler Kammerorchester. While the initial purpose of the archive was to preserve Sacher’s musical library, including the commissioned scores, today the PSS serves a different function. With its expansion to over 115 collections and estates, the archive has become an international research centre, an avid supporter and a leader of scholarly research on twentieth and twenty-first-century music. The current special issue of Contemporary Music Review, ‘Further Studies from the Paul Sacher Stiftung’, features eight essays by scholars who have spent a significant amount of time working with the original documents at the archive. Each essay highlights a different collection at the PSS, and the authors incorporate a variety of methodologies and materials housed at the archive: sketches, (unpublished) drafts and fair copies, withdrawn compositions, transcriptions, correspondence, text documents, photographs, electronic files, unpublished material from the Foundation’s audiovisual holdings, and historic recordings. In the first essay, ‘“Élan vital ... and how to fake it”: Morton Feldman and Merle Marsicano’s Vernacular Metaphysics’, Ryan Dohoney approaches Bergson’s vitalist philosophy comparatively as part of Feldman’s community of friends and collaborators. Through his examination of Feldman’s sketches and unpublished lectures, Dohoney scrutinises the composer’s borrowing of vitalist vocabulary for his piece titles (Extensions and Durations), his notes for Intermission 6 describing open-form as ‘an outline of becoming’, and further extends Feldman’s connection to vitalism through his collaborations on Figure of Memory with choreographer Merle Marsicano, Contemporary Music Review, 2019 Vol. 38, Nos. 3–4, 225–228, https://doi.org/10.1080/07494467.2019.1596631

中文翻译：

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Paul Sacher 基金会的进一步研究

第二期专门介绍 Paul Sacher Stiftung (PSS) 的研究，探讨了该档案馆丰富且不断增长的八项收藏。该档案馆于 1973 年由瑞士著名指挥家、表演者、赞助人和当代音乐推动者保罗·萨赫 (Paul Sacher) 在瑞士巴塞尔创立。Sacher 委托了许多 20 世纪著名作曲家创作的 300 多首作品，并与他的 Basler Kammerorchester 一起演奏。虽然档案的最初目的是保存萨赫的音乐库，包括委托的乐谱，但今天 PSS 服务于不同的功能。随着其扩展到超过 115 个收藏品和遗产，该档案馆已成为国际研究中心、20 和 21 世纪音乐学术研究的热心支持者和领导者。本期《当代音乐评论》特刊，“Paul Sacher Stiftung 的进一步研究”收录了学者的八篇论文，他们花了大量时间处理档案中的原始文件。每篇文章都突出了 PSS 的不同收藏，作者结合了存档中的各种方法和材料：草图、（未发表的）草稿和公平副本、撤回的作品、转录、通信、文本文档、照片、电子文件、来自基金会视听馆藏的未发表材料和历史录音。在第一篇文章“Élanvital……以及如何伪造它”：Morton Feldman 和 Merle Marsicano 的白话形而上学”中，Ryan Dohoney 将柏格森的生命论哲学作为费尔德曼的朋友和合作者社区的一部分进行了比较。通过对费尔德曼的草图和未发表的讲座的检查，多霍尼仔细审查了作曲家为他的作品标题（扩展和持续时间）借用活力论词汇，他在中场休息 6 的笔记将开放形式描述为“生成的轮廓”，并进一步扩展了费尔德曼的联系通过他与编舞家 Merle Marsicano 合作的《记忆图》，《当代音乐评论》，2019 年卷。38，第 3-4、225-228 期，https://doi.org/10.1080/07494467.2019.1596631 并通过与编舞家 Merle Marsicano 在《当代音乐评论》2019 年第 2 卷《记忆图》上的合作，进一步扩展了费尔德曼与活力论的联系。38，第 3-4、225-228 期，https://doi.org/10.1080/07494467.2019.1596631 并通过与编舞家 Merle Marsicano 在《当代音乐评论》2019 年第 2 卷《记忆图》上的合作，进一步扩展了费尔德曼与活力论的联系。38，第 3-4、225-228 期，https://doi.org/10.1080/07494467.2019.1596631