Nineteenth century musical virtuosity revived ideals concerning heroic agency via an artist-hero whose performance functioned rhetorically, to excite audiences attuned to progressive ideals. I argue that the virtuoso as ‘ideological architect and symbol’ [Palmer 1998. “Virtuosity as Rhetoric: Agency and Transformation in Paganini's Mastery of the Violin.” Quarterly Journal of Speech 84: 341–357, 353] lives on in late modernism in a conflicted repertoire that both redoubles and rejects virtuosity, as in Ligeti’s Études pour Piano (1985–2001). In ‘Désordre’ and ‘Vertige’ (the first and ninth études), this critique plays out aurally as a conflict between a surface virtuosic rhetoric and its subversion. But the evolution of reflexive codes that establish critical distance from those conventions can also be traced through letters and sketches housed at the Paul Sacher Stiftung. Like Edward Said’s late modern hero, Ligeti’s études and their reception history unite humanist sympathy towards tradition with critique of a contemporary culture balanced precariously on masterworks and performances of the past.

中文翻译：

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从脉动到感觉：利盖蒂第一和第九钢琴练习曲中的精湛技艺和现代主义

19 世纪的音乐技艺通过一位艺术家英雄复兴了有关英雄代理的理想，他的表演具有修辞功能，以激发适应进步理想的观众。我认为艺术大师是“意识形态的建筑师和象征”[Palmer 1998。“作为修辞的艺术大师：帕格尼尼对小提琴的掌握中的代理和转变。” Quarterly Journal of Speech 84: 341–357, 353] 在晚期现代主义中继续存在着一个矛盾的曲目，它既加倍又拒绝精湛技艺，如 Ligeti 的 Études pour Piano (1985-2001)。在“Désordre”和“Vertige”（第一和第九练习曲）中，这种批评在听觉上表现为表面精湛的修辞与其颠覆之间的冲突。但是，与这些惯例建立起关键距离的自反代码的演变也可以通过保罗·萨赫基金会的信件和草图来追溯。就像爱德华·赛义德的已故现代英雄一样，利盖蒂的练习曲和他们的接受历史将人文主义对传统的同情与对当代文化的批判结合起来，在过去的杰作和表演上岌岌可危。