Reports and conjectures on Kylwiria

Abstract

The code word ‘Kylwiria’ was mentioned by György Ligeti from time to time since the 1970s. At first, it functioned rather abstractly as a working title for the opera that had been in the making since the mid-1960s and eventually mutated
into Le Grand Macabre. Later, Ligeti also shared details about the imaginary land of his childhood, providing glimpses of brightly colored maps of that land and underscoring the importance of his childlike fantasy world. This article explores
the dimensions of this ‘private mythology’ and its impact on the composer’s creative thinking and work. Its documentary evidence – the description of the land of Kylwiria recorded in 1950 in a booklet of more than 70 pages – is presented
in examples and examinated for its particularities. On the one hand, it seems that the pioneering exploration of geographical spaces is transferred as a model to the creative exploration of sound spaces. On the other hand, Ligeti’s concept of a
fantastic counterworld is to be seen in a literary and cultural- historical context, in which it is to be located somewhere between expedition report, travel guide and utopian design. Such an outline sharpens the meaning of Kylwiria as a cipher
for creativity in a characteristic mixture of ratio and fantasy.