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Ligeti's ‘third way’: ‘Non–atonal’ elements in the Horn Trio

Published online by Cambridge University Press:  22 January 2016

Mike Searby
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Extract

It is perhaps curious that only a year after this exchange took place in 1981, Ligeti completed his Horn Trio – which uses traditional ternary form, a passacaglia (although a disguised one), a strong melodic focus, and a harmonic language which contains clear triads and dominant sevenths in abundance. In spite of his assertions above, it does seem as if Ligeti, in addition to rejecting the Avant-garde, is looking to the past for major elements of his musical language.

Type
Research Article
Information
Tempo , Issue 216 , April 2001 , pp. 17 - 23
Copyright
Copyright © Cambridge University Press 2001

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References

1 Samuel, Claude, ‘Entrecien avec György Ligeti’ (1981), trans. Kilmartin, Terence, in Ligeti in Conversation, (London: Eulenberg, 1983), p. 123 Google Scholar.

2 Szitha, Tunde, ‘A conversation with Gyorgy Ligeti’, Hungarian Music Quarterly, vol 3, p t. l, (1992), p.17 Google Scholar.

3 Straus, Joseph N., Remaking the Past, (Cambridge, Ma.: Harvard University Press, 1990), p.74 CrossRefGoogle Scholar.

4 Ibid., p.74.

5 Lichtenfeld, Monika, ‘Gesprach mit György Ligeti’, Neue Zeitschrifi für Musik, vol.cxlv, (1984), pp.8–11 Google Scholar cited in Griffiths, Paul, György Ligeti, (London: Robson Books, second edition, 1997)Google Scholar.

6 ‘A conversation with György Ligeti’, pp.14–15.

7 Bernard, Jonathan W., ‘Voice Leading as a Spatial Function in the Music of Ligeti’, Music Analysis, Vol 13:2–3, (1994), pp.227–252 CrossRefGoogle Scholar.

8 Straus, , op.cit., p.74 Google Scholar.