THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

Another way in which this compositional method allows Ligeti his desired
flexibility its specification of only points of entry, rather than fixed durations. It is
important to realize that Ligeti viewed this design as an underlying grid rather than a strict
ordering of a set of note-values; this entails a significant difference from Artikulation
where these numbers did correspond to durations (i.e. lengths of tape). Here however,
Ligeti has replaced the periodic, metrical grid which frustrated him in his earlier
compositions with an aperiodic one, and the composer retains the freedom to compose a
musical surface which articulates this grid in any number of ways. Thus, some points are
marked by the entrance of a new cluster, others by the change from sound to rest. This
allows Ligeti to carry certain clusters past the duration suggested by the initial scheme,
and to create some ambiguity by leaving other suggested durations only partially filled.
In the A section, given above, he does this sparingly, beginning in measure 22,
nd
where the string cluster, designated as 10 32 notes is held longer, while the cembalo and
brass articulate other points on the grid. As the piece goes on, however, it diverges more
and more from the balance of the opening, Ligeti takes ample opportunity of this freedom.
The final “wild” passages commonly use borrowed divisions which the scheme itself is
incapable of deriving, over the top of extremely long sustained clusters.
Rhythmic Practice 2: Koenig’s Experiment
Aspects of the sonic material in Apparitions, including these borrowed divisions,
as well as the tremolos and trills of the more turbulent B section, also stem from one of
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