THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

Figure 4.7. Synchronization of Channels for Artikulation,
Region G
The use of cross-fading in the electronic studio was common enough for changes
in timbre and spatial location, but using this kind of technique to fashion a type of
glissando would not have been standard–it is a credit to Ligeti’s imagination that he
adapted it as such for orchestra.
Another unique use of cross-fading within the orchestra demonstrates quite clearly
the difference in Ligeti’s early use of cluster-like sounds and his mature practice; the
celebrated texture of Atmosphères contains an illuminating example at rehearsal letter B.
Up to this point, the piece has consisted of fully saturated chromatic clusters, yet here this
cluster begins to divide. As shown in the reduced score, Figure 4.8, the strings playing the
white-key diatonic collection crescendo to ff at the end of measure 17 while the strings
playing the black-key pentatonic collection decrescendo to pppp; this kind of division is
echoed by the winds where the oboes, bassoons, trumpets, and trombones, all playing
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