THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

Ligeti uses a version of these low noises that has not been treated with the band-stop
filter. It is also in this area, during a more extensively filtered section between 4'00" and
4'03", that Section A’s material is most clearly heard, and thus this point in the piece gives
us two clues into the complexity of relationships between the two halves of the piece.
The second set of anomalies involve a different and more dramatic situation–rather
than having an unfiltered version of the previous material occur, these anomalies involve
transplanting material from different sections of the piece–sections not included in the
schematic representation of the form. In particular, the span from 4'06" to 4'47" involves
material from Sections D and E, occurring in a part of the piece where only material from
2 2 R
Sections A , B , and Section F should be found. Figure 2.16 shows this span is in a
spectrograph.
These anomalies are labeled a-d in the Figure 2.16, (and are shown at the same
decibel scale used in Example 8 to bring out softer elements). Anomaly 2a, exists from
4'06" to 4'09.5" and is a retrograde of Section E, Event 2, transposed up two octaves and
correspondingly shortened to a mere 3.5 seconds from its original 14.5. Anomaly 2b
(4'12-4'17") is a version of the retrograde of Section D, similarly transposed two octaves
higher than the original. This pair of anomalies is answered by a second pair: anomalies 2c
(4'24-4'31.5") and 2d (4'38-4'47.5") are octave transpositions of the retrogrades of E and
D, respectively.
Just as material in the initial F Section transferred like materials from one register
R
up to the next, so Section F treats this anomalous material in the same way. These
R
anomalies descend in register, and in doing so slightly expand the descent of Section F .
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