THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

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well as Section F . The chart below summarizes the pairings of material from all sections:
A&B bordering B&C bordering
A&C anomalous B&D anomalous
A&D anomalous (twice) B&E schematic
A&E anomalous (twice) B&F schematic
A&F schematic
C&D schematic bordering D&E bordering
C&E schematic D&F anomalous
C&F does not occur
The fact that materials from Section C and Section F never coincide is of little
consequence since Section C does not introduce any new types of material. Section C is
the echo of Section B, and all its material derives originally from this section. Moreover,
while Section C introduced filtered and retrograded segments of Section B and helped
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presage these effects which pervade the second half of the piece, Section C is largely
overwhelmed by the surrounding material, audible only briefly around 5'14".
Whereas the first half used C and D, which both consist of soft material yet share
other characteristics with Sections B and E, as a transition, the second half uses Sections
D and E are used a transition between its two stages. These sections bridge the space
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from the end of the arching Sections F and F to the space of the rest of the piece, which
often omits clear beginnings and ends and breaks free from the direction set for it by the
previous material. This is illustrated by the roles of the anomalous material, first to
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reinforce the shape of Section F , then to extend this shape, and finally to present the most
diverse combination of different materials in the piece, as material from Section A
combines with material from other sections it would not encounter if the form were strictly
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