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===After ''Le Grand Macabre''=== [[File:Michael Daugherty et al at ISCM World Music Days 1982.jpg|thumb|right|upright=1.3|From left to right: György Ligeti, [[Lukas Ligeti]], Vera Ligeti, [[Conlon Nancarrow]], and [[Michael Daugherty]] at the [[ISCM]] World Music Days in [[Graz]], Austria, 1982]] After ''Le Grand Macabre'', Ligeti struggled for some time to find a new style. Besides two short pieces for [[harpsichord]], he did not complete another major work until the [[Trio for Violin, Horn and Piano (Ligeti)|Trio for Violin, Horn and Piano]] in 1982, over four years after the opera. His music of the 1980s and 1990s continued to emphasise complex mechanical rhythms, often in a less densely chromatic idiom, tending to favour displaced major and minor triads and [[polytonality|polymodal]] structures. During this time, Ligeti also began to explore alternate tuning systems through the use of natural [[harmonic]]s for horns (as in the Horn Trio and [[Piano Concerto (Ligeti)|Piano Concerto]]) and [[scordatura]] for strings (as in the [[Violin Concerto (Ligeti)|Violin Concerto]]). Additionally, most of his works in this period are multi-movement works, rather than the extended single movements of ''Atmosphères'' and ''San Francisco Polyphony''. From 1985 to 2001, Ligeti completed three books of [[Études (Ligeti)|Études]] for piano (Book I, 1985; Book II, 1988–94; Book III, 1995–2001). Comprising eighteen compositions in all, the Études draw from a diverse range of sources, including [[gamelan]],{{sfn|Wilson|1992|loc={{Page needed|date=January 2012|reason=The single word 'gamelan' cannot possibly be spread over the entire article.}}}}{{sfn|Chen|2007|loc=37}}<ref name="Arnowitt 2009">{{harvnb|Arnowitt|2009}}</ref> African [[polyrhythm]]s, Béla Bartók, [[Conlon Nancarrow]], [[Thelonious Monk]],<ref name="Arnowitt 2009" />{{sfn|Steinitz|2003|loc=292}} and [[Bill Evans]]. Book I was written as preparation for the Piano Concerto, which contains a number of similar [[Motif (music)|motivic]] and melodic elements. Ligeti's music from the last two decades of his life is unmistakable for its rhythmic complexity. Writing about his first book of Piano Études, the composer claims this rhythmic complexity stems from two vastly different sources of inspiration: the Romantic-era piano music of [[Chopin]] and [[Robert Schumann|Schumann]] and the [[Rhythm in Sub-Saharan Africa|indigenous music of sub-Saharan Africa]].{{sfn|Taylor|2003|loc=83}} The difference between the earlier and later pieces lies in a new conception of [[pulse (music)|pulse]]. In the earlier works, the pulse is something to be divided into two, three and so on. The effect of these different subdivisions, especially when they occur simultaneously, is to blur the aural landscape, creating the micropolyphonic effect of Ligeti's music.{{sfn|Taylor|2003|loc=86}} On the other hand, the later music—and a few earlier pieces such as ''[[Continuum (Ligeti)|Continuum]]''—treats the pulse as a musical atom, a common denominator, a basic unit, which cannot be divided further. Different rhythms appear through multiplications of the basic pulse, rather than divisions: this is the principle of African music seized on by Ligeti. It also appears in the music of [[Philip Glass]], [[Steve Reich]] and others; and significantly it shares much in common with the [[additive rhythm]]s of [[Balkan music|Balkan folk music]], the music of Ligeti's youth.{{sfn|Taylor|2003|loc=87}} He described the music of Conlon Nancarrow, with its extremely complex explorations of polyrhythmic complexity, as "the greatest discovery since [[Anton Webern|Webern]] and [[Charles Ives|Ives]]... something great and important for all music history! His music is so utterly original, enjoyable, perfectly constructed, but at the same time emotional... for me it's the best music of any composer living today."<ref>Quoted in {{harvnb|Gann|1995|loc=2}}</ref> In 1988, Ligeti completed his Piano Concerto, writing that "I present my artistic credo in the ''Piano Concerto'': I demonstrate my independence from criteria of the traditional [[Avant-garde music|avantgarde]], as well as the fashionable [[Postmodern music|postmodernism]]."<ref>{{Cite web|url=https://en.schott-music.com/shop/konzert-no153614.html|title=Concerto for Piano and Orchestra|publisher=[[Schott Music]]|access-date=7 June 2018}}</ref> Initial sketches of the Concerto began in 1980, but it was not until 1985 that he found a way forward and the work proceeded more quickly.{{sfn|Steinitz|2003|loc=315–316}} The Concerto explores many of the ideas worked out in the Études but in an orchestral context. {{Panorama |image = Ligetifiddles.JPG |height = 200px |width = |alt = Akros Percussion Collective with Nina Eidsheim |caption = Performance of ''[[Síppal, dobbal, nádihegedűvel]]'' by the Akros Percussion Collective with Nina Eidsheim, soprano at the [[University of Akron]]. In this section of the piece, the percussionists play [[chromatic harmonica]]s (3 May 2009) |dir = |align = center }} In 1993, Ligeti completed his [[Violin Concerto (Ligeti)|Violin Concerto]] after four years of work. Like the Piano Concerto, the Violin Concerto uses the wide range of techniques he had developed up until that point as well as the new ideas he was working out at the moment. Among other techniques, it uses a passacaglia,{{sfn|Schell|2018}} "[[microtonality]], rapidly changing [[texture (music)|textures]], comic juxtapositions... [[Hungarian folk music|Hungarian folk melodies]], [[Bulgarian dances|Bulgarian dance rhythms]], references to [[Medieval music|Medieval]] and [[Renaissance music]] and solo violin writing that ranges from the slow-paced and sweet-toned to the angular and fiery."{{sfn|Kozinn|2005}} Other notable works from this period are the [[Viola Sonata (Ligeti)|Viola Sonata]] (1994) and the ''Nonsense Madrigals'' (1988–93), a set of six [[a cappella]] compositions that set English texts from [[William Brighty Rands]], [[Lewis Carroll]], and [[Heinrich Hoffman]]. The third Madrigal is a setting of the English [[alphabet]]. Ligeti's last works were the ''[[Hamburg Concerto]]'' for solo horn, four [[natural horn]]s and chamber orchestra (1998–99, revised 2003, dedicated to [[Marie-Luise Neunecker]]), the [[song cycle]] ''[[Síppal, dobbal, nádihegedűvel]]'' ("With Pipes, Drums, Fiddles", 2000), and the eighteenth piano étude "Canon" (2001). The printed score and the manuscript of the ''[[Hamburg Concerto]]'' contain numerous errors and inconsistencies.<ref>Radio interview [https://www.raicultura.it/musica/articoli/2023/05/Le-infinite-vibrazioni-di-Gyorgy-Ligeti-ea51a3f0-1ac1-402a-adc6-d252499cb959.html "Le infinite vibrazioni di György Ligeti"] by RAI with Alessio Elia on his book</ref> The revision of the piece, realized by the Italian composer Alessio Elia and published in the book [https://edition-impronta.com/stage/en/katalog/hamburgisches-konzert-by-gyorgy-ligeti-alessio-elia/ ''The Hamburgisches Konzert by György Ligeti''], published by Edition Impronta, was used for the first revised performance of this work, realized by the Concerto Budapest Ligeti Ensemble with Szabolcs Zempléni as solo horn. The orchestra should have been conducted by [[Péter Eötvös|Peter Eötvös]], replaced due to indisposition by Gergely Vajda.<ref>The performance took place at [https://bmc.hu/en/programs/ligeti-100-ligeti-ensemble-peter-eotvos-andras-keller Budapest Music Center on 28 May 2023], on the centenary of the composer's birth, within the Festival Ligeti 100.</ref> Additionally, after ''Le Grand Macabre'', Ligeti planned to write a second opera, first to be based on [[Shakespeare]]'s ''[[The Tempest]]'' and later on Carroll's ''[[Alice's Adventures in Wonderland]]'', but neither came to fruition.<ref name="Spinola">{{cite news |last=Spinola |first=Julia |date= 12 January 2010 |title=Alle Teufel auf Prosperos Insel |url=https://www.faz.net/aktuell/feuilleton/buehne-und-konzert/sturm-oper-von-thomas-ades-alle-teufel-auf-prosperos-insel-1638029-p2.html |work=[[Frankfurter Allgemeine Zeitung]] |location=Frankfurt |language=de |access-date=5 May 2019}}</ref><ref name="Clements">{{cite news |last=Clements |first=Andrew |date=9 July 2007 |title=Alice in Wonderland |url=https://www.theguardian.com/music/2007/jul/09/classicalmusicandopera |work=[[The Guardian]] |location=London |access-date=5 May 2019}}</ref> {{Clear}}
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