Transformation of Coloration and Density in György Ligeti's Lontano

Author(s): Bruce Reiprich

Source: Perspectives of New Music , Spring - Summer, 1978, Vol. 16, No. 2 (Spring -
Summer, 1978), pp. 167-180
Published by: Perspectives of New Music

Stable URL: https://www.jstor.org/stable/832681

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 TRANSFORMATION OF

COLORATION AND DENSITY

IN GYORGY LIGETI'S LONTANO

BRUCE REIPRICH

In Gybrgy Ligeti's Lontano for orchestra (1967), extre

canonic counterpoint sustains a sound-mass continuum o
coloration and density.* The gestation of micro-level even
elements tends to be obscured within the mass complex t
tent that attention is directed primarily toward its more
sions. So, although micro-level events generate the mass
function exclusively nor even necessarily as precisely ide
jections within some sort of pitch/rhythmic scheme, bu
withdrawn elements, interrelated to stimulate qualitative
tive changes of the totality. Unity here can best be expre
of the degree to which all perceptual levels are composit
trolled to foster global transformation.

CANONIC LAYERS

Lontano can be divided into three lengthy sections (A, A', A2), each
containing (a) multiple pitch canons at the unison followed by (b)
sustained clusters, and thus represented schematically as shown below:
A A' A2
a b a1 bI a2 b2
mm. 1-41 41-56 56-112 111-20 120-45 145-65.1

This paper, now revised, was originally delivered at the Spring 19

Chapter meeting of the American Musicological Society.
1 In the case of the second and third canonic sections, the advent
activity proper does not coincide with the beginning of the section bu
a sustained sonority, starts in mm. 60 and 122, respectively.

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168 PERSPECTIVES OF NEW MUSIC

I shall deal here with the canonic sections only, focus

the first of the three.
As the major generative element, canonic lines ar
complex, lack immediate rhythmic similarity to all ot
employ motion in seconds but with some thirds and a
vals, and are so restricted in range that segments
around one pitch (see Ex. 1). Such linear definition d
foreground traits that potentially might articulate an
immediate relief. While the identity of each line is n
such diminishing of identity, combined with the
canonic parts sounding at the same time, force linea
conglomerate and endow that linearity with a new pe
the grouping of lines of identical pitch into unique an
layers rather than the projection of single lines. Wit
chestration of each canon, the flanking of its lines by
the differences of bowings, octave and unison doublin
ity of part-writing between different canons, various
tion, time, and density also interact with pitch to delinea
Even so, layers are not projected as sharply profile
temporal overlapping, color linkage resulting from
similarities, and duplication of pitch-order content,
between Canons IV through VIII,2 the lines of ea
become independent from those of preceding and succ
rather merge with them to sound like organic co
Ex. 2, pp. 170-71).3
It seems then that the individuality of each canonic
pronounced as to upset the predominately homogene
the mass. Nonetheless, layering provides much more t
eration of that mass, for owing to the nature of can

2 Though these canons overlap considerably in respect to pit

they are nevertheless individualized by a symmetrical process o
ing with Canon V, the lines of each canon repeat the last four n
those of the immediately preceding canon and add two new pit
The final canon adds seven pitches.
3 Although canonic activity is the primary generator of the
sections, not all parts are always engaged in the statement of
parts sustain only one pitch or a limited succession of pitches
of time. This pitch material may be unrelated to simultaneous
or it may result from the doubling of the entrance of canonic p
tinuation in canonic movement. In either case, it usually fun
density and is assimilated into the mass transformation witho
as an individually contributing agent (see Ex. 3).

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Measures:
1 10 15 20 25 30
4-parts; O
16-
I 1-parts; Unison Doubling; Sul Pont.,
some Trem.; Fl., Cor., Vn
12-parts; Ord;
8-parts with 4-part extension, 8 "
Winds; Vla. extension
II
8-Pa
A*I 4-parts; Sul Tasto,Trem.; Via., Vc.
i_ -o
S , *A
8-parts (plus 2 partially ca
Sul
Sul Tasto,
Tasto, some
some Trem.;
Trem.; FI
F
m "f - the first pitch, while the
,W o - last pit
Ex. 1 Canonic layers, section a
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170 PERSPECTIVES OF NEW MUSIC
i 5
T 7
I
-Owl
03 foV,.I
Ex. 2 Lontano mm. 17-20
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 TRANSFORMATIONS IN LIGETI'S LONTANO 171
? ?
? :
? ?
-111 111 9 F4
'ii
Ii
H
i
A
-ib
I I.'
Ex. 2 (cont.)
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 172 PERSPECTIVES OF NEW MUSIC

coloration changes occur gradually as individual part

ploy the timbres and pitches associated with new c
addition, the introduction of bowing changes and t
often camouflaged by originating at or near the low
scendo. Successions of different canonic layers, con
regulated changes upon the mass coloration and dens
evolve naturally as very slow textural transformatio
ceptibly the mass becomes a new composite of color a

DENSITY

With perception focused upon a complex field of musical stimuli

rather than upon individualized melodic, rhythmic, and motivic fore-
ground configurations, pitch manipulation to vary density becomes
integral to the structuring of the sound-mass. In Lontano, I have con-
sidered the pitch content found within the temporal unit of a beat to
be useful in determining and defining the general constitution of the
mass with its concomitant process of change. Yet taken alone, pitch
content is an inadequate measure of pitch density; one aspect among
others that must also be evaluated is the degree of predominance of
each pitch. By ascertaining the number of times that each pitch ap-
pears within a beat, one may in a limited sense compute values of
predominance, henceforth referred to as pitch-count predominance
(see Ex. 3).4
Paralleling the graduated pace of coloration transformation, changes
of mass pitch-class content in the canonic sections of Lontano occur
slowly. In the beginning of the piece, twenty-three beats followed by
six, five, and eight pass before new pitch-classes are admitted. Even
then variation in mass content is extremely subtle for pitch change
usually entails the addition or omission of only one pitch-class, with
or without concurrent changes in the status of octave doublings (see
Ex. 3 for mm. 11-15). Moreover, each pitch enters the texture
through an accumulative process where its number of occurrences is
gradually increased and later retracted in a type of "ebb and flow"
from beat to beat. The mass appears then to subsist on various struc-
tural levels. For while pitch-class content of the totality approaches

4 The data of pitch-count predominance represents an attempt to identify one

aspect of density. So, the results, like those of all analytical procedures, must be
subject to interpretation in any given circumstance as to their validity, usefulness,
and degree of variability.

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 TRANSFORMATIONS IN LIGETI'S LONTANO 173

A A _ _ _ _ _ _ _

Measure 11 2 3 3
(2) (2) (2) (2)
333
(2) (2) (2) (2)
1 33 3
(2) (2) (2) (2)
3 323

Canon II (2),(2) (2) (2)

12 F 5 3 1 2 1
(2) (2) (2) (2)
3 2 2 2 2
(2) (2) (2) (2)
3 2 2 2 2
(2) (2) (2)
3 1 3 2 3
(2) (2) (2)
13 2 2 3 3 3
(2) (2) (2)
*t 3 23 33
(2) (3) (2)
SF 1 5 1 2 24
(1) (2) (3) (2)
B 3 4 2 2 3 5
(1) (2) (1) (2)
14 4 5 3 1 1 6

Canon mCanon (1) (2) (1)

E- 6 5 3 1 1 6 2
(1) (1)

15 7 3 1 1 7 10 1
(1) (1)
12 8 5 6 1 7 9 2
(1) (1)

15 F- 10 14 7 9 6 6 8 8 1
(1) (1)

2 12 9 5 63 9 2 7 32
(1) (1)
G# 2 8 13 4 5 6 9 2 5 6 4
(1) (1)
2 4 12 4 5 6 10 2 2 6 4 1
(1) (1)

Ex. 3 Arabic numerals arrang

those pitches sounded within
ber of occurrences of a pitch
identify pitches belonging t
changes in mass pitch-class c
* * Pitch-count predominan
and viola extension emphasize

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 174 PERSPECTIVES OF NEW MUSIC

moments of quantitative stasis, content on lower levels, as

beat, is always in a state of qualitative flux due to the doub
This type of pitch fluctuation and the slow variations ta
mass content are obtained by means of the canons. One re
canonic activity is the formation, on a background level,
metrically spaced succession of stressed pitch-classes gene
greater number of occurrences of some pitches and su
others within a given timespan. With a few exceptions, th
of stressed pitch-classes follows the content and order o
underlying the mass, though in the case of Canons IV th
does not follow exactly the content of each of these canon
upon repetition the duplications of pitch-order content b
(i.e., the imbricated segments)." Moreover, the duration
of stress given to each canonic pitch is different and som
peak at the same time as others (see Ex. 3 for mm. 11-15).
Specifically, quantitative and qualitative changes in m
yield oscillations between dense and less dense states on a
levels. Thus, within a large-scale growth of density that
31/2-32/1)' and then recedes, the omission of G? in m
gradual accumulation of E? begun a measure later, com
the omission of Bb and the appearance of C? in m. 15, tr
mass temporarily to a less dense and eventually diatonic-
producing a lower level oscillation complementary to the
density contour (see Ex. 3). Though density change here
of both qualitative and quantitative factors, more subtle
to less dense states within extended periods of quantitati
initially dependent upon qualitative factors alone. As sho
B? in mm. 19/3-20/3 gradually increases in number of occ
join C? and D? as the pitches most weighted by pitch-cou
pitches being more or less equally subdued. In a context w
mal density is in part dependent upon an equality amo

5 See footnote 2.
6 Ligeti does not indicate the precise size of the string section. By defining each
non-solo part as usually being performed by at least two players, and by observing
the maximal number of solo parts utilized in each string choir, I have based my
calculations of pitch-count predominance upon a string section of fourteen first
violins, twelve second violins, ten violas, ten cellos, and six basses. Variances in this
scheme may modify specifics of pitch-count predominance but will not alter the
general principle, as outlined above, of stressed pitches following the order of
canonic pitches nor any of the concepts introduced henceforth.
7 This notation indicates measure number/beat.

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 TRANSFORMATIONS IN LIGETI'S LONTANO 175
Pit ch-count

piitch-class)
C#

CC

--E F# (; ;#
Measure 20/1 20/2 2 10/

15 I)# )#

I)#
CC-
20 1

AA A

10--C G

10#
5
G #

15 G # IC

20

Measure 20/1 21/1 21/2

EF E EF

F# A F# A F# A
F# A F# A F# A

Ex. 4

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176 PERSPECTIVES OF NEW MUSIC

components, the weight of B?, C#, and D$ (and the l

G$) has the qualitative effect of triggering another di
area (mm. 19/3-20/4) ,8 especially since these pitc
centuated further by (1) their appearance in upper
within an almost exclusively string texture, (2) the g
which all other pitches are subdued in number begin
(3) the change from octave statements of all pitch
pitches plus C?,9 and (4) the contrast of the less dense
character of these pitches-when sounded together-to
total mass. With the arrival of Bb in octaves in m. 2
its increasing number of occurrences thereafter, the p
ing mass density is resumed. It appears, then, that th
Lontano is distinctively colored by a kind of qualitat
density fluctuation that redefines "consonance" and
regulated by the number of half-steps embodied within
ture and by the predominance of pitches that suppress
half-step organization.
Regulation of density at various levels, moreover, is
uct of cadential punctuations that involve parts of the
as a whole. Beginning in m. 14, the parts of Canons I
ally and successively come to a rhythmic halt by m. 18
their pitches with those sustained by the basses into a
(see Ex. 2). The deletion of clarinets 1, 2, and 3 in
bined with the simultaneous deletion of the violins, clarin
1, 2, and 3 in m. 18 (beat 2) yield a punctuation with
cluster while other cadential parts continue to sustain the
the third beat of m. 19. But due to the stabilization of
cadential cluster from mm. 18/1-19/2 and pitch-class
the mass as a whole from mm. 16/1-20/2, cadential a
primarily a transformational stimulus and one which
creates a variegation, not in pitch content, but in
rhythm, and density resulting from changes in instrume
mic activity, and doubling, respectively. The effect is rem
Cadential structure is disguised by its concurrent appe
cadencing canonic lines and by the usually immediate
canonic motion in the deleted parts.

8 Quantitative change also comes into play with the deletion

9 Since the octave doubling of C? occurs in only one cello p
does not radically affect the predominance of B?, C#, and Dg.

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 TRANSFORMATIONS IN LIGETI'S LONTANO 177
Multi-leveled processing of essentially textural aspects is reflected
further in the shaping of sonic space itself. Not only are each of the
three canonic sections characterized by a wedge-shaped design that
expands outward from a more narrow ambitus, but the three sections,
when taken together, produce an even broader wedge-shape that cli-
maxes in m. 140 (see Ex. 5).
The perceptual effect of Lontano is dependent upon elements that,
at times, contribute more to foreground than to background features of
the mass. Crescendi are attached to individual pitches and groups of
pitches within canonic lines resulting in a profusion of non-coincident
dynamic activity. And combined with the range and timbral character-
istics of each orchestral participant, these phenomena cause particular
instruments to sporadically pierce through the overall texture, and in
so doing project pitches that can overshadow emphases such as those
illustrated by pitch-count predominance. Given the canonic generation
of the mass, these pitch projections emerge as foreground fragmenta-
tions of canonic lines, the same lines that are perceived together as an
evolving musical entity.
Furthermore, cadences into, and initiation of textural expansions
from, single pitch-classes or a small number of predominating pitch-
classes are notable as articulative elements of formal design: each
canonic and sustained cluster section is bounded by these means.
Cadences of limited pitch-class content are also of special consequence
to the climactic accumulations of density found in each canonic section:
at or near the point where extremely dense pitch saturation peaks
within a process of expanding textural space and extended dynamic
crescendo, approaches to such cadences subtly transform mass satura-
tion into less dense constructions (see Exx. 5 and 6).
Most significantly, isolated pitch projections and cadences of limited
pitch content give rise to the emergence of focal points contained on
various structural levels and spread over an irregular timespan. Thus,
the temporary appearance of brass as canonic parts in mm. 73-76 is
not solely coloristic. Rather, their combining of a dynamic crescendo
with their doubling of the woodwinds' three-note pitch set (Bb, Ab,
F) promotes the effect of a more "consonant" sonority being projected
from a larger and denser mass of tones; hence, a type of focus material-
izes. But this projected sonority is not sufficiently differentiated to sup-
ply a clear focal point; instead, it lies in a middleground region and
reinforces the same pitch set which occurs simultaneously and subse-
quently in the strings. Focus upon this pitch set, linked with its earlier

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Climax of density accumulation Climax of density accumulation Climax of density
(mm. 31/2-32/1) with subsequent (mm. 78-81) with subsequent (mm. 136-37)
decline decline declin
Accumulation of octaves b
approach to cadence Strings cadence (two pitch-classes: Accumulat
approaht eA G mm.95-97
Cadence on single pitch-class (C in
four registers; m. 41) Cadence with
/ (D#) highl
Cadence on Fb
Unison
Dynamic crescendi begin (series of
non-coinciding F; m. 28)
Peak of last F crescendo (m. 39)
Initiation of canonic a
Tritone (with multiple a single pitch-class (D)
octave doublings) Dynamic c
Dynamic crescendi in Dy
strings begin (m. 74) Acceleran
Dynamic climax (m. 94)
Ex. 5
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 TRANSFORMATIONS IN LIGETI'S LONTANO 179

8'.

Measure 30 1 11 5 3 4 5 1 4 2 8 5 3 3 4 2 4 1
1 8 5 3 3 3 1 4 2 5 5 3 2 3 2 4 1

1 7102341 4 2 582242 4 1
31 1 683441 3 2 563342 3 1

1 9_83431
1 5 6 3 3 5 1 2 4 2 4 4 3 2 5 2 2 4 1 1

of density 1 8 6 2 5 4 1 2 3 2 6 4 2 4 4 2 2 3 1 1
accumulation 1 6 3 3 4 4 1 4 4 2 4 2 3 3 4 2 44 1 2
32 1 433641 65 2 22354265 12

1 7 3 4 8 4 1 6 5 4 2 4 6 4 2 6 5 2

1 4 5 6 4 1 8 5 2 5 4 4 2 8 5 2
1 4 4 4 4 1 9 4 2 4 2 4 2 8 4 4
33 1 4 4 4 4 1 9 4 2 4 2 4 2 8 4 4
1 4 4 4 4 1 10 3 2 4 2 4 4 2 10 3 4
4 4441123 2 424293 6
4 4 4 444 1 11 2 1 1 4412 4 2 11 2 8

Ex. 6 Pitch count in mm. 30-33

Differentiation is not made between canonic and non-canonic layers. Star
pitches are cadential pitches.

and later occurrences within canonic lines and in the foreground

struction of a previous brass cadence (mm. 53-56), gives rise to
ultimate appearance of the set as a sustained sonority on a disti
foreground level (mm. 120-22) and so reflects the gradual emer
of textural elements as a unifying process over an extreme timespan.
Appearances of focal points are apparently governed by formal
siderations within a density transformation plan and by a relatio
in which foreground projections reinforce parts of the backgro
mass, but not by a pitch/rhythmic scheme of serialized propor
Long range progression, then, is engendered by extended conto
textural space and accumulations of density while at the same t
quantitative and qualitative changes of the mass, whether regul
by canonic activity, cadential punctuations, or space manipulatio
promote an impression of textural transformation rather than a
of different and separable events. Ultimately, mass complex
Lontano does not entirely consume the contrapuntal movement
does the mass ever become totally homogeneous. Instead, interac
of canonic activity perceived at a number of levels produces
textual hierarchy within the mass. The structural integrity of

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180 PERSPECTIVES OF NEW MUSIC

whole is perceivable in terms of the activity of cont

concentration between background and foreground:
a complex totality and locally projected pitches.
As one slowly turns a diamond, varied hues and fla
of different strengths, catch the eye; yet at the same ti
aware of the overall shape of the gem. And so it is
the unfolding of the mass, a kaleidoscope of sonic h
in an ever-varying transformation with structural co
by the peculiarities of that transformation. The rea
transformation is able to entail more than a simple
surface events and a naive assemblage of colors is in
true understanding of this work.

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