Lux Aeterna (Ligeti)

Analysis#

The piece can be seen as divided into three distinct parts, as designated by text: Lux aeterna luceat eis m.1–36 : The sopranos and altos sing very similar parts in Ligeti’s characteristic style of micropolyphony. Each part has the same sequence of notes, separated by small time intervals. The tenors enter about halfway through this section, singing in the same range as the women. Domine cum sanctis tuis in aeternum… m.37–86 : The basses enter, singing in very high falsetto, showing Ligeti’s focus on timbre and texture. This is followed by a section where only the men’s voices sing, and then the women enter on the text “Quia pius es.” The sopranos sing “Requiem aeternam dona eis” in a high register and gradually fade away. Domine et lux perpetua luceat eis m.87–126 : The basses again sing the text “Domine,” this time in a very low register, briefly forming the only detectable traditional chord in the whole piece (D minor), together with the altos in a low register. Sopranos and tenors enter in a high register. All parts gradually fade, and the piece ends with seven bars of silence. It is characteristic of nearly all of Ligeti’s mature works that the subdivisions of the basic beat keep changing, which contributes to their beatless, floating feeling. In this piece, each of the sixteen voices is given a characteristic subdivision of the quarter-note beat:

External links#

• Michael D. Searby: Ligeti’s Stylistic Crisis: Transformation in His Musical Style, 1974–1985
• Valerio Benz: György Ligetis “Lux Aeterna” – Chormusik auf Weltraumodyssee SWR 2014
• Lux aeterna Hyperion Records 1999