Abstract
Following the premiere of Le Grand Macabre in 1978, György Ligeti faced a compositional crisis: how to proceed? The opera had taken him far from his compositional styles of the 1960s and early 1970s, but the way forward to the Piano Concerto he wished to compose next was not clear. In the seven years between the opera and the first book of Piano Etudes, Ligeti composed only three significant works: the Trio for Violin, Horn, and Piano (1982) and two sets of songs for sixteen-part unaccompanied chorus—the Drei Phantasien nach Friedrich Hölderlin (1982) and Magyar Etüdők (1983), setting texts by Hölderlin and Sándor Weőres. This essay will examine the place of these songs, Ligeti's first settings of poetic texts since the 1950s, in the context of his works for voice, and consider their role in establishing his late style.
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