Abstract
This essay investigates the nature and origin of the harmonic structure and canonic voice leading that appears in the closing chorale-like coda of the third piece from György Ligeti's Three Pieces for Two Pianos, ‘In zart fliessender Bewegung’, from clues found in the sketches. Extrapolating from the coda, and using additional evidence from his sketches, this essay then traces the pitch–structural relationships between the coda and the melodic fragments that emerge from the complex surface texture in the opening of Bewegung. By briefly exploring structural parallels within Ligeti's mature works, this essay suggests how the compositional approach in Bewegung serves as a bridge between his middle and late styles. This essay concludes by considering how musical meaning in Bewegung is intertwined with the intertextual relationships that exist within Ligeti's oeuvre from at least the mid-1960s to the turn of the century.
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