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I = A, D
II = E#, F#, G
III = C, E, EB, G
IV = A, BB, F#, G, G#
V = AB, B, C#, D, F, G
VI = A, B, C#, D, E, F#, G
VII = AB, A, BB, C, D, EB, F, G
VIII = A, B, C, C#, D, E, F, G, G#
IX = A, A#, B, C, C#, D, D#, F, F#, G
X = A, A#, B, C#, D, D#, E, F, GB, G, G#
XI = A, A#, B, C, C#, D, D#, E, F, F#, G, G#
V. RUBATO. LAMENTOSO
TO COMPLEMENT THE PREVIOUS TWO LIGHTER MOVEMENTS, THE FIFTH RETURNS TO
THE SERIOUSNESS OF THE SECOND MOVEMENT. AGAIN, LIKE THE SECOND
MOVEMENT, THE MAIN THEME RELIES HEAVILY ON THE SEMI-TONE INTERVAL.
HOWEVER, THE ADDITIONAL PITCH RESOURCES OF THIS MOVEMENT PERMIT THE
CONSTRUCTION OF TWO TRICHORDS RELATED BY A TRITONE. THE TRITONE
BECOMES AN EXTREMELY IMPORTANT INTERVAL IN THIS MOVEMENT, AS IT IS
INTRODUCED AS PART OF THE SECONDARY THEME IN THE LEFT HAND AND FORMS
THE BASIS FOR THE PARALLEL HARMONIES HEARD AS BOTH ACCOMPANIMENT TO
THE SECONDARY THEME AND IN THE RETURN OF THE MAIN THEME AT MM 22.
AFTER THIS, LIGETI INTRODUCES A BELL-LIKE TOLLING ON THE PITCHES OF G AND
AB WHICH CONTINUES TO INTERRUPT THE FRAGMENTS OF THE PRIMARY AND
SECONDARY THEMES AS THEY FADE TOWARD THE END OF THE MOVEMENT. THE
MOVEMENT CONCLUDES AS THE "BELL" CONTINUES TO TOLL IN LOW OCTAVE GS,
GROWING TO A TRIPLE FORTE.
X. VIVACE. CAPRICCIOSO
THE MOST OVERTLY VIRTUOSIC MOVEMENT OF MUSICA RICERCATA. THE SEEMINGLY
FREE USE OF DISSONANCE CAN BE TRACED TO THE BITONALITY BETWEEN D AND
C#, FROM WHICH MANY OF THE CONFLICTING MOTIVES ARE DERIVED. BEGINNING
WITH A RHYTHMICALLY DRIVING LOW CHROMATIC MELODY (ALTERNATING BETWEEN
BARS OF 2/4 AND 3/8), A HIGHER ARPEGGIATED MELODY IS QUICKLY INTRODUCED
AS A SECONDARY THEME. AFTER A STRONG RESTATEMENT OF THE OPENING THEME,
LIGETI TRANSITIONS INTO A SET OF MATERIAL LABELED "CAPRICCIOSO E
BURLESCO", WHICH USES AN ARPEGGIATED MELODY WITH CHROMATIC
ACCOMPANIMENT, EFFECTIVELY A COMBINATION OF THE TWO PRINCIPAL IDEAS
THUS FAR. AS LIGETI MAKES MORE AND MORE USE OF THE MINOR SECOND
DISSONANCE BETWEEN THE TWO PITCH CENTERS OF D AND C# THROUGH FURTHER
RESTATEMENTS OF THE FIRST, SECOND, AND THIRD THEMES, TONE CLUSTERS
BEGIN TO DEVELOP. THESE CLUSTERS AGGREGATE PITCHES THROUGH A SECTION
MARKED "INSISTENT, SPITEFUL" BEFORE CULMINATING IN A SINGLE, LARGE
CLUSTER USING ALL PITCHES EXCEPT C. THIS IS MARKED TO BE REPEATED
"OFTEN" AND PLAYED "AS IF MAD". AFTER BUILDING TO MAXIMUM, A REST
PROVIDES SOME BREATHING ROOM BEFORE A RESTATEMENT OF THE ARPEGGIO
THEME CULMINATING ON THE FIRST PITCH OF THE MOVEMENT, D.
THIS MOVEMENT OF MUSICA RICERCATA WAS ACTUALLY BANNED FROM
PERFORMANCE IN LIGETIS NATIVE HUNGARY DUE TO ITS EXTREME CHROMATICISM
AND DISSONANCE.