w @ G) a (9 (3) a @) o (10) (m) (1a) Pizzicato introduction ‘Adtype ‘theme? Pizzicato interlude tor Btype ‘theme? Pizzicato interlude to.2 to. to. to. to. to. ea an law to. to.9 to. 10 Pizzicato coda Table 1: A-type ‘theme’ [masculine], and Example 5, top stave). ‘Table 1 Sonata for Solo Cello, first movement, Dialogo: formal structure Phrase type Gender A‘Type Actype Betype Antype Astype Betype Astype B-type B-type Actype masculine feminine feminine masculine feminine with accompaniment masculine with accompaniment feminine with dialogue feminine with accompaniment ‘masculine with dialogue feminine & masculine feminine with accompaniment masculine with dialogue ‘collowing a pizzicato interlude, the first transformational ostinato appears. Presented a twelfth higher and executed entirely on the D string, this music displays what might be allowed as a ‘feminine’ quality. Some double stops are employed in transformational ostinati (henceforth abbreviated to to.) 3 and 4 that actas subtle accompaniments. Table 1 shows the structural plan for the entire movement outlining gender suggestions and ‘theme"type affiliations. Example 5 isolates the A-type ‘theme’ and the six transformational ostinati relating to it (nos. 1, 2 and 4 from Part One, and nos.5, 7, and 10 from Part Two). This provides an opportunity to observe for the first time the way in which transformational ostinati function and the results they glean. As noted, the term ostinalo signifies a motif or phrase that persistently repeats. In this case, it is a phrase, which is represented by the A-type ‘theme’ in its ‘masculine’ range (lop stave) The subsequent transformational ostinati progressively transform the original.To.1, for example, maintains the exact contour and note values, but (as noted) places the phrase up a compound fifth, offering a ‘feminine’ version, Too. 2 replicates the original almost exactly, except for the penultimate note. which slightly but effectively alters the shape of the cadence. To. 4 (the next ‘one that relates to the A-type ‘theme’) stays in the ‘masculine’ range but transforms the original through phrase prolongation and the introduction of accompaniment touches. The following relevant transformational ostinati (nos. 5, 7 and 10), which appear in Part Two, further develop the ‘theme’ through the following: a tempo change, phrase prolongation. the introduction of new voices to create a dialogue between the parts. the Example 5 Sonata for Solo Cello, first movernent, Dialogo: A-type ‘theme’, and its related transformational ostinati (nos. 1, 2, 4, 5,7 and 10) Aetypebeme 2 5 5 = eS eS ———- << sranfeeadont oie at) sefermatons eins (a 9) ee = trnsestonloint 5 Pa 2) aesincorporation of dynamic markings, and further explorations of feminine’ and ‘masculine’ ranges. Example G shows similar processes in the transformation of the B-type ‘theme’, although prolongation is abandoned. The imterval of the perfect fifth emerges as one of the most influential factors in the work. It dominates in two distinctive ways: as mentioned, the ‘themes’ move from a tonic point (1) to a dominant point (V), while the sub-phrases within the B-type ‘theme’ are dominated by the fifth interval (see Example 4 and Table 2).* Furthermore, the relationship between the ‘themes’ and some of their transformational ostinati is governed by the fifth. This fact means that the very construction of the phrase development is often built upon a fifth hierarchy: a design that naturally emanates from the tuning system of the cello: C-G-D-A [IV-IlI-II-I]. “Note: The ®-Type ‘theme’ ends not on a (V) but rather a (Vi) or F. However, this harmonic point is related by a fifth to the following pizzicato interlude in C (F toC or |-V). The Cis then connected by a fith relationship to the following to, 2 starting on G. Taken together. these three sections form a cycle of sths relationship: F-C-G. Further note that the F, the higher pitch of the final dyad of t.0. 4 acts as a leading note to the opening G of to, 5in Part Two. Example 6 Sonata for Solo Cello, first movement, Dialogo: B-type ‘theme’, and its related transformational ostinati (nos. 3, 6, 8 and 9) B-type theme" ie BS oh ‘rome tna Pt radon stn 8 Pat) te 2 2 <>» go> a gogo eee = ——| nfo et 9 Pad)Part One of Dialogo sets out the two ‘themes’, the following four transformational ostinati, their genders, and their types. Apart from some additional accompaniment notes, the phrases are delineated clearly and stated simply. Part Two makes greater strides in development, transforming the thematic material in more elaborate ways. Therefore, successive transformational ostinati create considerable dynamism and dialectic tension, the repetition of each becoming more interrogative and specul: -. Additionally, whereas the A-type ‘theme’ dominates in Part ‘One, the B-type ‘theme’, which might be considered the more strident of the two, dominates in Part Two giving the latter a more dramatic impact. That stridency is enhanced by the increased rate at which the transformational ostinati recur, prolongation (as noted) not being a feature of Part Two. In fact, t.0.9 and 10 sound as if they have been cut short, which enhances dramatic tension in the work. Despite the dominance of B.type music, the final and tenth transformational ostinato returns us (ina somewhat fragmented manner) to the opening A-type material and to the opening ‘theme’ (though here up an octave), which provides a frame for the ‘entire movement and a suitable close to the piece. Although the Sonaia for Solo Cello is an early work, it remains a very important addition to the solo cello repertoire. Significantly, it provides in its Dialogo movement an early ‘example of Ligeti’s use of the transformational ostinato technique, which was to become such a central feature in the for Solo Viola. That technique allowed him to ingeniously transform relatively simple ‘themes’ into hybridized phrases of hidden complexity. ‘Table 2 Sonata for Solo Cello, first movement, Dialogo: harmonic construction of Part One Section Harmonie progression Pizzicato introduction (a) Adtype ‘theme G (I) ~ D (V) ~(Pizzicato interlude) @) tor D(l)~A (V) ~(Pizzicato interlude) (3) Baype ‘theme’ A()-F (VD) (4) Pizzicato interlude in © (3) toe Sq-D(y) {Dis dominant of A} (6) to. 3 A()-(F) 0) to4 c)-DW)