You might think a low-pitched period-instrument orchestra such as Les Siècles had nothing special to bring to a modernist composer such as György Ligeti, his works being written for the present-day orchestra. In fact, Ligeti played with issues such as tuning and temperament in a number of his works, in a search for an alternative to both atonality and minimalism.
In the Violin Concerto of 1989–93, the second movement, entitled Aria, Hoquetus, Choral, Ligeti uses the interruptions and repetitions commonly found in the medieval hocket to produce a totally new musical idiom that at the same time stretches back across the centuries.
