Hungarian composer György Ligeti has not lacked for attention since coming into contact with Europe’s new music scene in the early 1960s. In 1966 he was featured in Moderne Musik I: 1945–65, and by 1969 Erkki Salmenhaara had published a dissertation on three major works. Although periodic illness and a painstaking approach to composition slowed his progress, Ligeti continued to refine and expand his style in the 1970s, producing everything from intimate solo works for harpsichord to the suitably grand opera Le Grand Macabre (1974–7, revised 1996). His turn towards traditional orchestral forms and a quasi-diatonic language in the 1980s brought him new prominence, and the voluble composer has seemed ever ready to provide ripe commentary on his work and the state of new music. The numerous awards and publications that followed Ligeti’s seventieth birthday in 1993 support his status as probably the most widely fêted and influential composer of the latter half of the twentieth century. And if that degree of timely recognition was not enough, the composer has entered his ninth decade with no noticeable decline in compositional energy or ideas. Ligeti continues to fashion brilliant revisions of the tried but true genres of concerto, solo étude, song cycle, choral work, and character piece. His compositions bear the weight of extramusical influence as well as that from beyond the Western canon, yet each innovation affirms his inimitable voice and his singular musical journey from the mid-twentieth to the twenty-first century.