Wolfgang Rihm, György Ligeti, Luciano Berio
Edward Top, “Expectation and Treatment of Dissonance in Wolfgang Rihm’s Third String Quartet,”, Dutch Journal of Music Theory14/3 (2009), 143-54.
Amy Bauer, Chapter 6 "Lament and the absolute," in Ligeti's Laments: Nostalgia, Exoticism and the Absolute, (Ashgate, 2011).
David Metzer, "Musical Decay: Luciano Berio's Rendering and John Cage's Europera 5," Journal of the Royal Musical Association 125/1 (2000): 93-114.
Wolfgang Rihm
String Quartet No. 3, “Am Inningsten”, movement III (1976), Arditti Quartet.
String Quartet No. 3, “Am Inningsten” (1976), entire quartet Minguet Quartet.
Hölderlin Songs for voice and orchestra (1977)
Beethoven, Piano Sonata No, 32, Op. 111, I, Maestoso, Allegro con brio appassionato
Piano Sonata No, 32, Op. 111, II, Arietta, Adagio Molto Semplice e Cantabile
Piano Sonata No, 31, Op. 110, III, Adagio mo non troppo
György Ligeti
Horn Trio I, Horn Trio II, Horn Trio III, Horn Trio IV
Luciano Berio
Rendering, I. Allegro, Rendering, II. Andante, Rendering, III. Allegro
Rihm, String Quartet No. 3, Piano Piece No. 7, Hölderlin Songs for voice and piano
Ligeti, Horn Trio (1982)
Berio/Schubert, Rendering (1988-1992)
Seth Brodsky, "Rihm, Tonality, Psychosis, Modernity," Twentieth-Century Music 15/2 (2018), 147–186.
David Hier, "Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel," Music Theory Online 28/2 (June 2022).
Contemporary Music Review, Wolfgang Rihm: Unity in Diversity, 36/4 (2017).
Yves Knockaert, Wolfgang Rihm, A Chifre: The 1980s and Beyond (Leuven University Press, 2017).
Eric Drott, “The Role of Triadic harmony in Ligeti’s Recent Music,” Music Analysis 22/3 (2003): 283–314.
David Metzer, Musical Modernism at the Turn of the Twenty-First Century Cambridge: Cambridge University Press, 2009), 147–63.
Thomas Peattie,"Luciano Berio’s Nineteenth Century," Contemporary Music Review 8/3-4 (2019): 418-440.