In György Ligetiís Trio for horn, violin and piano (1982), a relatively classical formal appearance and a generalized consonance support a complex internal elaboration. This paper endeavours to understand in what ways the tradition nurturing the score is integrated into its creative process. The emphasis is laid on the mechanisms by which inherited elements acquire a significant dynamic potential. Beethovenís contribution, readable at a first level in the form of a recurring quotation, is envisaged through the elaboration of the material and the modelling of the musical time. The composerís subjectivity progressively emerges from the background of the collective memory invoked. In a second part, the analysis of mnemonic strategies put into action in the Trio leads to evidencing a general progression within which emerge the constituents of the last movement, the expressive climax of the work.