Score and Parts. Composed by Giuseppe Antonio Brescianello (1690-1758). Arra...(+)
Score and Parts. Composed
by
Giuseppe Antonio
Brescianello
(1690-1758). Arranged by
Ginevra Petrucci. LKM
Music.
Softcover. Lauren Keiser
Music Publishing
#S113003.
Published by Lauren
Keiser
Music Publishing
By Michel Pignolet De Monteclair. Edited by Anne Pichard. Instrument(s) and cont...(+)
By Michel Pignolet De
Monteclair. Edited by
Anne Pichard.
Instrument(s) and
continuo (Flute and
continuo - musette and
continuo - hurdy-gurdy or
recorder or oboe or
violin and continuo -
trumpet and continuo).
For Flute, Recorder,
Oboe, Musette, Violin,
Trumpet, Hurdy-gurdy.
Facsimiles. La Musique
Francaise Classique de
1650 a 1800. Grade 0. 112
pages
Continuo SKU: FZ.6222 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo
SKU:
FZ.6222
Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.6222).
ISBN
9790230662222. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in six books.
Volume 1: Anonyme -
BARTOLOTTI A. M. - BOYVIN
J. - BUTERNE J-B. - CARRE
A. Sieur de La Grange -
CHARPENTIER M-A. -
CHAUMONT L. - D'ANGLEBERT
J-H. - DE LA BARRE M. -
DELAIR D. - FLEURY N. -
MARAIS M. - NIVERS G. G.
- PERRINE - SAINT-LAMBERT
M. de. Volume 2: CAMPION
F. - CAMPION T. - CHERON
A. - CLERAMBAULT N. -
COUPERIN F. - DANDRIEU
J-F. - DELAIR D. -
LECLAIR J. -M. - RAMEAU
J. -P. Volume 3: Anonyme
- CAMPION F. - DORNEL A.
- FORQUERAY A. - GERVAIS
L. - GOUDAT - GUILLEMAIN
L. -G. - MONNIER Le Cadet
- MONTECLAIR M. P. de -
PINGRE A-G. - RAMEAU J.
-P. - SERRE DE RIEUX J. -
TELEMANN G. P. - TRAVENOL
L. A. Volume 4: ALEMBERT
J. Le Rond d' -
BLAINVILLE C. H. de -
CORRETTE M. - DUBUGRARRE
- GEMINIANI F S. -
LAPORTE C. de. Volume 5:
BETHISY J-L. de - BIFERI
F. (fils) - CLEMENT C-F.
- DUBREUIL J-J. - GARNIER
H. - GIANOTTI P. -
GOUGELET Madame - LABBET
A. J. - LE BOEUF - RAMEAU
J. -P. - ROUSSIER P-J. -
SIMON S. - TAPRAY J.
Volume 6: Anonyme -
BEMETZRIEDER A. -
CORRETTE M. - FROESTLER
B. - GOURNAY B. C. -
LANGLE H-F-M. - RODOLPHE
J-J. - ROUSSIER P-J.
Table of contents: Volume
1: Fleury Nicolas:
Methode pour apprendre
facilement - 1660.
Bartolotti Angelo
Michele: Table pour
apprendre facilement -
1669. Carre Antoine:
Livre de Guitarre
Contenant Plusieurs
pieces - 1671. Perrine:
Livre de Musique pour le
Lut - 1680. Anonyme:
Petites Reigles
Generalles qui peuvent
servir de methode - 1680.
Nivers Guillaume Gabriel:
Motets a voix seule -
1689. D'Anglebert Jean
Henry: Pieces de clavecin
- 1689. Marais Marin:
Basse-continues des
pieces a une et a deux
Violes - 1689. Anonyme:
(traite abrege
d'accompagnement) - c.
1690. Anonyme: Regles
pour l'Accompagnement -
1690. Delair Denis:
Traite d'accompagnement
pour le theorbe - 1690.
Charpentier Marc Antoine:
Abrege des regles de
l'accompagnement - c.
1692. Chaumont Lambert:
Pieces D'orgue sur les 8
tons - 1695. Buterne
Jean-Baptiste: Petites
Reigles pour
l'accompagnement - 1700.
Boyvin Jacques: Second
livre d'orgue - 1700.
Anonyme: Traite
d'accompagnement du
Clavecin - c. 1700. De La
Barre Michel: Premier
livre de pieces pour la
flute - 1702.
Saint-Lambert Michel de:
Nouveau Traite de
l'accompagnement - 1707.
Volume 2: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Volume 3: Pingre
Alexandre Gui: Traite de
l'harmonie - s. d. Rameau
Jean-Philippe:
Observations sur la
Methode d'Accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une Methode
nouvelle - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier - 1729. Rameau
Jean-Philippe: Replique
du premier Musicien a la
reponse du second - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier Musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
Musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes metodes -
1732. Gervais Laurent:
Methode pour
l'accompagnement - 1733.
Campion Francois: Second
recueil d'airs - 1734.
Serre de Rieux Jean: Les
dons des Enfans de Latone
- 1734. Telemann Georg
Philipp: Nouveaux
Quatuors en six Suites -
1738. Goudat: Principes
de Laccompagnement -
1738. Travenol Louis
Antoine: Premier livre de
Sonates a violon seul -
1739. Guillemain Louis
Gabriel: Six sonates en
quatuors - 1743. Monnier
le Cadet: L'art de
Toucher le Clavecin dans
son propre caractere - c.
1745. Dornel Antoine: le
Tour du Clavier - 1745.
Forqueray Antoine: Pieces
de Viole avec la Basse
Continue - 1747. Anonyme:
(Methode
d'accompagnement) - s. d.
Volume 4: Alembert Jean
Le Rond d': Elemens de
musique - 1752.
Blainville Charles Henri
de: Essay sur un
troisieme mode - 1751.
Corrette Michel: Le
maitre de Clavecin -
1753. Laporte Claude de:
Traite theorique et
pratique - 1753.
Geminiani Francesco
Saverio: L'art de bien
accompagner - 1754.
Dubugrarre: Methode plus
courte et plus facile -
1754. Volume 5: Tapray
Jean: Abrege de
l'accompagnement - 1755.
Labbet Antoine Joseph et
Leris Antoine de:
Sentiment d'un
Harmoniphile - 1756.
Clement Charles Francois:
Essai sur
l'accompagnement - 1758.
Gianotti Pietro: Le guide
du compositeur - 1759.
Rameau Jean-Philippe:
Code de musique pratique
- 1760. Bethisy
Jean-Laurent de:
Exposition de la theorie
et de la pratique - 1764.
Roussier Pierre-Joseph:
Traite des accords et de
leur succession - 1764.
Le Boeuf: Traite
d'harmonie et regles
d'accompagnement - 1766.
Garnier Honore: Nouvelle
methode pour
l'accompagnement - 1767.
Dubreuil Jean-Jacques:
Manuel harmonique - 1767.
Biferi Francesco Fils:
Traite de musique abrege,
divise en trois parties -
1770. Simon Simon:
Theorie pratique
d'accompagnement - s. d.
Gougelet Madame: Methode
ou abrege des regles -
1771. Volume 6: Roussier
Pierre-Joseph: L'harmonie
pratique - 1775. Corrette
Michel: Prototipes
contenant des lecons
d'accompagnement - 1775.
Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: -
Conservatory Library of
Geneva (Switzerland). -
Conservatory Library of
Dijon (France). - Royal
Conservatory of Liege
(Belgique). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - Royal
Library of Brussels
(Belgium). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Yale University, Music
Library of New Haven
(USA). -
Zentralbibliothek of
Zurich (Switzerland).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the
continuo.
(Edition originale de 1718). By Georg Philipp Telemann (1681-1767). Edited by Mi...(+)
(Edition originale de
1718). By Georg Philipp
Telemann (1681-1767).
Edited by Michel
Giboureau. Sonates en
trio - 2 flutes
traversieres et basse
continue - 2 violons et
basse continue - Sonates
en trio pour violon et
divers instruments -
Violoncelle dans les
sonates en trio. For
Flute, Recorder, Oboe,
Viol, Violin, Cello.
Facsimiles. Collection
Dominantes. Grade 0. 72
pages
By Francois Devienne (1759-1803). Edited by Les Etudiants Du C.E.F.E.D.E.M - Ile...(+)
By Francois Devienne
(1759-1803). Edited by
Les Etudiants Du
C.E.F.E.D.E.M - Ile De
France. Quartet - (for
harpsichord or
fortepiano, flute, horn
or cello, viola) - 2
flutes and continuo - 3
flutes solo. For
Harpsichord, Fortepiano,
Flute, Horn, Cello,
Viola. Facsimiles. La
Musique Francaise
Classique de 1650 a 1800.
Grade 0. 115 pages
Flute and Piano SKU: BT.EMBZ13901 Pour flute trav. (flute à bec, ha...(+)
Flute and Piano
SKU:
BT.EMBZ13901
Pour
flute trav. (flute Ã
bec, hautbois, violon) e
basse continue. By
Istvan Mariassy. By
Jacques-Martin
Hotteterre. EMB Urtext.
Book Only. Composed 1993.
100 pages. Editio Musica
Budapest #EMBZ13901.
Published by Editio
Musica Budapest
(BT.EMBZ13901).
English-German-Hungari
an.
The French
flutenist, composer and
instrument maker born in
1684 is the originator of
the long and impressive
French flute playing
tradition. The present
volume is the first
modern, critical edition
of 'Pieces' published in
1708 and revised seven
years later.
Music of Paul Hindemith 2 Flûtes, Basse continue [Partition + CD] - Intermédiaire/avancé Schott
Paula Robison Flute Masterclass. Composed by Paul Hindemith (1895-1963). Edited ...(+)
Paula Robison Flute
Masterclass. Composed by
Paul Hindemith
(1895-1963). Edited by
Paula Robison. Sheet
music with CD. Edition
Schott. Classical.
Edition/Softcover with
CD. 539. 76 pages. Schott
Music #SMC539. Published
by Schott Music
Flute and Piano SKU: BT.EMBZ13902 Pour flute trav. (flute à bec, ha...(+)
Flute and Piano
SKU:
BT.EMBZ13902
Pour
flute trav. (flute Ã
bec, hautbois, violon) e
basse continue. By
Istvan Mariassy. By
Jacques-Martin
Hotteterre. EMB Urtext.
Book Only. Composed 1993.
92 pages. Editio Musica
Budapest #EMBZ13902.
Published by Editio
Musica Budapest
(BT.EMBZ13902).
Op. 5, ein Zyklus
für Flöte und Basso
continuo von J.-M.
Hotteterre ist die zweite
bedeutende Reihe des
Komponisten in dieser
Gattung. Die erste, die
als Op. 2 erschien,
erfreut sich besonderer
musikgeschichtlichen und
aufführungstechnischen
Wichtigkeit, da der
Komponist ihre zweite
Ausgabe mit zahlreichen
Anmerkungen zur
Verzierung und
Vortragsweise
ergänzte. (Die
kritische Ausgabe von Op.
2 ist im Band Z. 13901
der Urtextausgabe von EMB
enthalten.) Der hier
veröffentlichte Zyklus
Op. 5 ist eine organische
Fortsetzung von Op. 2.
Diese Tatsache wurde
selbst vom Komponisten
betont, indem er die
Bände als Premier
Livre und Deuxieme Livre
veröffentlichte.
DieVerzierungen und
Vortragsanweisungen sind
im Op. 5 genauso
zahlreich, wie in der neu
bearbeiteten Ausgabe von
Premier Livre.
By Johann Christian Bach. Edited by Rudolf Steglich. For Flute/ Violin, Oboe/ Vi...(+)
By Johann Christian Bach.
Edited by Rudolf
Steglich. For Flute/
Violin, Oboe/ Violin,
Violin, Viola, Basso
continuo. Hortus Musicus.
Score; Set of Parts. Op.
11/6. Published by Hortus
Musicus (German import).
By Jean-Marie Leclair (1697-1764). Edited by Jean Saint-Arroman, Philippe Lescat...(+)
By Jean-Marie Leclair
(1697-1764). Edited by
Jean Saint-Arroman,
Philippe Lescat. Violin
and continuo / Flute and
continuo / Trios. For
Violin, Flute, Viol.
Facsimiles. La Musique
Francaise Classique de
1650 a 1800. Grade 0. 104
pages. Published by Anne
Fuzeau Productions -
France
By Arcangelo Corelli (1653-1713). Edited by Frederique Thouvenot, Suzi Mohlmeier...(+)
By Arcangelo Corelli
(1653-1713). Edited by
Frederique Thouvenot,
Suzi Mohlmeier. Flute a
bec et basse continue.
For Flute. Facsimiles.
Collection Dominantes.
Grade 0. 76 pages
Sonata in H minor TWV 41:h3; Sonata in C minor TWV 41:c3. By Georg Philipp Telem...(+)
Sonata in H minor TWV
41:h3; Sonata in C minor
TWV 41:c3. By Georg
Philipp Telemann. Edited
by Seiffert, Max. For
Flute/Violin, Basso
Continuo. Flotenmusik.
Playing Score; Set of
Parts; Urtext Edition
(paperbound). Published
by Baerenreiter-Ausgaben
(German import).
Bass Flute & Piano SKU: SU.26160080 For Bass Flute & Piano. Compos...(+)
Bass Flute & Piano
SKU: SU.26160080
For Bass Flute &
Piano. Composed by
Laurence Dresner.
Woodwinds, Flute/Piccolo.
Accompanied by piano,
Bass Flute. Score &
Parts. Subito Music
Corporation #26160080.
Published by Subito Music
Corporation
(SU.26160080).
Bass Flute &
Piano Duration: 4'
Composed: 2021 Published
by: Distributed
Composer.
By Wolfgang Amadeus Mozart (1756-1791). For Alto Recorder and Harpsichord. Baroq...(+)
By Wolfgang Amadeus
Mozart (1756-1791). For
Alto Recorder and
Harpsichord. Baroque;
Chamber. Intermediate.
Booklet, including full
score, part and
Play-Along CD. Published
by Recorder JP
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Flute and Basso Continuo. Composed by Carl Philipp Emanuel Bach (1714-1788). Due...(+)
Flute and Basso Continuo.
Composed by Carl Philipp
Emanuel Bach (1714-1788).
Duet or Duo; Masterworks;
Mixed Instruments - Duet;
Solo Small Ensembles.
Kalmus Edition. Baroque;
Classical; Masterwork.
Book. 1 pages. Kalmus
Classic Edition
#00-K04721. Published by
Kalmus Classic Edition
[Methodische Sonaten fur Flote oder Violine und Continuo - Band II]. Comp...(+)
[Methodische Sonaten
fur Flote oder Violine
und Continuo - Band
II]. Composed by
Georg Philipp Telemann
(1681-1767). Edited by
Wolfgang Kostujak. Henle
Music Folios. Classical.
Softcover. 142 pages. G.
Henle #HN1466. Published
by G. Henle
(HL.51481466).
Quartet in G major Flûte, Hautbois, Violon, Violoncelle, basse continue (Quatuor) [Conducteur et Parties séparées] Barenreiter
Tafelmusik. By Georg Philipp Telemann. Edited by Hinnenthal, Johann Philipp. For...(+)
Tafelmusik. By Georg
Philipp Telemann. Edited
by Hinnenthal, Johann
Philipp. For Flute, Oboe,
Violin, Violoncello,
Basso continuo. Score;
Set of Parts; Urtext
Edition. TWV 43:G 2.
Published by
Baerenreiter-Ausgaben
(German import).