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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
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PIANO
SAXOPHONE
SYNTHETISEUR
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4481
PIANO & CLAVIERS
Piano seul
74
Piano Trio: piano, violon, violoncelle
67
1 Piano, 4 mains
55
Piano, Voix
50
Piano Quatuor: piano, violon, alto, violoncelle
33
2 Pianos, 4 mains
27
Piano Quintette: piano, 2 violons, alto, violoncelle
22
Instruments en Do
21
Orgue, Trompette (duo)
11
Orgue
11
Piano Quatuor: piano, 2 violons, violoncelle
8
Orgue, Piano (duo)
8
Piano, Voix et Guitare
8
Accompagnement Piano
5
Ensemble d'Accordéons
5
2 Pianos, 8 mains
4
Accordéon, Corde(s)
2
Clavecin
1
1 Piano, 6 mains
1
Orgue et Orchestre
1
Ensemble de Pianos
1
Accordéon et Orchestre
1
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GUITARES
4 Guitares (Quatuor)
69
2 Guitares (duo)
41
3 Guitares (trio)
26
Guitare
20
Ensemble de guitares
20
Orchestre à Plectres
5
Ligne De Mélodie, (Paroles) et Accords
4
Basse electrique
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4
Guitare, Quatuor à cordes
2
Piano, Guitare (duo)
2
Mandoline, Piano (duo)
2
Guitare, Flûte, Clarinette
2
Luth
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Mandoline
1
Bouzouki
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Ukulele
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2 Dulcimers (duo)
1
Guitare, Orchestre
1
2 Guitares et Orchestre
1
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VOIX
Chorale SATB
230
Chorale TTBB
97
Chorale 3 parties
38
Chorale SSAA
30
Voix Soprano, Piano
4
Chorale SSAATTBB
3
Chorale
3
Voix Alto, Piano
2
Voix duo, Piano
2
Voix Baryton, Piano
2
Voix Tenor, Piano
2
Chorale SSATB
2
Chorale 2 parties
1
Voix haute
1
Voix duo
1
Voix basse, Piano
1
Voix seule
1
Instrumentations suivantes
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VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
194
Quatuor de Saxophones: 4 saxophones
88
Ensemble de Clarinettes
76
Quatuor de Clarinettes: 4 clarinettes
72
Flûte, Hautbois, Clarinette, Basson
72
Flûte traversière et Piano
67
2 Saxophones (duo)
53
Saxophone Alto et Piano
51
Saxophone Soprano et Piano
50
Hautbois, Piano (duo)
46
Clarinette et Piano
42
Saxophone Tenor et Piano
36
Ensemble de Flûtes
33
Quatuor de Flûtes : 4 flûtes
32
3 Clarinettes (trio)
32
2 Flûtes traversières (duo)
29
Quintette de Saxophone: 5 saxophones
27
Quintette de Clarinettes: 5 clarinettes
27
Flûte et Guitare
27
Ensemble de saxophones
27
Saxophone Baryton, Piano
21
2 Clarinettes (duo)
17
Flûte, Clarinette (duo)
14
Flûte, Violon, Piano
14
3 Saxophones (trio)
14
Flûte à Bec
13
Flûte, Clarinette et Basson
12
Trio de Flûtes: 3 flûtes
11
Flûte, Violoncelle, Piano (trio)
11
Hautbois, Clarinette, Basson (trio d'anches)
10
Quatuor de Flûtes à bec
9
Flûte, Violon
9
Clarinette, Guitare (duo)
9
Flûte, Clarinette, Piano (trio)
9
Quintette de Clarinette: Clarinette, Quatuor à Cordes
8
Clarinette Basse, Piano
7
Hautbois, Flûte
6
Clarinette, Violoncelle, Piano (trio)
6
Clarinette
6
Quintette de Flûte : 5 flûtes
5
3 Flûtes à bec (trio)
5
Hautbois
5
2 Saxophones, Piano
5
Clarinette, Violon (duo)
4
Flûte, Violon, Violoncelle et Piano
4
Clarinette, Basson (duo)
4
Flûte traversière
4
Flûte, Violoncelle
4
5 Flûtes à bec
4
Flûte, Saxophone (duo)
3
Hautbois, Basson (duo)
3
Hautbois, Guitare (duo)
3
2 Hautbois (duo)
3
Clarinette, Orgue
3
Saxophone (partie séparée)
3
Saxophone, Clarinette (duo)
3
Flûte, Basson et Piano
3
Clarinette, Basson, Piano (trio)
3
Clarinette et Alto
3
Hautbois, Basson et Piano
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Clarinette, Violoncelle (duo)
3
Cor anglais, Piano
3
2 Clarinettes, Piano
3
Flûte, Violon et Violoncelle
2
4 Hautbois
2
Saxophone Alto
2
Ocarina
2
Saxophone
2
Flûte, Hautbois, Piano (trio)
2
Flûte, alto et harpe
2
Saxophone et Guitare
2
Flûte, Trombone (duo)
2
3 Hautbois
2
Saxophone et Orgue
2
Flûte, Alto et Piano
2
2 Flûtes traversières, Piano
2
Flûte, Alto (duo)
2
Hautbois (partie séparée)
2
Instruments en Mib
1
Flûte, Alto et Violoncelle
1
Flûte à bec Alto, Basse continue
1
Cor Anglais
1
Ensemble à vent
1
Flûte, Trompette (duo)
1
Hautbois, Violoncelle
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte, Hautbois, Clarinette (trio)
1
Flute, harpe et violon
1
Saxophone Tenor
1
Hautbois, Clarinette (duo)
1
Flûte traversière, Orchestre
1
Flûte, Clarinette, Violon (trio)
1
Flûte à bec Alto, Piano
1
Flûte et Quatuor à Cordes
1
Clarinette, Alto et Piano (trio)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
404
Quatuor de Cuivres : 2 trompettes, trombone, tuba
261
Ensemble de Trombones
131
Quatuor de cuivres: 4 trombones
122
Quatuor de cuivres: 4 cors
47
Quatuor de Cuivres: 2 trompettes, Cor, trombone
42
Trombone et Piano
31
Tuba et Piano
24
2 Cors (duo)
23
Euphonium, Piano (duo)
22
Cor et Piano
17
Quatuor de Cuivres
17
4 Tubas
15
Trompette, Piano
15
Trompette
15
Ensemble de Trompettes
15
Ensemble de Cors
14
Trompette, Trombone (duo)
14
Quatuor de cuivres: 4 trompettes
11
2 Euphoniums et 2 Tubas
10
2 Trompettes, Clavier (piano ou orgue)
9
2 Trombones (duo)
9
3 Trombones (trio)
9
Trombone, Tuba (duo)
7
Trompette (partie séparée)
7
Euphonium, Tuba (duo)
7
2 Trompettes (duo)
5
Trombone basse
5
Trompette, Cor (duo)
4
3 Cors (trio)
4
2 Tubas (duo)
4
Trombone, Orgue
4
Trombone et orchestre
4
3 Euphoniums
3
Trompette, violon (duo)
3
3 Trompettes (trio)
3
Cor anglais, Piano
3
Euphonium
2
Trompette, Tuba (duo)
2
Cor et Harpe
2
Instruments en Sib
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Cor et Orgue
2
3 Tubas (trio)
2
Trompette, Orchestre
2
Trompette, Saxophone (duo)
2
2 Euphoniums (duo)
2
Trombone
2
Trio de Cuivres
1
Tuba et Orgue
1
Cor Anglais
1
Ensemble de Tubas
1
Trompette, Trombone, Piano
1
Cor, Violoncelle (duo)
1
Trombone, Cor (duo)
1
Cor (partie séparée)
1
Cor
1
Clarinette, Cor (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1269
Violon et Piano
132
Violon, Violoncelle (duo)
130
Trio à Cordes: violon, alto, violoncelle
124
Violoncelle, Piano
81
Violon, Alto (duo)
77
Trio à Cordes: 2 violons, violoncelle
54
4 Violoncelles
43
Alto, Violoncelle (duo)
32
Alto, Piano
28
Violon, Guitare (duo)
26
2 Violons (duo)
24
Harpe
22
Violoncelle, Contrebasse (duo)
21
Harpe, Violon (duo)
21
Harpe, Flûte (duo)
16
2 Violoncelles (duo)
15
Violoncelle , Guitare (duo)
14
Trio à cordes: 3 violins
14
Ensemble de Violoncelles
12
4 Contrebasses
12
Trio à Cordes: 3 violoncelles
12
Violon
11
Trio à Cordes: 2 violons, alto
11
Quatuor à cordes: 4 violons
11
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
2 Contrebasses (duo)
8
2 Altos (duo)
8
Trio à cordes
8
Quatuor à cordes : 4 altos
6
Contrebasse, Piano (duo)
5
Alto et Harpe
5
Violon (partie séparée)
4
Trio à cordes: 3 altos
4
Harpe, Violoncelle (duo)
4
Violoncelle
4
Violoncelle, Orchestre
4
2 Violons, Piano
3
Violon, Clarinette, Piano (trio)
3
Piano Trio: Violon, Alto, Piano
3
Violon, Orgue
3
Harpe, Quatuor à cordes
3
Harpe, Violon, Violoncelle
2
Violon, Violoncelle, Clarinette
2
Flûte, Contrebasse (duo)
2
Alto, Guitare (duo)
2
Contre Basse
2
Alto seul
2
Ensemble d'Altos
2
Ensemble de Violons
2
Violon, Clarinette et Guitare
1
Violoncelle, Orgue
1
3 Contrebasses
1
Harpe, Orchestre
1
4 Harpes
1
Harpe, Trombone (duo)
1
Violoncelle (partie séparée)
1
Alto et orchestre
1
2 Harpes (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre
1029
Orchestre d'harmonie
469
Ensemble Jazz
462
Jazz combo
444
Orchestre à Cordes
444
Ensemble de cuivres
411
Orchestre de chambre
330
Ensemble de Percussions
79
Fanfare
58
Cloches
10
Big band
9
Batterie
9
Piano et Orchestre
6
Quintette à Vent
4
Orchestre, Violon
1
Instrumentation Flexible
1
Marimba, Piano (duo)
1
Orchestre Symphonique
1
Marimba
1
Quatuor à Vent : 4 instruments à vents
1
Instrumentations suivantes
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Christian, Contempora…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Christian, Contemporary Christian, Sacred, Christmas. Score, Set of Parts. 38 pages. Published by www.mattrileymusic.com (S0.203945). - Score,Set of Parts - 21st Century,Christian,Contemporary Christian,Sacred,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an advanced level of skill. Matt Riley has also made Early Intermediate and Late Intermediate versions available on this site. Questions? Email: Matt@mattrileymusic.comArranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an advanced level of skill. Matt Riley has also made Early Intermediate and Late Intermediate versions available on this site. Questions? Email: Matt@mattrileymusic.com
$125.00
114.08 €
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Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
182.53 €
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Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
Piano et Orchestre
String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang A…
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String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score and parts. 271 pages. Santino Cara #5197099. Published by Santino Cara (A0.517429). Complete score and parts of the Piano Concerto No.20 in D minor K.466 for Piano solo and Orchestra. Composed in 1785 in Vienna by Wolfgang Amadeus Mozart. Rewritten and elaborated in Rome in 2019 by Santino Cara.
$26.20
23.91 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
#
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
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Santino Cara
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.05 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Tr…
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Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.863537 Composed by Jordan Grigg. 20th Century,Concert,Standards. Score and parts. 52 pages. Jordan Grigg #3388747. Published by Jordan Grigg (A0.863537).
$15.95
14.56 €
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Piano et Orchestre
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Jordan Grigg
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Passions
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Jordan Grigg
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
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)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)
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