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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
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
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FILM - TV
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FLAMENCO
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JEUX VIDEOS
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NOËL
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POLKA
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RAGTIME
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TANGO
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Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
10984
PIANO & CLAVIERS
Piano seul
9189
Piano, Voix
3406
Piano, Voix et Guitare
3230
Piano Facile
3049
Orgue
762
Instruments en Do
730
1 Piano, 4 mains
284
Piano grosses notes
188
Accordéon
179
Accompagnement Piano
167
Piano Trio: piano, violon, violoncelle
101
2 Pianos, 4 mains
78
Piano (partie séparée)
45
Piano Quatuor: piano, violon, alto, violoncelle
40
Orgue, Piano (duo)
28
Ligne De Mélodie, Piano
23
Clavecin
22
Piano Quatuor: piano, 2 violons, violoncelle
16
1 Piano, 6 mains
11
Piano Quintette: piano, 2 violons, alto, violoncelle
11
Instrument seul et Orgue
8
Orgue, Voix
5
2 Pianos, 8 mains
4
Accordéon, Voix
4
Clavier
4
Orgue, Trompette (duo)
4
2 Accordéons
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
1718
Ligne De Mélodie, (Paroles) et Accords
900
Guitare
885
Ukulele
438
Paroles et Accords
398
Basse electrique
247
2 Guitares (duo)
98
Guitare (partie séparée)
74
Banjo
51
4 Guitares (Quatuor)
50
Mandoline
33
Ensemble de guitares
29
Piano, Guitare (duo)
25
Dulcimer
23
3 Guitares (trio)
19
Guitare Pedal Steel
18
Ensemble de Ukulélés
10
Mandoline, Guitare (duo)
9
Ukulele Baryton
7
2 Ukuleles
6
2 Dulcimers (duo)
5
Basse électrique (partie séparée)
3
Mandoline, Piano (duo)
2
Partitions De Groupes
2
Dobro
1
Orchestre à Plectres
1
Guitare, Violon, Violoncelle (trio)
1
Guitare Tab, Voix, Basse, Batterie
1
Instrumentations suivantes
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VOIX
Chorale SATB
3074
Chorale 3 parties
1100
Chorale 2 parties
699
Chorale TTBB
627
Chorale SSAA
380
Chorale Unison
321
Pack Instrumental pour Chorale
318
Chorale
163
Voix Soprano, Piano
138
Voix seule
127
Voix Alto, Piano
114
Voix duo, Piano
113
Voix Tenor, Piano
110
Voix Baryton, Piano
92
Voix duo
67
Voix haute
67
Voix moyenne, Piano
25
Male Voice
15
Chorale SSAATTBB
12
Voix basse, Piano
11
Chorale SSATB
9
Voix Mezzo-Soprano, Piano
9
Voix basse
8
Voix Tenor
7
Voix Soprano
6
Voix, Guitare
5
Chorale SSATTB
5
Chorale SAATB A Cappella
4
Chorale SSAB a cappella
3
Soli, choeur mixte et accompagnement
3
Voix haute, Piano
2
Chorale SSAB, Piano
2
Voix Moyenne
2
Chorale SSATBB
1
Voix duo, Orgue
1
Chorale SSAATB
1
Instrumentations suivantes
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VENTS
2 Saxophones (duo)
1269
Flûte traversière et Piano
736
Quatuor de Saxophones: 4 saxophones
719
Flûte traversière
682
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
659
Clarinette
611
Clarinette et Piano
611
2 Flûtes traversières (duo)
597
2 Clarinettes (duo)
579
Saxophone (partie séparée)
505
Flûte, Hautbois, Clarinette, Basson
489
Hautbois, Piano (duo)
476
Saxophone, Clarinette (duo)
433
Saxophone Alto et Piano
425
Saxophone Alto
420
Quintette de Saxophone: 5 saxophones
399
Quatuor de Clarinettes: 4 clarinettes
376
Saxophone Tenor
343
Clarinette, Violon (duo)
304
Saxophone Tenor et Piano
301
2 Hautbois (duo)
249
Flûte, Clarinette (duo)
246
Clarinette, Trompette (duo)
244
Saxophone
229
Saxophone Soprano et Piano
219
Quatuor de Flûtes : 4 flûtes
194
Hautbois (partie séparée)
192
Hautbois, Basson (duo)
174
Hautbois, Clarinette (duo)
165
Flûte, Violon
159
Clarinette (partie séparée)
155
Clarinette et Alto
150
Saxophone Baryton, Piano
146
Flûte, Saxophone (duo)
144
Hautbois, Flûte
135
3 Saxophones (trio)
133
2 Flûte à bec (duo)
131
Hautbois
129
Ensemble de saxophones
123
Ensemble de Clarinettes
121
Flûte, Alto (duo)
120
Flûte, Trompette (duo)
115
3 Clarinettes (trio)
105
Trio de Flûtes: 3 flûtes
96
Flute (partie séparée)
91
Saxophone Soprano
90
Ensemble de Flûtes
89
Flûte et Guitare
86
Quintette de Clarinettes: 5 clarinettes
67
Saxophone Baryton
66
Cor anglais, Piano
66
Harmonica
64
Clarinette, Harpe (duo)
58
Hautbois, Clarinette, Basson (trio d'anches)
57
Flûte à bec Soprano
56
Clarinette Basse, Piano
56
Flûte à Bec
55
Flûte, Hautbois, Clarinette (trio)
54
Quatuor de Flûtes à bec
49
Ensemble De Flûte à bec
48
Quintette de Flûte : 5 flûtes
44
Flûte, Violon, Piano
43
Clarinette, Violoncelle (duo)
40
Flûte, Violoncelle
39
Instruments en Mib
36
Clarinette, Guitare (duo)
34
Flûte à bec Alto
30
Clarinette, Basson (duo)
29
Ocarina
28
Flûte, Clarinette et Basson
27
Flûte, Hautbois (duo)
25
Cor Anglais
23
Flûte à bec Soprano, Piano
22
Flûte à bec Tenor
21
Hautbois, Violoncelle
20
Flûte, Hautbois, Basson
20
Hautbois, Guitare (duo)
17
3 Flûtes à bec (trio)
15
Clarinette, Trombone (duo)
14
Flûte à bec Alto, Piano
14
Flûte à Bec, Piano
12
2 Flûtes traversières, Piano
12
Flûte, Clarinette, Cor, Basson (Quartet)
11
Flûte, Violon et Violoncelle
10
Saxophone et Guitare
10
Flûte, Clarinette, Piano (trio)
9
Hautbois, violon (duo)
9
Flûte, Basson et Piano
9
Piccolo, Piano
9
2 Saxophones, Piano
8
Clarinette Basse
8
Flûte, Violoncelle, Piano (trio)
7
Clarinette, Violoncelle, Piano (trio)
7
3 Hautbois
6
Cor anglais, Guitare (duo)
6
Flûte, Hautbois, Piano (trio)
6
Piccolo
6
5 Flûtes à bec
6
Hautbois et alto (duo)
6
Flûte, Trombone (duo)
6
2 Clarinettes, Piano
5
Flûte, Alto et Piano
5
Flûte traversière, Orgue (duo)
4
Flûte, Violon, Violoncelle et Piano
4
2 Clarinettes, Basson
4
Hautbois, trombone (duo)
4
Flûte, Hautbois, Violon
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Ensemble à vent
3
Saxophone et Piano
3
Flute, harpe et violon
3
Flûte, Harpe et Violoncelle
3
2 Cors Anglais Et Pianoforte
2
Saxophone et Orgue
2
Flûte à bec, Guitare (duo)
2
Flûte traversière, Basse continue
2
Clarinette, Tuba
2
Saxophone et Harpe
2
Hautbois, Harpe
2
Saxophone, Tuba (duo)
2
Hautbois, Violon, Piano
2
Flûte, Tuba (duo)
2
Flûte à bec Soprano, Basse continue
2
Cornemuse
2
Saxophone et violoncelle
1
2 Hautbois et Cor anglais
1
Clarinette, Basson, Piano (trio)
1
Flûte, trombone et piano
1
Hautbois, Orgue
1
Harmonica, Piano
1
Flûte à bec Alto, Basse continue
1
Clarinette, Alto et Piano (trio)
1
Flûte, Clarinette, Violon (trio)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Orgue
1
Hautbois, Trompette (duo)
1
Flûte de Pan
1
Saxophone, Basson (duo)
1
Clarinette, Contrebasse (duo)
1
Flûte irlandaise
1
Flûte, alto et harpe
1
4 Hautbois
1
Hautbois, Basson et Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
718
Trompette
578
Trombone
449
Trompette, Piano
394
Trombone et Piano
376
Cor
308
Trompette (partie séparée)
307
Quatuor de Cuivres : 2 trompettes, trombone, tuba
304
Trompette, Saxophone (duo)
301
Cor et Piano
300
Trombone (partie séparée)
298
2 Trompettes (duo)
292
2 Trombones (duo)
283
Trompette, Trombone (duo)
209
Tuba et Piano
208
Tuba
194
Quatuor de Cuivres: 2 trompettes, Cor, trombone
193
Quatuor de Cuivres
147
Quatuor de cuivres: 4 trombones
111
2 Cors (duo)
99
Euphonium, Piano (duo)
78
Cor (partie séparée)
76
Tuba (partie séparée)
73
Cor anglais, Piano
66
Ensemble de Trompettes
60
Ensemble de Trombones
55
Quatuor de cuivres: 4 cors
53
2 Tubas (duo)
42
Bass Clef Instruments
39
Trompette, Cor (duo)
38
Euphonium
36
2 Euphoniums et 2 Tubas
35
Instruments en Sib
33
Cor Anglais
23
4 Tubas
21
Quatuor de cuivres: 4 trompettes
20
3 Trompettes (trio)
17
2 Euphoniums (duo)
15
3 Trombones (trio)
15
Trio de Cuivres
15
Ensemble de Cors
14
Trombone basse et Piano
11
Instruments en Fa
10
Trombone, Tuba (duo)
9
Quatuor de cuivres: 2 trompettes, 2 trombones
8
Trompette, Violoncelle (duo)
8
Trompette, Tuba (duo)
7
Tuba et Orgue
7
Cor anglais, Guitare (duo)
6
Euphonium, Tuba (duo)
6
Cor, Tuba (duo)
5
Trombone, Cor (duo)
5
2 Trompettes, Clavier (piano ou orgue)
5
Trompette, Basson (duo)
5
Trombone basse
4
Cornet A Pistons
4
Ensemble de Tubas
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
3 Cors (trio)
4
Cor et Basson (duo)
4
Cor, Violoncelle (duo)
4
Trompette, Trombone, Piano
3
Trombone, Orgue
3
2 Cors Anglais Et Pianoforte
2
Tuba ou Euphonium ou Saxhorn
2
Clarinette, Cor (duo)
2
Trompette, Orchestre
2
Cor et Harpe
2
Trompette, violon (duo)
2
Cornet et Piano
1
Trombone, Alto (duo)
1
Trompette et Guitare
1
3 Tubas (trio)
1
Trombone, Violon (duo)
1
Trompette, Euphonium (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trompette, Violoncelle et Piano
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1814
Violon et Piano
896
Violon
748
Violoncelle, Piano
587
Violoncelle
570
Alto, Piano
511
Harpe
449
2 Violons (duo)
442
Alto seul
433
Violon, Violoncelle (duo)
429
2 Violoncelles (duo)
333
2 Altos (duo)
315
Violon, Alto (duo)
310
Trio à Cordes: violon, alto, violoncelle
264
Quintette à cordes: 2 violons, alto, violoncelle, basse
203
Violon (partie séparée)
191
Contre Basse
187
Contrebasse, Piano (duo)
187
Harpe, Flûte (duo)
167
Contrebasse (partie séparée)
114
Trio à Cordes: 2 violons, violoncelle
112
Alto (partie séparée)
91
Alto, Violoncelle (duo)
75
4 Violoncelles
49
Violoncelle (partie séparée)
45
Violon, Guitare (duo)
42
2 Contrebasses (duo)
39
2 Harpes (duo)
38
Piano Trio: Violon, Alto, Piano
37
Trio à cordes: 3 violins
35
Violoncelle, Contrebasse (duo)
32
Quatuor à cordes: 4 violons
29
Trio à Cordes: 3 violoncelles
27
Ensemble de Violons
19
Ensemble d'Altos
19
Violoncelle , Guitare (duo)
19
Trio à cordes
16
Quatuor à cordes : 4 altos
16
Harpe, Violon (duo)
14
Violon, Basson (duo)
13
Trio à Cordes: 2 violons, alto
12
Quintette à cordes: 2 violons, 2 altos, violoncelle
12
Trio à cordes: 3 altos
10
Alto, Guitare (duo)
9
2 Violons, Piano
8
Alto et Basson
8
Harpe, Violoncelle (duo)
7
Harpe, Violon, Violoncelle
6
Violoncelle, Orgue
5
Violon, Clarinette, Piano (trio)
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
2 Violoncelles, Piano
5
Harpe, Voix
5
Harpe, Trombone (duo)
4
3 Harpes
4
Ensemble de Violoncelles
3
Violoncelle, Orchestre
3
3 Contrebasses
3
Violoncelle, Basse continue
3
Violon, Orgue
3
Harpe, Quatuor à cordes
3
5 Harpes
2
Violon, Basse continue
2
Flûte, Contrebasse (duo)
2
Violon, Violoncelle, Clarinette
1
Harpe et Piano
1
Harpe et mandoline
1
2 Altos, Piano
1
Alto et Harpe
1
2 Violons et Basse continue
1
4 Harpes
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2810
Orchestre à Cordes
827
Orchestre
657
Ensemble Jazz
576
Ensemble de cuivres
392
Cloches
239
Fanfare
220
Jazz combo
193
Batterie
186
Orchestre de chambre
174
Ensemble de Percussions
102
Percussion (partie séparée)
97
Batterie (partie séparée)
55
Marimba
39
Percussion
21
Vibraphone
21
Timbales (partie séparée)
19
Xylophone, Piano
17
Xylophone
17
3 Marimbas
16
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
14
Quintette à Vent
8
Ensemble d'École
8
Vibraphone, Piano
3
Caisse Claire
3
Quatuor à Vent : 4 instruments à vents
3
Instrumentation Flexible
3
Piano et Orchestre
3
Big band
3
Cajon
3
2 Xylophones
3
Vibraphone (partie séparée)
2
2 Marimbas
2
3 Percussions
1
Quintette de Cuivres: autres combinaisons
1
Xylophone (partie séparée)
1
Orchestre, Violon
1
2 Caisses Claires (duo)
1
2 Percussions
1
Instrumentations suivantes
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AUTRES
Théorie de la musique
5
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Piano et Orchestre
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A Little Bit Of Love
Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Children's Mus…
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Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Children's Music, Christian, Contemporary Christian, Folk Music. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.65 €
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Piano et Orchestre
#
Stephen DeCesare
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A Little Bit Of Love
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Exultet Music
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SheetMusicPlus
Konzert fur Piano und Orchester, Opus 15
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$32.95
30.12 €
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Piano et Orchestre
#
Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
#
Bisel Classics - Digital
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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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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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