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expert
avec audio
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Non classifié
20175
PIANO & CLAVIERS
Piano seul
13518
Piano Facile
9638
Piano, Voix et Guitare
6295
Piano, Voix
6190
Accordéon
1517
Instruments en Do
1478
Orgue
1263
Accompagnement Piano
833
1 Piano, 4 mains
741
Piano grosses notes
653
Piano Trio: piano, violon, violoncelle
295
Piano Quatuor: piano, 2 violons, violoncelle
104
2 Pianos, 4 mains
93
Accordéon, Voix
91
Ligne De Mélodie, Piano
88
Instrument seul et Orgue
52
Piano Quatuor: piano, violon, alto, violoncelle
48
1 Piano, 6 mains
43
Orgue, Piano (duo)
32
Piano Quintette: piano, 2 violons, alto, violoncelle
30
Piano (partie séparée)
27
Orgue, Trompette (duo)
19
Clavecin
10
2 Accordéons
7
Ensemble d'Accordéons
6
2 Pianos, 8 mains
6
Tous Les Instruments
5
Orgue, Voix
4
Clavier
2
Accordéon, Piano
2
2 Orgues (duo)
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
4433
Ligne De Mélodie, (Paroles) et Accords
3463
Ukulele
1907
Guitare
1745
Paroles et Accords
661
Mandoline
234
2 Guitares (duo)
233
Basse electrique
208
Banjo
162
Piano, Guitare (duo)
83
4 Guitares (Quatuor)
67
3 Guitares (trio)
49
Dulcimer
48
Ensemble de guitares
48
Guitare (partie séparée)
31
Mandoline, Guitare (duo)
9
Guitare, Violon, Violoncelle (trio)
9
Guitare, Flûte, Clarinette
7
2 Ukuleles
7
Ensemble de Ukulélés
5
3 Dulcimers (trio)
5
Mandoline, Piano (duo)
4
2 Dulcimers (duo)
3
Basse électrique (partie séparée)
2
Dobro
1
Ukulele Baryton
1
Cithare
1
Guitare, Orchestre
1
Instrumentations suivantes
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VOIX
Chorale SATB
4955
Chorale 3 parties
2527
Chorale 2 parties
1861
Chorale TTBB
1130
Chorale Unison
633
Voix duo, Piano
494
Chorale SSAA
432
Chorale
427
Voix duo
270
Voix Soprano, Piano
250
Voix seule
216
Voix Alto, Piano
70
Voix basse, Piano
56
Voix, Guitare
53
Voix haute
30
Voix Tenor, Piano
28
Voix haute, Piano
22
Voix moyenne, Piano
22
Voix Tenor
17
Chorale SSATB
10
Voix Baryton, Piano
9
Chorale SSAATTBB
9
Chorale, Orgue
8
Voix basse
7
Chorale SSAB a cappella
4
Chorale SSATBB
4
Chorale SSATTB
4
Voix Soprano
3
Chorale SAATB A Cappella
3
Chorale SSAB, Piano
3
Voix Mezzo-Soprano, Piano
2
Chorale SSAATB
2
Voix duo, Orgue
1
Chorale SATBB
1
Voix Moyenne
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
1773
2 Saxophones (duo)
1565
Quatuor de Saxophones: 4 saxophones
1430
Clarinette et Piano
1391
Flûte traversière
1373
2 Flûtes traversières (duo)
1295
Saxophone Alto et Piano
1133
Hautbois, Piano (duo)
1088
Flûte, Hautbois, Clarinette, Basson
1017
2 Clarinettes (duo)
966
Saxophone Tenor et Piano
943
Clarinette
943
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
918
Quatuor de Clarinettes: 4 clarinettes
775
Saxophone Alto
765
Saxophone Soprano et Piano
581
3 Saxophones (trio)
544
Saxophone (partie séparée)
528
Quatuor de Flûtes : 4 flûtes
525
Saxophone Tenor
522
Flûte, Clarinette (duo)
510
3 Clarinettes (trio)
498
Trio de Flûtes: 3 flûtes
411
Quintette de Saxophone: 5 saxophones
394
Hautbois (partie séparée)
330
Saxophone
328
Harmonica
300
2 Flûte à bec (duo)
276
2 Hautbois (duo)
271
Flûte à bec Soprano
263
Hautbois, Basson (duo)
244
Flûte et Guitare
227
Saxophone Baryton, Piano
223
Flûte à Bec
220
Flûte à bec Alto
217
Clarinette (partie séparée)
212
Quintette de Clarinettes: 5 clarinettes
197
Hautbois
184
Clarinette, Violon (duo)
179
Ensemble de Clarinettes
178
Flute (partie séparée)
169
Hautbois, Clarinette (duo)
164
Cor anglais, Piano
159
Clarinette, Basson (duo)
149
Saxophone, Clarinette (duo)
139
Flûte, Violoncelle
138
Hautbois, Clarinette, Basson (trio d'anches)
131
Flûte, Violon
131
Flûte, Hautbois, Clarinette (trio)
130
Flûte, Clarinette et Basson
130
Flûte, Clarinette, Piano (trio)
123
Ensemble de saxophones
122
Ensemble de Flûtes
117
Flûte, Hautbois, Basson
111
Quatuor de Flûtes à bec
104
2 Flûtes traversières, Piano
100
Clarinette, Violoncelle (duo)
95
Clarinette, Trompette (duo)
88
Flûte, Hautbois (duo)
86
Clarinette, Guitare (duo)
80
Hautbois, Violoncelle
79
Flûte, Alto (duo)
76
Clarinette et Alto
76
Instruments en Mib
74
Flûte, Violon, Piano
69
Hautbois, Flûte
65
Saxophone Soprano
64
3 Flûtes à bec (trio)
64
Flûte, Violoncelle, Piano (trio)
64
Flûte, Saxophone (duo)
64
Flûte, Violon et Violoncelle
57
Flûte à bec Alto, Piano
57
2 Clarinettes, Piano
53
Flûte, Trompette (duo)
52
Saxophone Baryton
52
Clarinette, Harpe (duo)
48
Cornemuse
47
3 Hautbois
46
Quintette de Flûte : 5 flûtes
45
Hautbois, Guitare (duo)
43
Ensemble De Flûte à bec
42
2 Saxophones, Piano
41
Clarinette, Violoncelle, Piano (trio)
39
Clarinette Basse, Piano
39
Ocarina
36
Flûte, Hautbois, Piano (trio)
34
Flûte à bec Tenor
33
Flûte, Basson et Piano
33
Flûte irlandaise
32
Cor Anglais
30
Hautbois, violon (duo)
30
Flûte, Trombone (duo)
28
Saxophone et Harpe
28
Hautbois et alto (duo)
28
Flûte à bec Soprano, Piano
28
Flûte, trombone et piano
27
Hautbois, Harpe
27
Flûte, Alto et Piano
26
Saxophone et Guitare
25
Saxophone et Piano
23
Piccolo
20
5 Flûtes à bec
19
Cor anglais, Guitare (duo)
17
Flûte, Hautbois, Violon
17
Hautbois, trombone (duo)
16
4 Hautbois
16
Piccolo, Piano
15
Saxophone et Orgue
14
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
13
Flûte, Clarinette, Violon (trio)
13
Clarinette, Tuba
13
Clarinette, Basson, Piano (trio)
13
Clarinette, trompette et piano
13
Clarinette, Trombone (duo)
11
Flûte, Violon, Violoncelle et Piano
11
Saxophone, Violon (duo)
11
Flûte à Bec, Piano
10
Flûte et Trio à cordes
10
Flûte, Violoncelle, Guitare
10
Flûte, Tuba (duo)
10
2 Hautbois, Piano
9
Clarinette Basse
9
Clarinette, Alto et Piano (trio)
9
Saxophone, Basson (duo)
8
Flûte, Harpe et Violoncelle
7
2 Clarinettes, Basson
7
Clarinette, Contrebasse (duo)
7
Flûte à bec, Guitare (duo)
6
Flûte traversière, Orgue (duo)
6
Hautbois, Violoncelle et Piano
6
2 Flûtes à bec, Piano
5
Flûte, Guitare, Piano
5
2 Cors Anglais Et Pianoforte
5
Hautbois, Violin, Alto et Violoncelle (Quatuor)
5
Flûte, Violon, Guitare
5
Harmonica, Piano
5
2 Flûtes traversières, Guitare
5
Hautbois, Basson et Piano
5
Hautbois, Clarinette et Piano (Trio)
5
Flûte, Clarinette, Cor, Basson (Quartet)
4
Flute, Cor (duo)
4
2 Flûtes traversières, Harpe
3
Saxophone et violoncelle
3
Flute, harpe et violon
3
Hautbois, Violon, Piano
3
Flûte de Pan
2
Ensemble de Hautbois
1
Ensemble à vent
1
Clarinette, Orgue
1
Flûte à bec, Harpe
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Cor anglais et Harpe (duo)
1
Flûte, Alto et Violoncelle
1
Melodica
1
Flûte et Quatuor à Cordes
1
Clarinette, Saxophone, Piano
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1286
Trompette, Piano
1205
Trompette
1169
Trombone et Piano
1006
Quatuor de Cuivres : 2 trompettes, trombone, tuba
661
Cor et Piano
660
Trombone
650
2 Trompettes (duo)
631
2 Trombones (duo)
483
Cor
457
Quatuor de Cuivres: 2 trompettes, Cor, trombone
412
Quatuor de cuivres: 4 trombones
389
Trompette, Trombone (duo)
385
Quatuor de Cuivres
370
Tuba et Piano
278
Tuba
277
2 Cors (duo)
255
Trompette (partie séparée)
242
Trompette, Cor (duo)
221
Quatuor de cuivres: 4 cors
197
Trombone (partie séparée)
179
Cor anglais, Piano
159
2 Euphoniums et 2 Tubas
138
Trio de Cuivres
128
Trompette, Saxophone (duo)
123
4 Tubas
118
Bass Clef Instruments
114
Euphonium, Piano (duo)
108
Euphonium
91
Instruments en Sib
85
3 Trombones (trio)
82
2 Tubas (duo)
81
3 Trompettes (trio)
80
Trompette, Tuba (duo)
73
Quatuor de cuivres: 4 trompettes
66
Cor (partie séparée)
56
Trombone, Tuba (duo)
54
Ensemble de Trombones
52
Quatuor de cuivres: 2 trompettes, 2 trombones
43
Cor, Violoncelle (duo)
43
Cor, Tuba (duo)
42
2 Trompettes, Clavier (piano ou orgue)
38
Tuba (partie séparée)
34
Cor et Harpe
34
Tuba et Orgue
33
Euphonium, Tuba (duo)
33
Trombone, Cor (duo)
32
Trompette, Violoncelle (duo)
32
Cor Anglais
30
Trompette, Basson (duo)
28
Ensemble de Trompettes
28
Trompette, Harpe
26
Instruments en Fa
23
Trombone, Violon (duo)
23
Ensemble de Cors
22
Cor, Trompette, Trombone (trio)
19
Trompette, violon (duo)
19
2 Euphoniums (duo)
19
Cor anglais, Guitare (duo)
17
Trombone basse
17
Cor et Basson (duo)
17
Trombone, Orgue
14
3 Cors (trio)
14
Trombone basse et Piano
11
Trompette, Violoncelle et Piano
9
Trompette, Trombone, Piano
8
2 Trombones, Piano
7
2 Cors Anglais Et Pianoforte
5
Ensemble de Tubas
5
Cor et Orgue
5
4 Euphoniums
4
Cornet A Pistons
4
3 Tubas (trio)
4
Cor, Violoncelle et Piano
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
2 Cors, Piano
3
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
3
Cor anglais et Harpe (duo)
1
Tuba ou Euphonium ou Saxhorn
1
Trombone, Alto (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2953
Violon et Piano
2451
Violon
1866
Violoncelle, Piano
1506
Alto, Piano
1386
Violoncelle
1181
Harpe
1106
2 Violons (duo)
1012
Violon, Violoncelle (duo)
908
Alto seul
810
2 Violoncelles (duo)
775
Trio à Cordes: violon, alto, violoncelle
542
2 Altos (duo)
490
Violon, Alto (duo)
477
Quintette à cordes: 2 violons, alto, violoncelle, basse
336
Contre Basse
327
Alto, Violoncelle (duo)
298
Violon (partie séparée)
281
2 Harpes (duo)
267
Alto (partie séparée)
259
Contrebasse, Piano (duo)
257
Trio à Cordes: 2 violons, violoncelle
214
Piano Trio: Violon, Alto, Piano
192
4 Violoncelles
160
Trio à cordes: 3 violins
143
Trio à Cordes: 3 violoncelles
141
Violon, Guitare (duo)
126
Violoncelle (partie séparée)
111
Quatuor à cordes: 4 violons
110
Harpe, Flûte (duo)
89
2 Contrebasses (duo)
88
Quatuor à cordes : 4 altos
81
Harpe, Violon (duo)
80
Contrebasse (partie séparée)
78
Violon, Basson (duo)
71
Trio à cordes: 3 altos
68
Violoncelle , Guitare (duo)
67
Harpe, Violoncelle (duo)
55
Alto et Basson
49
Trio à cordes
46
Violoncelle, Contrebasse (duo)
45
Trio à Cordes: 2 violons, alto
38
Alto, Guitare (duo)
35
Alto et Harpe
32
2 Violons, Piano
32
Violon, Clarinette, Piano (trio)
22
Violon, Tuba (duo)
19
Flûte, Contrebasse (duo)
15
2 Violoncelles, Piano
13
Harpe et Piano
12
Quintette à cordes : 2 violons, alto et 2 violoncelles
12
Violoncelle, Orgue
12
Ensemble de Violons
12
3 Contrebasses
11
Harpe, Voix
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
4 Contrebasses
9
Harpe et mandoline
7
4 Harpes
5
Violon, Trompette et Piano
5
2 Altos, Piano
5
3 Harpes
5
Ensemble d'Altos
4
Violon, Violoncelle, Clarinette
4
Violon, Orgue
4
Harpe, Violon, Violoncelle
4
Ensemble de Violoncelles
3
Harpe, Trombone (duo)
3
Harpe (partie séparée)
3
Harpe, Orchestre
2
5 Harpes
2
Violon, Contrebasse (duo)
1
Autoharp
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2697
Orchestre
1241
Orchestre à Cordes
1230
Cloches
908
Ensemble de cuivres
643
Ensemble Jazz
352
Orchestre de chambre
227
Fanfare
144
Percussion (partie séparée)
98
Ensemble de Percussions
88
Percussion
81
Batterie
71
Jazz combo
66
Marimba
54
Xylophone
29
Batterie (partie séparée)
27
Quintette à Vent
24
Quatuor à Vent : 4 instruments à vents
20
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
16
Xylophone, Piano
14
Vibraphone
13
2 Xylophones
11
Timbales
10
Quintette de Cuivres: autres combinaisons
7
Timbales (partie séparée)
7
Trio à Vent: 3 instruments à vents
5
Instrumentation Flexible
5
Caisse Claire
5
Piano et Orchestre
4
3 Marimbas
3
Vibraphone, Piano
3
Vibraphone et Marimba
2
Xylophone ou Marimba ou Vibraphone
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
2
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Traditional
Piano et Orchestre
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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)
$23.99
21.64 €
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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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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
$200.00
180.44 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by 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 a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
135.33 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
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Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by 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 preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
112.78 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
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