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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
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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
54953
PIANO & CLAVIERS
Piano seul
151515
Piano, Voix
76628
Piano, Voix et Guitare
63700
Piano Facile
57689
Piano grosses notes
5515
Accompagnement Piano
5393
1 Piano, 4 mains
4931
Piano Trio: piano, violon, violoncelle
2185
Orgue
2025
Piano (partie séparée)
1664
2 Pianos, 4 mains
1328
Instruments en Do
749
Piano Quatuor: piano, violon, alto, violoncelle
561
Piano Quintette: piano, 2 violons, alto, violoncelle
542
Piano Quatuor: piano, 2 violons, violoncelle
476
Orgue, Piano (duo)
299
1 Piano, 6 mains
226
Clavier
101
2 Pianos, 8 mains
93
Accordéon
71
Clavecin
67
Accordéon, Piano
13
Orgue, Trompette (duo)
8
Fake Book
8
Piano Quintette: piano, violon, alto, violoncelle, contre basse
6
Ensemble de Pianos
6
Orgue, Voix
2
3 Pianos
2
Accordéon et Orchestre
2
Accordéon, Corde(s)
1
Ensemble d'Accordéons
1
Instrumentations suivantes
Retracter
GUITARES
Ligne De Mélodie, (Paroles) et Accords
2998
Piano, Guitare (duo)
791
Guitare
368
Guitare notes et tablatures
253
Paroles et Accords
122
Guitare (partie séparée)
103
2 Guitares (duo)
97
Ukulele
83
Mandoline, Piano (duo)
76
Basse electrique
43
4 Guitares (Quatuor)
18
3 Guitares (trio)
5
Guitare, Violon, Violoncelle (trio)
5
Mandoline
4
Banjo
4
Dulcimer
4
Guitare, Orchestre
2
Guitare Pedal Steel
2
2 Mandolines (duo)
2
Ensemble de guitares
2
2 Guitares et Orchestre
1
2 Ukuleles
1
Guitare, Quatuor à cordes
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
14096
Chorale 2 parties
6758
Chorale 3 parties
6508
Voix duo, Piano
3314
Chorale Unison
2628
Voix haute
1526
Chorale TTBB
1508
Voix Soprano, Piano
1328
Voix duo
861
Pack Instrumental pour Chorale
777
Voix Tenor, Piano
777
Voix Alto, Piano
755
Chorale SSAA
607
Voix Baryton, Piano
560
Voix basse, Piano
552
Voix moyenne, Piano
395
Chorale
342
Voix seule
219
Voix Mezzo-Soprano, Piano
134
Voix Tenor
95
Voix haute, Piano
63
Chorale SSAB, Piano
50
Voix Soprano
47
Soli, choeur mixte et accompagnement
34
Voix d'Enfants
31
Chorale SSATB
29
Voix basse
23
Chorale SSATTB
12
Chorale SSAATTBB
7
Chorale SSAB a cappella
5
Chorale SSAATB
3
Male Voice
2
Voix d'Enfants, Piano
2
Chorale SATTBB A Cappella
1
Chorale SAATB A Cappella
1
Voix Moyenne
1
Voix, Guitare
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière et Piano
13275
Clarinette et Piano
9464
Hautbois, Piano (duo)
7523
Saxophone Alto et Piano
7360
Saxophone Tenor et Piano
5509
Saxophone Soprano et Piano
3361
Saxophone Baryton, Piano
1510
Clarinette
1306
Cor anglais, Piano
1172
2 Saxophones (duo)
1124
Quatuor de Saxophones: 4 saxophones
1113
Flûte, Hautbois, Clarinette, Basson
1081
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
998
2 Flûtes traversières (duo)
832
Clarinette Basse, Piano
724
Flûte, Violon, Piano
636
2 Clarinettes (duo)
555
Flûte traversière
512
Quintette de Saxophone: 5 saxophones
475
Saxophone (partie séparée)
419
Flûte, Clarinette (duo)
379
Flûte à bec Soprano, Piano
371
Flûte, Clarinette, Piano (trio)
364
Flûte à bec Alto, Piano
349
Piccolo, Piano
329
Flûte, Violoncelle, Piano (trio)
302
Quatuor de Clarinettes: 4 clarinettes
297
2 Saxophones, Piano
271
Saxophone Alto
264
2 Flûtes traversières, Piano
260
3 Saxophones (trio)
232
2 Hautbois (duo)
226
Flûte à Bec, Piano
213
Saxophone Tenor
205
2 Clarinettes, Piano
202
Flûte à bec Tenor
185
Ensemble de Clarinettes
178
Flûte, Basson et Piano
175
Saxophone et Piano
174
Hautbois (partie séparée)
171
Flûte à bec Soprano
152
Quatuor de Flûtes : 4 flûtes
152
3 Clarinettes (trio)
145
Flûte à Bec
133
Clarinette, Violoncelle, Piano (trio)
132
Flûte, Hautbois, Piano (trio)
130
Trio de Flûtes: 3 flûtes
119
Flûte et Guitare
115
Flûte à bec Alto
111
2 Flûte à bec (duo)
104
Flûte, Violon
95
Ensemble de Flûtes
95
Clarinette, Violon (duo)
90
Flûte irlandaise
84
Flûte, Alto et Piano
81
Clarinette, Basson, Piano (trio)
76
Quatuor de Flûtes à bec
75
Hautbois
75
Hautbois, Clarinette (duo)
69
Clarinette (partie séparée)
68
Flûte, Hautbois, Clarinette (trio)
67
Ensemble de saxophones
65
Flûte, Violon, Violoncelle et Piano
63
Clarinette, Guitare (duo)
57
Hautbois, Clarinette, Basson (trio d'anches)
56
Flûte, Clarinette et Basson
55
Saxophone, Clarinette (duo)
53
Flute (partie séparée)
51
Quintette de Clarinettes: 5 clarinettes
48
Hautbois, Flûte
46
Flûte, Trompette (duo)
45
Harmonica, Piano
45
Clarinette, Alto et Piano (trio)
45
Hautbois, Basson (duo)
42
Piccolo
38
Flûte, Hautbois (duo)
36
5 Flûtes à bec
34
Clarinette, Basson (duo)
33
Flûte, trombone et piano
33
Saxophone Soprano
32
Flûte, Violoncelle
32
Hautbois, Basson et Piano
32
3 Flûtes à bec (trio)
31
Hautbois, violon (duo)
30
Flûte, Hautbois, Basson
28
Hautbois, Violoncelle et Piano
28
2 Flûtes à bec, Piano
28
Ensemble De Flûte à bec
26
Saxophone Baryton
25
Clarinette, trompette et piano
25
Flûte, Alto (duo)
24
Clarinette et Alto
22
Clarinette, Trompette (duo)
22
2 Hautbois, Piano
22
Flûte, Trombone (duo)
21
Hautbois, Guitare (duo)
21
Cor Anglais
21
Hautbois, Violon, Piano
18
Flûte, Saxophone (duo)
17
Ocarina
16
Hautbois, Clarinette et Piano (Trio)
16
Clarinette, Violoncelle (duo)
14
Flûte, Clarinette, Cor, Basson (Quartet)
13
Harmonica
13
Saxophone, Violon (duo)
11
Quintette de Flûte : 5 flûtes
11
Hautbois, Trompette (duo)
10
Hautbois, Violoncelle
10
Saxophone
10
Instruments en Mib
8
Flûte traversière, Orchestre
8
Saxophone et Orgue
8
Clarinette, Trombone (duo)
8
Flûte traversière, Orgue (duo)
8
Clarinette, Harpe (duo)
7
Flûte, Guitare, Piano
7
Flûte à bec Alto, Basse continue
6
2 Clarinettes, Basson
5
Cor anglais, Guitare (duo)
5
Ensemble à vent
5
Flute, harpe et violon
5
3 Hautbois
4
Flûte, Violon et Violoncelle
4
2 Cors Anglais Et Pianoforte
4
Flûte, Clarinette, Violon (trio)
3
Hautbois et alto (duo)
3
Hautbois et Orchestre
3
Flûte et Quatuor à Cordes
3
Hautbois, Clarinette, Basson et Piano
3
Clarinette, Saxophone, Piano
3
Clarinette, Orchestre
3
Hautbois, Harpe
2
Flûte de Pan
2
Clarinette, Orgue
2
3 Flûtes à bec, Piano
2
2 Flûtes traversières, Guitare
2
Saxophone et Guitare
2
Flûte, Violoncelle, Guitare
2
Clarinette Basse
2
Clarinette, Tuba
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Cornemuse
1
Flûte traversière, Basse continue
1
Flûte à bec, Guitare (duo)
1
2 Flûtes traversières, Harpe
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, Orgue
1
Ensemble de Hautbois
1
Flûte et Trio à cordes
1
Flûte, alto et harpe
1
Flûte à bec Soprano, Basse continue
1
2 Flûtes, 2 Clarinettes (Quatuor)
1
Clarinette, Contrebasse (duo)
1
Flûte, Harpe et Violoncelle
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette, Piano
6671
Trombone et Piano
5878
Cor et Piano
4238
Tuba et Piano
2084
Trompette
1417
Euphonium, Piano (duo)
1305
Cor anglais, Piano
1172
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
683
2 Trompettes (duo)
448
2 Trombones (duo)
432
Quatuor de Cuivres: 2 trompettes, Cor, trombone
422
Quatuor de Cuivres : 2 trompettes, trombone, tuba
310
Trombone
290
Trombone basse et Piano
281
2 Cors (duo)
255
Trombone (partie séparée)
240
Trompette (partie séparée)
237
Quatuor de Cuivres
227
Trompette, Trombone (duo)
217
Trompette, Cor (duo)
197
Cor
175
Tuba et Orgue
153
Tuba
152
2 Trompettes, Clavier (piano ou orgue)
148
Quatuor de cuivres: 2 trompettes, 2 trombones
55
Euphonium
50
Trompette, Trombone, Piano
49
Trompette, Violoncelle et Piano
45
Cor (partie séparée)
44
Quatuor de cuivres: 4 trombones
44
2 Trombones, Piano
42
Tuba (partie séparée)
41
Trompette, Saxophone (duo)
36
Quatuor de cuivres: 4 cors
33
2 Tubas (duo)
32
Trio de Cuivres
31
Trombone, violoncelle (duo)
27
3 Trombones (trio)
22
3 Trompettes (trio)
22
Cor Anglais
21
2 Cors, Piano
18
Trompette, violon (duo)
17
Cornet et Piano
17
Trombone basse
12
Ensemble de Trombones
12
4 Tubas
11
Bass Clef Instruments
11
Quatuor de cuivres: 4 trompettes
10
Euphonium, Tuba (duo)
9
Instruments en Sib
8
Cor, Violoncelle et Piano
7
Cor, Tuba (duo)
7
Instruments en Fa
7
Trombone, Cor (duo)
7
2 Euphoniums (duo)
7
Trombone, Tuba (duo)
6
Trombone, Violon (duo)
6
Ensemble de Trompettes
6
Ensemble de Cors
6
Cor anglais, Guitare (duo)
5
Euphonium Ou Saxhorn Et Piano
5
Trompette, Tuba (duo)
4
2 Euphoniums et 2 Tubas
4
2 Cors Anglais Et Pianoforte
4
Cor, Violoncelle (duo)
3
3 Cors (trio)
3
Saxhorn basse ou Euphonium ou Tuba et Piano
3
Cor et Orgue
2
Cor, Orchestre
2
Trompette, Orchestre
2
Trombone, Orgue
2
3 Tubas (trio)
2
Ensemble de Tubas
1
Trompette, Violoncelle (duo)
1
Trompette, Basson (duo)
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Trompette, Euphonium (duo)
1
Trombone et orchestre
1
Cor et Harpe
1
Instrumentations suivantes
Retracter
CORDES
Violon et Piano
17349
Violoncelle, Piano
10909
Alto, Piano
8296
Quatuor à cordes: 2 violons, alto, violoncelle
2316
Contrebasse, Piano (duo)
1771
Violon
858
Piano Trio: Violon, Alto, Piano
815
Quintette à cordes: 2 violons, alto, violoncelle, basse
691
2 Violons (duo)
546
2 Violoncelles (duo)
506
Violoncelle
470
2 Altos (duo)
334
Harpe
331
2 Violons, Piano
305
Trio à Cordes: violon, alto, violoncelle
304
Violon, Violoncelle (duo)
282
Alto seul
267
Violon, Alto (duo)
188
Violon (partie séparée)
136
Contre Basse
116
Trio à Cordes: 2 violons, violoncelle
109
Harpe et Piano
107
Violon, Clarinette, Piano (trio)
105
2 Violoncelles, Piano
105
Alto (partie séparée)
90
Contrebasse (partie séparée)
86
Alto, Violoncelle (duo)
66
2 Altos, Piano
65
Violon, Guitare (duo)
58
Trio à cordes: 3 violins
57
4 Violoncelles
43
Trio à Cordes: 2 violons, alto
39
Violoncelle , Guitare (duo)
39
Harpe, Flûte (duo)
36
Alto, Guitare (duo)
31
Trio à Cordes: 3 violoncelles
31
Quatuor à cordes: 4 violons
30
Violoncelle, Contrebasse (duo)
28
2 Contrebasses (duo)
28
Quintette à cordes : 2 violons, alto et 2 violoncelles
26
Quatuor à cordes : 4 altos
24
Quintette à cordes: 2 violons, 2 altos, violoncelle
24
Alto et Basson
23
Harpe, Violon (duo)
20
Trio à cordes: 3 altos
18
Violoncelle (partie séparée)
18
4 Contrebasses
16
Violoncelle, Orgue
15
Violon, Basse continue
14
Violon, Trompette et Piano
14
2 Harpes (duo)
14
Violoncelle, Orchestre
12
Alto et orchestre
7
Alto et Harpe
7
Harpe, Voix
7
Harpe, Violoncelle (duo)
7
Violon, Basson (duo)
7
2 Violons et Basse continue
6
Violoncelle, Basse continue
5
Flûte, Contrebasse (duo)
5
Ensemble de Violoncelles
4
Harpe et mandoline
4
Harpe, Violon, Violoncelle
3
Violon, Orgue
3
3 Contrebasses
2
Violon, Tuba (duo)
2
Alto, Orgue
2
Violon, Violoncelle, Clarinette
1
Trio à cordes
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Ensemble Jazz
3335
Orchestre
2132
Orchestre à Cordes
2074
Orchestre d'harmonie
2030
Jazz combo
1072
Cloches
855
Orchestre de chambre
713
Ensemble de cuivres
439
Xylophone, Piano
156
Piano et Orchestre
135
Fanfare
132
Ensemble de Percussions
73
Batterie
70
Batterie (partie séparée)
54
Marimba
50
Vibraphone (partie séparée)
48
Vibraphone
41
Percussion (partie séparée)
35
Vibraphone, Piano
28
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
27
Marimba, Piano (duo)
17
Xylophone
16
Ensemble d'École
10
2 Xylophones
7
Big band
6
Orchestre, Violon
6
Mariachi
4
Marimba ou Xylophone et Piano
3
Instrumentation Flexible
3
Vibraphone et Marimba
2
Quintette de Cuivres: autres combinaisons
2
Quintette à Vent
2
Timbales (partie séparée)
2
Marimba et Orgue
1
2 Marimbas
1
Caisse Claire
1
Voix et Orchestre
1
Percussion
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
45
Théorie de la musique
4
Papeterie
1
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126
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 …
(+)
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.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
137.58 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
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.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
114.65 €
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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
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
24.03 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
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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
7.09 €
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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
Piano Music with Orchestra
Piano et Orchestre
(Piano: Left Hand). Composed by Paul Hindemith (1895-1963). This edition: piano reduct…
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(Piano: Left Hand). Composed by Paul Hindemith (1895-1963). This edition: piano reduction with solo part. Downloadable, piano reduction with solo part. Op. 29. Duration 18 minutes. Schott Music - Digital #Q19660. Published by Schott Music - Digital
$55.99
51.35 €
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Piano et Orchestre
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Piano Music with Orchestra
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Schott Music - Digital
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SheetMusicPlus
Fantasia for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069115 Composed by Joseph Hull. Contemporary. Full Performance. Duration 318. Genesis #3514027. Published by Genesis (A0.1069115). This is the third movement from Fantasia for Piano and Orchestra. The full work contains four movements. .
$1.99
1.83 €
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Piano et Orchestre
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Joseph Hull
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Fantasia for Piano and Orchestra
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Genesis
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SheetMusicPlus
Tribute to Chopin (Omaggio a Chopin) for piano and orchestra
Piano et Orchestre
Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508…
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Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508 Composed by Helios D'Andrea. 20th Century,Contemporary. Score and parts. 5 pages. D'Andrea Helios #4846343. Published by D'Andrea Helios (A0.981508). Nice music composed for piano and orchestra
$15.00
13.76 €
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Piano et Orchestre
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Helios D'Andrea
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Tribute to Chopin
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D'Andrea Helios
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SheetMusicPlus
Ballade for Piano and Orchestra No.1
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
$3.99
3.66 €
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Piano et Orchestre
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Joseph Hull
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Ballade for Piano and Orchestra No.1
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Genesis
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SheetMusicPlus
Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
Piano et Orchestre
Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067…
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Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067 Composed by Nicolae Kirculescu. Arranged by Andrei Lucian Drăgoi. 20th Century,Contemporary,Standards. 3 pages. Andrei-Lucian Dragoi #6188049. Published by Andrei-Lucian Dragoi (A0.913067). Composed for piano and orchestra by: Nicolae Kirculescu (Romanian composer) (1903-1985)
$2.00
1.83 €
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Piano et Orchestre
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Nicolae Kirculescu
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Andrei Lucian Drăgoi
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Kirculescu
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Andrei-Lucian Dragoi
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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
30.22 €
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Piano et Orchestre
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Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
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Bisel Classics - Digital
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SheetMusicPlus
Piano Concerto No. 1 Eb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4496. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4496). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.83 €
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Piano et Orchestre
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Franz Liszt
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Piano Concerto No. 1 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto No. 2
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4499 Bb major. Composed by J…
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Piano and orchestra - Digital Download SKU: S9.Q4499 Bb major. Composed by Johannes Brahms. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 83. Ernst Eulenburg & Co. GmbH - Digital #Q4499. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4499). Key: B flat major. German • English • French.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.83 €
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Piano et Orchestre
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Johannes Brahms
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Piano Concerto No. 2
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto A minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q12481 Composed by Edvard Grieg. Thi…
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Piano and orchestra - Digital Download SKU: S9.Q12481 Composed by Edvard Grieg. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 16. Duration 30 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q12481. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12481). Key: A minor. German • English • French.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.83 €
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Piano et Orchestre
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Edvard Grieg
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Piano Concerto A minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto No. 2 A major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4502 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4502 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 15 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4502. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4502). Key: A major. German • English.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$15.99
14.67 €
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Piano et Orchestre
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Franz Liszt
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Piano Concerto No. 2 A major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
VARIANTS (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057960 Composed by Jordan Grigg. Contemporary,Standards. Full Performance. Duration 413. Jordan Grigg #3628987. Published by Jordan Grigg (A0.1057960).
$1.99
1.83 €
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Piano et Orchestre
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Jordan Grigg
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VARIANTS
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Jordan Grigg
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SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057446 Composed by Jordan Grigg. 20th Century,Concert,Instructional,Standards. Full Performance. Duration 222. Jordan Grigg #3464809. Published by Jordan Grigg (A0.1057446).
$2.99
2.74 €
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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
Fantasy for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058105 Composed by Jordan Grigg. Concert,Contemporary,Instructional,Standards. Full Performance. Duration 376. Jordan Grigg #5360293. Published by Jordan Grigg (A0.1058105).
$2.99
2.74 €
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Piano et Orchestre
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Jordan Grigg
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Fantasy for Piano and Orchestra
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Jordan Grigg
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SheetMusicPlus
Elegy for Piano and Orchestra MP3
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violi…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1056809 Composed by Jordan Grigg. Concert,Contemporary,Standards. Full Performance. Duration 389. Jordan Grigg #3093137. Published by Jordan Grigg (A0.1056809).
$3.99
3.66 €
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Piano et Orchestre
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Jordan Grigg
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Elegy for Piano and Orchestra MP3
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Jordan Grigg
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SheetMusicPlus
Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Vi…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.981544 Composed by Helios D'Andrea. Classical. Score and parts. 12 pages. D'Andrea Helios #6574203. Published by D'Andrea Helios (A0.981544).
$10.00
9.17 €
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Piano et Orchestre
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Helios D'Andrea
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Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
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D'Andrea Helios
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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
14.63 €
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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
Piano Concerto No. 19 F major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by …
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Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by the composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst eulenburg - orchestra - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 30 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4521. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4521). Key: F major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.83 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Piano Concerto No. 19 F major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto A minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21382 Composed by Robert Schumann. …
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Piano and orchestra - Digital Download SKU: S9.Q21382 Composed by Robert Schumann. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 54. Ernst Eulenburg & Co. GmbH - Digital #Q21382. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21382). Key: A minor.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$16.99
15.58 €
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Piano et Orchestre
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Robert Schumann
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Piano Concerto A minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Third Piano Concerto in E minor
Piano et Orchestre
Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minute…
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Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minutes. Zimmermann #Q564179. Published by Zimmermann
$19.99
18.33 €
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Piano et Orchestre
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Nikolai Medtner
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Third Piano Concerto in E minor
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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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Gyorgy Ligeti (1923-2006)
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Piano Concerto ... Mozartiana (2007) for piano solo and chamber orchestra
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Perio…
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Period, 20th Century, 21st Century. Advanced Intermediate. Score. 2 Flute (2. also piccolo) 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French horns 2 Trumpets in Bb 2 Tromb
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Thomas Oboe Lee
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Piano Concerto ... Mozartiana
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