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PARTITIONS GRATUITES
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ACCORDEON
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AUTRES INST…
BALALAIKA
BANJO
BASSE
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
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OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
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SAXOPHONE
SYNTHE
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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
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
10946
PIANO & CLAVIERS
Piano seul
8404
Piano Facile
5251
Piano, Voix
3597
Piano, Voix et Guitare
1978
Orgue
1153
1 Piano, 4 mains
348
Piano grosses notes
294
2 Pianos, 4 mains
229
Accompagnement Piano
185
Accordéon
152
Piano Trio: piano, violon, violoncelle
119
Instruments en Do
98
Piano Quatuor: piano, 2 violons, violoncelle
50
Piano Quintette: piano, 2 violons, alto, violoncelle
46
Piano Quatuor: piano, violon, alto, violoncelle
45
Clavecin
20
Orgue, Trompette (duo)
15
Clavier
12
2 Pianos, 8 mains
12
Orgue, Piano (duo)
11
1 Piano, 6 mains
11
Piano (partie séparée)
9
Accordéon, Piano
4
2 Accordéons
3
Ensemble d'Accordéons
2
Instrumentations suivantes
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GUITARES
Basse electrique
364
Ukulele
319
Guitare
267
Guitare notes et tablatures
162
2 Guitares (duo)
159
Piano, Guitare (duo)
95
Ligne De Mélodie, (Paroles) et Accords
64
4 Guitares (Quatuor)
31
Mandoline
26
Guitare (partie séparée)
24
Ensemble de guitares
19
Banjo
15
3 Guitares (trio)
13
2 Ukuleles
6
Mandoline, Guitare (duo)
4
Dulcimer
3
Basse électrique (partie séparée)
3
Paroles et Accords
2
2 Dulcimers (duo)
1
2 Mandolines (duo)
1
Instrumentations suivantes
Retracter
VOIX
Chorale 2 parties
1344
Chorale SATB
939
Chorale 3 parties
513
Chorale Unison
339
Voix duo, Piano
254
Voix seule
145
Voix duo
87
Chorale TTBB
74
Chorale
61
Chorale SSAA
38
Voix Soprano, Piano
22
Chorale SSAATTBB
4
Voix Tenor, Piano
4
Voix haute
4
Voix moyenne, Piano
3
Soli, choeur mixte et accompagnement
3
Voix basse
3
Chorale SSATTB
3
Chorale SSATB
2
Voix, Guitare
2
Voix Tenor
2
Voix Baryton
1
Voix basse, Piano
1
Voix Alto, Piano
1
Instrumentations suivantes
Retracter
VENTS
2 Saxophones (duo)
2141
2 Flûtes traversières (duo)
1333
Flûte traversière et Piano
1287
2 Clarinettes (duo)
1259
Clarinette et Piano
924
Saxophone Alto et Piano
766
Hautbois, Piano (duo)
747
Saxophone Tenor et Piano
605
Saxophone
595
Clarinette
525
Saxophone Soprano et Piano
506
2 Hautbois (duo)
506
Flûte traversière
387
Flûte, Hautbois, Clarinette, Basson
384
Quatuor de Saxophones: 4 saxophones
363
Quatuor de Clarinettes: 4 clarinettes
344
2 Flûte à bec (duo)
282
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
276
Saxophone Baryton, Piano
276
Saxophone (partie séparée)
243
Quintette de Saxophone: 5 saxophones
211
Harmonica
211
Flûte, Clarinette (duo)
162
Cor anglais, Piano
151
Quatuor de Flûtes : 4 flûtes
106
Saxophone Alto
101
Flûte et Guitare
97
3 Clarinettes (trio)
97
Ensemble de Flûtes
90
Hautbois, Basson (duo)
84
3 Saxophones (trio)
83
Saxophone, Clarinette (duo)
81
Trio de Flûtes: 3 flûtes
77
Ensemble de saxophones
76
Clarinette, Violon (duo)
75
Ensemble de Clarinettes
74
Hautbois (partie séparée)
74
Clarinette (partie séparée)
73
Quintette de Clarinettes: 5 clarinettes
64
Clarinette Basse, Piano
59
2 Flûtes traversières, Piano
58
Hautbois, Clarinette (duo)
56
Quatuor de Flûtes à bec
56
Clarinette, Basson (duo)
48
Clarinette, Trompette (duo)
47
Flûte, Violon
47
Hautbois, Flûte
46
Hautbois
38
Clarinette et Alto
36
Flûte à Bec
36
2 Saxophones, Piano
33
Flûte, Violoncelle
33
Flûte, Alto (duo)
32
Saxophone Tenor
31
Quintette de Flûte : 5 flûtes
31
Flûte, Trompette (duo)
29
2 Clarinettes, Piano
28
Flute (partie séparée)
28
3 Flûtes à bec (trio)
27
Flûte, Saxophone (duo)
27
Flûte à bec Soprano
24
Clarinette, Guitare (duo)
24
Clarinette, Violoncelle (duo)
21
Flûte à Bec, Piano
19
Flûte à bec Soprano, Piano
17
Saxophone Baryton
17
Piccolo, Piano
17
Flûte, Clarinette et Basson
17
Cor Anglais
17
Flûte, Hautbois, Clarinette (trio)
16
Saxophone Soprano
16
Hautbois, Violoncelle
15
Flûte à bec Alto
15
Flûte, Violon, Piano
15
Flûte, Trombone (duo)
14
Flûte à bec Alto, Piano
13
Clarinette, Trombone (duo)
13
Hautbois, Clarinette, Basson (trio d'anches)
13
Flûte, Violoncelle, Piano (trio)
12
Flûte, Violon et Violoncelle
12
Hautbois, Guitare (duo)
12
Saxophone et Orgue
11
Flûte à bec Tenor
11
Flûte, Clarinette, Cor, Basson (Quartet)
11
Flûte, Clarinette, Piano (trio)
11
Saxophone et Guitare
11
Flûte, Hautbois (duo)
10
5 Flûtes à bec
10
Flûte, Violon, Violoncelle et Piano
9
Hautbois et alto (duo)
9
2 Cors Anglais Et Pianoforte
8
Flûte, Tuba (duo)
8
Flûte, Basson et Piano
8
2 Hautbois, Piano
7
Clarinette, Harpe (duo)
6
Flute, harpe et violon
6
Flûte, Hautbois, Basson
6
Clarinette, Tuba
6
Flûte, Harpe et Violoncelle
5
Cor anglais, Guitare (duo)
5
Quintette de Clarinette: Clarinette, Quatuor à Cordes
5
Clarinette, Orgue
5
Ensemble à vent
5
Hautbois, trombone (duo)
4
Ensemble De Flûte à bec
4
Piccolo
4
Flûte et Trio à cordes
4
2 Flûtes à bec, Piano
4
Flûte traversière, Orgue (duo)
3
Hautbois, Harpe
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Flûte, Clarinette, Violon (trio)
2
2 Clarinettes, Basson
2
Clarinette, Orchestre
2
Ocarina
2
4 Hautbois
2
Flûte, Violoncelle, Guitare
2
Cornemuse
2
Flûte, Hautbois, Piano (trio)
1
Cor anglais et Harpe (duo)
1
Clarinette, Contrebasse (duo)
1
Flûte à bec Alto, Basse continue
1
Ensemble de Hautbois
1
2 Hautbois et Basson
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Alto et Piano
1
Saxophone et Harpe
1
Flûte à bec, Guitare (duo)
1
3 Hautbois
1
2 Hautbois, 2 Cors et 2 Bassons
1
Flûte irlandaise
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois, violon (duo)
1
2 Flûtes, 2 Clarinettes (Quatuor)
1
2 Flûtes à bec, Guitare
1
Hautbois, Violoncelle et Piano
1
Hautbois, Violon, Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1455
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1419
Trombone et Piano
729
Trompette, Piano
718
2 Trompettes (duo)
682
2 Trombones (duo)
650
Cor et Piano
562
Trompette
412
2 Cors (duo)
373
Quatuor de Cuivres: 2 trompettes, Cor, trombone
368
Tuba et Piano
316
Trombone
301
Cor anglais, Piano
151
Trombone (partie séparée)
149
Euphonium, Piano (duo)
148
Trompette (partie séparée)
136
Quatuor de Cuivres
104
2 Tubas (duo)
90
Cor
87
Trompette, Trombone (duo)
75
Tuba
73
Trompette, Saxophone (duo)
72
Cor (partie séparée)
71
Quatuor de cuivres: 4 trombones
61
Ensemble de Trombones
47
Trompette, Cor (duo)
47
2 Euphoniums et 2 Tubas
36
Quatuor de cuivres: 4 cors
34
Tuba (partie séparée)
24
2 Euphoniums (duo)
23
Trio de Cuivres
19
Cor Anglais
17
Trombone, Orgue
16
2 Trompettes, Clavier (piano ou orgue)
16
3 Trompettes (trio)
16
Quatuor de cuivres: 4 trompettes
15
3 Trombones (trio)
14
Euphonium
14
4 Tubas
13
Ensemble de Trompettes
12
Trompette, Tuba (duo)
11
Cor, Trompette, Trombone (trio)
10
Euphonium, Tuba (duo)
9
Quatuor de cuivres: 2 trompettes, 2 trombones
9
Trombone, Tuba (duo)
8
2 Cors Anglais Et Pianoforte
8
Trombone, Violon (duo)
8
Trombone basse et Piano
8
2 Cors, Piano
6
Ensemble de Cors
5
Tuba et Orgue
5
Cor anglais, Guitare (duo)
5
Trombone et orchestre
4
3 Cors (trio)
4
Cor et Orgue
4
Cor et Harpe
4
Trombone basse
3
Cor, Tuba (duo)
3
3 Euphoniums
3
Clarinette, Cor (duo)
2
Cor, Violoncelle (duo)
2
Trompette, Harpe
2
Trompette, Trombone, Piano
2
Instruments en Sib
2
3 Tubas (trio)
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Cor, Orchestre
1
Cor et Basson (duo)
1
Cor anglais et Harpe (duo)
1
Trompette et Guitare
1
Ensemble de Tubas
1
Cornet et orchestre
1
2 Trombones, Piano
1
Trompette, violon (duo)
1
Trombone, Cor (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
5234
Violoncelle, Piano
992
2 Violoncelles (duo)
928
Alto, Piano
910
2 Altos (duo)
699
Violon et Piano
643
2 Violons (duo)
558
Violon, Violoncelle (duo)
547
Trio à Cordes: violon, alto, violoncelle
531
Violon
505
Harpe
446
Quintette à cordes: 2 violons, alto, violoncelle, basse
369
Contrebasse, Piano (duo)
256
Trio à Cordes: 2 violons, violoncelle
224
Violon, Alto (duo)
224
2 Harpes (duo)
204
Alto seul
198
Violoncelle
152
Violoncelle (partie séparée)
116
Alto, Violoncelle (duo)
100
Contre Basse
92
4 Violoncelles
76
Piano Trio: Violon, Alto, Piano
63
Violon (partie séparée)
61
2 Contrebasses (duo)
58
Trio à Cordes: 2 violons, alto
49
Violon, Guitare (duo)
45
Trio à cordes: 3 violins
40
Alto (partie séparée)
35
Contrebasse (partie séparée)
30
Trio à Cordes: 3 violoncelles
30
Violoncelle, Contrebasse (duo)
29
Quatuor à cordes: 4 violons
28
Quintette à cordes: 2 violons, 2 altos, violoncelle
28
Violoncelle , Guitare (duo)
24
Harpe, Flûte (duo)
19
2 Violons, Piano
17
Harpe, Violon (duo)
15
Violon, Basson (duo)
13
Quintette à cordes : 2 violons, alto et 2 violoncelles
13
Harpe, Violoncelle (duo)
9
Trio à cordes: 3 altos
9
Alto, Guitare (duo)
9
Quatuor à cordes : 4 altos
9
Alto et Harpe
8
Violon, Tuba (duo)
8
2 Violoncelles, Piano
7
Flûte, Contrebasse (duo)
6
Harpe, Voix
6
Violoncelle, Orgue
5
Violoncelle, Orchestre
5
Trio à cordes
3
2 Altos, Piano
3
3 Harpes
2
Alto, Orgue
2
5 Harpes
2
Harpe (partie séparée)
2
Violon, Clarinette, Piano (trio)
2
Violoncelle, Basse continue
1
Ensemble de Violons
1
Harpe, Violon, Violoncelle
1
Violon, Orgue
1
4 Contrebasses
1
Ensemble d'Altos
1
Harpe et Piano
1
Alto et Basson
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2497
Orchestre à Cordes
1125
Cloches
1034
Orchestre
891
Ensemble de cuivres
637
Ensemble Jazz
616
Orchestre de chambre
380
Jazz combo
345
Batterie
343
Fanfare
177
Ensemble de Percussions
163
Percussion (partie séparée)
78
Batterie (partie séparée)
26
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
14
Piano et Orchestre
6
Instrumentation Flexible
6
Ensemble d'École
5
Orchestre, Violon
5
Vibraphone et Marimba
4
Percussion
3
Marimba
2
Timbales (partie séparée)
1
2 Caisses Claires (duo)
1
Xylophone, Piano
1
2 Xylophones
1
2 Marimbas
1
Quintette de Cuivres: autres combinaisons
1
Xylophone ou Marimba ou Vibraphone
1
Marimba, Piano (duo)
1
Xylophone
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
4
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Piano et Orchestre
Partitions à imprimer
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1
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
12.85 €
#
Piano et Orchestre
#
Johannes Brahms
#
Piano Concerto No. 2
#
Ernst Eulenburg & Co. GmbH - Digital
#
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
14.68 €
#
Piano et Orchestre
#
Franz Liszt
#
Piano Concerto No. 2 A major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 2 B-flat major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4505 Composed by Ludwig van Beethov…
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Piano and orchestra - Digital Download SKU: S9.Q4505 Composed by Ludwig van Beethoven. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 19. Ernst Eulenburg & Co. GmbH - Digital #Q4505. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4505). Key: B 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.
$12.99
11.93 €
#
Piano et Orchestre
#
Ludwig van Beethoven
#
Concerto No. 2 B-flat major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 2 G major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4626 Composed by Peter Ilyich Tchai…
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Piano and orchestra - Digital Download SKU: S9.Q4626 Composed by Peter Ilyich Tchaikovsky. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 44. Duration 44' 0. Ernst Eulenburg & Co. GmbH - Digital #Q4626. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4626). Key: G 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.
$18.99
17.44 €
#
Piano et Orchestre
#
Peter Ilyich Tchaikovsky
#
Concerto No. 2 G major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 2 D minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21394 Composed by Felix Bartholdy M…
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Piano and orchestra - Digital Download SKU: S9.Q21394 Composed by Felix Bartholdy Mendelssohn. This edition: study score. Ernst Eulenburg - Orchestra. Eulenburg Miniature Scores. Downloadable, Study score. Op. 40. Ernst Eulenburg & Co. GmbH - Digital #Q21394. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21394). Key: D 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.
$11.99
11.01 €
#
Piano et Orchestre
#
Felix Bartholdy Mendelssohn
#
Concerto No. 2 D minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
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)
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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
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