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--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
A Pop
Non classifié
16 108
Piano & claviers
Piano seul
13 979
Piano, Voix et Guitare
7 540
Piano, Voix
7 257
Piano Facile
5 516
Instruments en Do
1 741
Piano grosses notes
1 489
Orgue
762
Accompagnement Piano
676
1 Piano, 4 mains
315
Piano Trio: piano, violon, violoncelle
162
Accordéon
145
Piano (partie séparée)
97
2 Pianos, 4 mains
65
Piano Quatuor: piano, 2 violons, violoncelle
61
Piano Quatuor: piano, violon, alto, violoncelle
58
Clavier
40
Piano Quintette: piano, 2 violons, alto, violoncelle
31
Orgue, Piano (duo)
11
Clavecin
9
1 Piano, 6 mains
8
Accordéon, Voix
7
2 Pianos, 8 mains
5
Orgue, Trompette (duo)
5
Ligne De Mélodie, Piano
5
Instrument seul et Orgue
4
Ensemble de Pianos
1
Ensemble d'Accordéons
1
Orgue et Orchestre
1
Orgue, Voix
1
Fake Book
1
+ 25 instrumentations
Retracter
Guitares
Guitare notes et tablatures
3 123
Ligne De Mélodie, (Paroles) et Accords
1 531
Guitare
1 269
Basse electrique
1 049
Ukulele
980
Paroles et Accords
963
Mandoline
279
Piano, Guitare (duo)
171
Dulcimer
103
Guitare (partie séparée)
91
2 Guitares (duo)
78
Banjo
64
4 Guitares (Quatuor)
40
Ensemble de guitares
20
3 Guitares (trio)
17
Basse électrique (partie séparée)
12
Ukulele Baryton
10
Ensemble de Ukulélés
7
Mandoline, Guitare (duo)
2
2 Ukuleles
2
2 Mandolines (duo)
2
Dobro
2
Guitare, Violon, Violoncelle (trio)
2
Guitare, Flûte, Clarinette
2
Cithare
1
2 Dulcimers (duo)
1
+ 21 instrumentations
Retracter
Voix
Chorale SATB
7 131
Chorale 3 parties
3 102
Chorale TTBB
2 222
Chorale SSAA
1 810
Chorale 2 parties
1 629
Pack Instrumental pour Chorale
1 076
Voix duo, Piano
418
Chorale
417
Chorale Unison
353
Voix seule
191
Voix duo
184
Voix Alto, Piano
141
Voix Tenor, Piano
113
Voix Soprano, Piano
112
Voix Baryton, Piano
80
Voix haute
48
Voix Tenor
40
Chorale SSATBB
34
Voix Soprano
28
Voix basse, Piano
27
Chorale SSAB a cappella
26
Voix moyenne, Piano
11
Chorale SSAB, Piano
11
Voix basse
8
Chorale SSAATTBB
8
Chorale SSATB
7
Chorale SATTB
3
Voix, Guitare
3
Chorale SSAATB A Cappella
3
Chorale SSAATB
3
Chorale SAATB A Cappella
2
Chorale SATTBB, Clavier
2
Voix Mezzo-Soprano, Piano
2
Male Voice
1
Soli, choeur mixte et accompagnement
1
Chorale SATTBB A Cappella
1
Chorale SSATTB
1
Voix Baryton
1
+ 33 instrumentations
Retracter
Vents
Flûte traversière
1 553
Quatuor de Saxophones: 4 saxophones
1 324
Clarinette
1 280
Flûte traversière et Piano
1 246
Saxophone (partie séparée)
1 146
Clarinette et Piano
1 146
Saxophone Alto
1 144
Saxophone Tenor
1 023
Hautbois, Piano (duo)
995
Saxophone Alto et Piano
943
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
881
Flûte, Hautbois, Clarinette, Basson
838
Saxophone Tenor et Piano
817
2 Saxophones (duo)
809
Saxophone
724
Hautbois (partie séparée)
550
2 Flûtes traversières (duo)
550
2 Clarinettes (duo)
544
Quatuor de Clarinettes: 4 clarinettes
543
Quintette de Saxophone: 5 saxophones
525
Saxophone Soprano et Piano
505
Flûte à bec Soprano
267
Saxophone Baryton, Piano
251
Flûte à bec Alto
240
Flûte, Clarinette (duo)
237
Quatuor de Flûtes : 4 flûtes
212
3 Saxophones (trio)
207
Hautbois
182
Harmonica
181
Ensemble de saxophones
179
3 Clarinettes (trio)
169
2 Hautbois (duo)
167
Ensemble de Clarinettes
160
Quintette de Clarinettes: 5 clarinettes
148
Saxophone Soprano
147
2 Flûte à bec (duo)
138
Saxophone, Clarinette (duo)
136
Clarinette (partie séparée)
133
Trio de Flûtes: 3 flûtes
126
Clarinette, Violon (duo)
118
Ensemble de Flûtes
111
Cor anglais, Piano
107
Hautbois, Clarinette (duo)
100
Flûte et Guitare
99
Flûte à Bec
99
Flûte, Violon
84
Hautbois, Basson (duo)
84
Clarinette, Trompette (duo)
84
Flute (partie séparée)
69
Quintette de Flûte : 5 flûtes
66
Cor Anglais
64
Flûte, Hautbois, Clarinette (trio)
64
Clarinette Basse, Piano
61
Saxophone Baryton
56
Hautbois, Flûte
55
Ensemble De Flûte à bec
54
Flûte, Clarinette et Basson
49
Hautbois, Clarinette, Basson (trio d'anches)
48
Flûte, Saxophone (duo)
47
Flûte, Trompette (duo)
46
Flûte, Hautbois (duo)
45
Flûte, Violon, Piano
45
Clarinette et Alto
45
Flûte, Alto (duo)
41
Clarinette, Basson (duo)
37
Quatuor de Flûtes à bec
33
Flûte, Violoncelle
26
Flûte, Hautbois, Basson
26
Flûte à bec Tenor
24
Flûte, Violon et Violoncelle
23
Ocarina
23
2 Clarinettes, Piano
21
2 Flûtes traversières, Piano
21
Piccolo
19
Clarinette, Violoncelle (duo)
18
Clarinette, Violoncelle, Piano (trio)
17
Flûte, Clarinette, Violon (trio)
17
Clarinette, Guitare (duo)
16
Hautbois, violon (duo)
15
Flûte, Clarinette, Piano (trio)
15
Hautbois, Guitare (duo)
14
Flûte, Clarinette, Cor, Basson (Quartet)
14
Hautbois, Violoncelle
13
Flûte, Hautbois, Piano (trio)
13
Instruments en Mib
12
Flûte, Basson et Piano
12
Flûte à bec Alto, Piano
12
Flûte, Trombone (duo)
12
Flûte irlandaise
11
Flûte, Violoncelle, Piano (trio)
11
5 Flûtes à bec
11
Flûte, Alto et Piano
9
Clarinette, Harpe (duo)
9
2 Saxophones, Piano
9
Flûte, Hautbois, Violon
8
Hautbois, Trompette (duo)
8
Clarinette, Basson, Piano (trio)
8
Saxophone, Violon (duo)
8
Flûte à bec Soprano, Piano
8
2 Clarinettes, Basson
8
3 Flûtes à bec (trio)
7
Hautbois et alto (duo)
7
Flute, harpe et violon
5
Clarinette Basse
5
Flûte, Violon, Violoncelle et Piano
5
Flûte à Bec, Piano
5
Flute, Cor (duo)
5
Saxophone et Piano
5
Flûte, trombone et piano
5
Hautbois, Clarinette et Piano (Trio)
4
Hautbois, Violoncelle et Piano
4
Piccolo, Piano
4
Flûte à bec, Guitare (duo)
3
Clarinette, Alto et Piano (trio)
3
Clarinette, Trombone (duo)
3
Clarinette, trompette et piano
3
Saxophone et Orgue
3
Hautbois, Harpe
3
3 Hautbois
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Hautbois, Violon, Piano
2
Flûte, Violoncelle, Guitare
2
Saxophone et Guitare
2
Saxophone et Harpe
2
Flûte et Trio à cordes
2
2 Flûtes à bec, Piano
2
Cornemuse
2
Flûte de Pan
2
2 Hautbois, Piano
2
2 Flûtes traversières, Harpe
1
Cor anglais et Harpe (duo)
1
4 Hautbois
1
2 Hautbois, 2 Cors et 2 Bassons
1
Hautbois, Basson et Piano
1
Flûte et Quatuor à Cordes
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Saxophone et violoncelle
1
Flûte traversière, Orgue (duo)
1
Clarinette, Orgue
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Contrebasse (duo)
1
Flûte, Violon, Guitare
1
Flûte, Tuba (duo)
1
Saxophone, Basson (duo)
1
Harmonica, Piano
1
Flûte, Harpe et Violoncelle
1
Flûte à bec Alto, Basse continue
1
+ 142 instrumentations
Retracter
Cuivres
Trompette
1 493
Trombone
1 175
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1 042
Trombone et Piano
919
Trompette, Piano
873
Quatuor de Cuivres : 2 trompettes, trombone, tuba
734
Cor
681
Cor et Piano
566
Trompette (partie séparée)
536
Tuba
400
Quatuor de Cuivres
332
Quatuor de Cuivres: 2 trompettes, Cor, trombone
307
Trombone (partie séparée)
293
Tuba et Piano
288
2 Trompettes (duo)
259
2 Trombones (duo)
251
2 Cors (duo)
161
Euphonium
141
Trompette, Trombone (duo)
122
Trompette, Saxophone (duo)
115
Euphonium, Piano (duo)
112
Cor anglais, Piano
107
Quatuor de cuivres: 4 trombones
73
2 Euphoniums et 2 Tubas
73
Cor Anglais
64
Cor (partie séparée)
60
2 Tubas (duo)
57
Trompette, Cor (duo)
56
Ensemble de Trombones
43
Tuba (partie séparée)
39
Quatuor de cuivres: 4 cors
36
Trio de Cuivres
35
4 Tubas
32
3 Trombones (trio)
19
Quatuor de cuivres: 2 trompettes, 2 trombones
19
Quatuor de cuivres: 4 trompettes
19
Bass Clef Instruments
18
Instruments en Sib
16
Ensemble de Trompettes
14
Trombone, Cor (duo)
13
3 Trompettes (trio)
13
Cor, Tuba (duo)
12
Ensemble de Cors
12
Trompette, Violoncelle et Piano
10
Trompette, Tuba (duo)
10
Euphonium, Tuba (duo)
9
Tuba et Orgue
9
Trompette, violon (duo)
9
Trombone, violoncelle (duo)
8
Trombone basse
8
Trombone, Orgue
7
Trombone, Tuba (duo)
7
Trompette, Harpe
6
2 Trompettes, Clavier (piano ou orgue)
6
Trompette, Trombone, Piano
5
Clarinette, Cor (duo)
5
Trombone basse et Piano
5
Trompette, Basson (duo)
4
2 Euphoniums (duo)
4
Tuba ou Euphonium ou Saxhorn
4
Cor et Harpe
4
2 Cors, Piano
3
3 Cors (trio)
3
Cor, Violoncelle (duo)
3
3 Tubas (trio)
2
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Ensemble de Tubas
1
Cornet et Piano
1
Trompette, Violoncelle (duo)
1
Cor et Orgue
1
2 Cors Anglais Et Pianoforte
1
2 Trombones, Piano
1
Trombone et orchestre
1
+ 69 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
3 933
Violon
1 850
Violon et Piano
1 440
Violoncelle
1 395
Violoncelle, Piano
1 124
Alto, Piano
1 094
Alto seul
853
Violon, Violoncelle (duo)
778
Trio à Cordes: violon, alto, violoncelle
742
2 Violons (duo)
462
Harpe
462
Quintette à cordes: 2 violons, alto, violoncelle, basse
460
Trio à Cordes: 2 violons, violoncelle
329
Contre Basse
317
2 Violoncelles (duo)
309
Contrebasse, Piano (duo)
272
Alto (partie séparée)
228
Violon, Alto (duo)
213
2 Altos (duo)
204
Contrebasse (partie séparée)
199
Violon (partie séparée)
144
Piano Trio: Violon, Alto, Piano
104
4 Violoncelles
77
Alto, Violoncelle (duo)
70
Trio à cordes: 3 violins
53
Violon, Guitare (duo)
48
2 Contrebasses (duo)
43
Quintette à cordes: 2 violons, 2 altos, violoncelle
34
Trio à Cordes: 3 violoncelles
33
Violoncelle (partie séparée)
32
Trio à Cordes: 2 violons, alto
32
2 Harpes (duo)
26
Quintette à cordes : 2 violons, alto et 2 violoncelles
23
Violon, Basson (duo)
22
Quatuor à cordes: 4 violons
22
Violoncelle, Contrebasse (duo)
18
Harpe, Flûte (duo)
17
Violoncelle , Guitare (duo)
17
Trio à cordes: 3 altos
16
Harpe, Violon (duo)
14
Alto, Guitare (duo)
14
Quatuor à cordes : 4 altos
14
Ensemble de Violons
11
Harpe, Voix
9
Violon, Clarinette, Piano (trio)
8
2 Violons, Piano
8
2 Violoncelles, Piano
6
Ensemble d'Altos
5
Harpe, Violon, Violoncelle
5
Ensemble de Violoncelles
4
3 Harpes
3
Alto et Harpe
3
Autoharp
3
4 Contrebasses
2
Alto et Basson
2
Harpe, Violoncelle (duo)
2
Violoncelle, Orgue
2
Harpe et Piano
2
Flûte, Contrebasse (duo)
2
Trio à cordes
1
Violon, Basse continue
1
Violon, Orgue
1
Harpe, Trombone (duo)
1
Alto, Orgue
1
2 Altos, Piano
1
Violon, Tuba (duo)
1
Violoncelle, Orchestre
1
Harpe et Orgue
1
+ 63 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
3 613
Ensemble Jazz
1 179
Fanfare
1 111
Orchestre
1 055
Orchestre à Cordes
879
Batterie
844
Ensemble de cuivres
647
Jazz combo
336
Cloches
323
Orchestre de chambre
246
Batterie (partie séparée)
118
Ensemble de Percussions
93
Percussion (partie séparée)
93
Marimba
35
Xylophone
33
Vibraphone
26
Percussion
21
Xylophone, Piano
17
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
14
Quintette de Cuivres: autres combinaisons
9
Big band
9
Timbales (partie séparée)
8
2 Xylophones
5
Piano et Orchestre
5
Xylophone (partie séparée)
4
3 Marimbas
4
Vibraphone (partie séparée)
3
Xylophone ou Marimba ou Vibraphone
3
Timbales
3
Instrumentation Flexible
2
Vibraphone et Marimba
2
Caisse Claire
2
Cajon
2
Quintette à Vent
1
2 Marimbas
1
Marimba, Piano (duo)
1
Voix et Orchestre
1
+ 32 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
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
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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ORGUE
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PIANO
SAXOPHONE
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
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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…
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A Pop
Piano et Orchestre
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1
Concerto No. 23 A major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21388. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21388). Key: A major. German • English.Mozart’s Piano Concerto in A major is one of his most popular and frequently performed works. The four movements are characterised by contrast: simple and clear, melancholy and insistent, powerful and playful, and a grand finale.
$12.99
11.98 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Concerto No. 23 A major
#
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)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.12 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.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
138.29 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
184.38 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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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
115.24 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
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