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Tri et filtres :
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Non classifié
22044
PIANO & CLAVIERS
Piano seul
37502
Piano, Voix et Guitare
6833
Piano Facile
6525
Piano, Voix
6120
Piano grosses notes
4095
Orgue
2934
Accordéon
2394
Instruments en Do
1439
1 Piano, 4 mains
842
Accompagnement Piano
537
Piano Trio: piano, violon, violoncelle
205
2 Pianos, 4 mains
134
Piano (partie séparée)
128
Clavier
98
Piano Quatuor: piano, 2 violons, violoncelle
65
Ligne De Mélodie, Piano
64
Instrument seul et Orgue
60
Orgue, Piano (duo)
48
Piano Quatuor: piano, violon, alto, violoncelle
43
1 Piano, 6 mains
34
Orgue, Trompette (duo)
30
Accordéon, Voix
30
Clavecin
28
Orgue, Voix
16
Piano Quintette: piano, 2 violons, alto, violoncelle
15
2 Pianos, 8 mains
3
Tous Les Instruments
2
2 Accordéons
1
2 Orgues (duo)
1
Ensemble de Pianos
1
Instrumentations suivantes
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GUITARES
Guitare
5402
Guitare notes et tablatures
4860
Basse electrique
3798
Ligne De Mélodie, (Paroles) et Accords
2607
Ukulele
1665
Paroles et Accords
824
Piano, Guitare (duo)
184
Guitare (partie séparée)
156
2 Guitares (duo)
111
Banjo
107
Mandoline
62
Ensemble de guitares
57
Dulcimer
48
Ensemble de Ukulélés
34
4 Guitares (Quatuor)
33
3 Guitares (trio)
21
Basse électrique (partie séparée)
11
2 Ukuleles
10
Ukulele Baryton
8
2 Dulcimers (duo)
7
Guitare Pedal Steel
5
Mandoline, Guitare (duo)
2
Guitare, Flûte, Clarinette
2
Guitare, Violon, Violoncelle (trio)
2
Partitions De Groupes
2
2 Mandolines (duo)
1
Orchestre à Plectres
1
3 Dulcimers (trio)
1
Guitare Tab, Voix, Basse, Batterie
1
Guitare, Quatuor à cordes
1
Instrumentations suivantes
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VOIX
Chorale SATB
7290
Voix seule
5868
Chorale 3 parties
3184
Chorale 2 parties
2340
Pack Instrumental pour Chorale
1643
Chorale TTBB
1213
Chorale Unison
943
Voix duo, Piano
600
Chorale SSAA
584
Chorale
500
Voix duo
236
Voix Soprano, Piano
217
Voix Tenor, Piano
159
Voix Alto, Piano
148
Voix haute
144
Voix basse, Piano
78
Voix Baryton, Piano
77
Voix moyenne, Piano
32
Voix Tenor
28
Chorale SSATBB
18
Voix, Guitare
17
Chorale SSATB
16
Chorale SSAATTBB
14
Voix Mezzo-Soprano, Piano
10
Voix basse
10
Chorale SSAB, Piano
10
Chorale SSATTB
10
Voix Soprano
9
Soli, choeur mixte et accompagnement
4
Chorale SSAB a cappella
3
Chorale SSAATB
2
Chorale SATBB
2
Chorale SAATB A Cappella
2
Chorale SATTB
1
Voix haute, Piano
1
Chorale SATTBB A Cappella
1
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VENTS
Saxophone
16632
Flûte traversière
8839
Clarinette
8085
Saxophone Alto
2344
Saxophone Tenor
2088
Flûte traversière et Piano
1710
Saxophone (partie séparée)
1410
Clarinette et Piano
1377
2 Saxophones (duo)
1375
Quatuor de Saxophones: 4 saxophones
1372
Flûte à Bec
1246
Hautbois, Piano (duo)
1199
Saxophone Alto et Piano
1055
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1034
Flûte, Hautbois, Clarinette, Basson
990
Saxophone Tenor et Piano
887
2 Flûtes traversières (duo)
876
Hautbois
867
2 Clarinettes (duo)
698
Clarinette (partie séparée)
693
Quatuor de Clarinettes: 4 clarinettes
687
Saxophone Soprano
670
Hautbois (partie séparée)
544
3 Saxophones (trio)
471
Saxophone Soprano et Piano
465
Flute (partie séparée)
431
Quatuor de Flûtes : 4 flûtes
408
Quintette de Saxophone: 5 saxophones
390
Flûte, Clarinette (duo)
355
3 Clarinettes (trio)
335
Saxophone Baryton, Piano
244
2 Flûte à bec (duo)
240
2 Hautbois (duo)
235
Trio de Flûtes: 3 flûtes
211
Hautbois, Basson (duo)
198
Ensemble de Flûtes
190
Clarinette, Violon (duo)
181
Quintette de Clarinettes: 5 clarinettes
170
Cor anglais, Piano
170
Hautbois, Clarinette (duo)
169
Ensemble de Clarinettes
168
Flûte, Violon, Piano
143
Saxophone, Clarinette (duo)
141
Ensemble de saxophones
140
Flûte, Violon
120
Flûte, Clarinette et Basson
120
Flûte, Hautbois, Clarinette (trio)
113
Clarinette, Trompette (duo)
95
Hautbois, Flûte
93
Flûte à bec Soprano
87
Clarinette, Basson (duo)
84
Flûte, Violoncelle
81
Clarinette Basse, Piano
79
Flûte, Hautbois, Basson
79
Flûte, Alto (duo)
78
Flûte et Guitare
78
Harmonica
76
Saxophone Baryton
72
Clarinette et Alto
70
Hautbois, Clarinette, Basson (trio d'anches)
69
Flûte, Trompette (duo)
66
Flûte, Saxophone (duo)
63
Quintette de Flûte : 5 flûtes
61
Flûte, Hautbois (duo)
60
Quatuor de Flûtes à bec
50
Flûte, Violon et Violoncelle
49
Flûte à bec Alto
48
Instruments en Mib
47
Flûte, Clarinette, Piano (trio)
46
Hautbois, Violoncelle
46
Hautbois, violon (duo)
45
Clarinette, Violoncelle (duo)
44
Cor Anglais
42
Clarinette, Harpe (duo)
42
2 Flûtes traversières, Piano
38
2 Clarinettes, Piano
37
Flûte, Trombone (duo)
34
Ocarina
32
Flûte, Basson et Piano
30
Hautbois, Harpe
29
Flûte, Hautbois, Piano (trio)
29
Flûte, Violoncelle, Piano (trio)
28
Clarinette, Violoncelle, Piano (trio)
28
Piccolo
26
Saxophone et Harpe
26
Clarinette, Guitare (duo)
25
Clarinette, Trombone (duo)
25
2 Saxophones, Piano
24
Hautbois et alto (duo)
23
Ensemble De Flûte à bec
22
3 Hautbois
21
Clarinette Basse
20
Flûte, Alto et Piano
19
Piccolo, Piano
19
Clarinette, Tuba
18
Flûte à bec Tenor
18
Hautbois, trombone (duo)
18
Saxophone et Orgue
16
Flûte, Tuba (duo)
16
Flûte à bec Alto, Piano
15
Flûte, Violon, Violoncelle et Piano
14
3 Flûtes à bec (trio)
14
2 Clarinettes, Basson
13
Flûte, trombone et piano
13
Flûte à bec Soprano, Piano
12
Hautbois, Guitare (duo)
10
4 Hautbois
9
Saxophone et Guitare
9
Clarinette, Alto et Piano (trio)
9
5 Flûtes à bec
8
Saxophone, Tuba (duo)
8
Flûte à Bec, Piano
8
Clarinette, trompette et piano
8
Clarinette, Basson, Piano (trio)
8
Flûte, Hautbois, Violon
7
Saxophone, Basson (duo)
6
Harmonica, Piano
4
Flute, Cor (duo)
4
Saxophone et violoncelle
4
Flûte, Clarinette, Violon (trio)
4
Ensemble à vent
4
Flûte traversière, Orgue (duo)
4
2 Hautbois et Basson
3
Clarinette, Orgue
3
Hautbois, Trompette (duo)
3
Clarinette, Contrebasse (duo)
3
Flûte et Trio à cordes
3
Flûte irlandaise
3
Flûte, Harpe et Violoncelle
3
Flûte, Violoncelle, Guitare
3
Saxophone, Violon (duo)
3
Flûte de Pan
2
Flute, harpe et violon
2
Cor anglais et Harpe (duo)
2
2 Flûtes à bec, Piano
2
2 Cors Anglais Et Pianoforte
2
Cornemuse
2
Saxophone et Piano
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Hautbois, Basson et Piano
2
Ensemble de Hautbois
2
Hautbois, Violon, Piano
2
Clarinette, Orchestre
1
Flûte à bec, Guitare (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Cor anglais, Guitare (duo)
1
Flûte et Quatuor à Cordes
1
Flûte, Alto et Violoncelle
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte, alto et harpe
1
2 Hautbois, Piano
1
Hautbois, Clarinette, Basson et Piano
1
2 Flûtes traversières, Guitare
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte, Guitare, Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
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CUIVRES
Trompette
7485
Trombone
6651
Cor
1314
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1155
Trompette, Piano
1005
Trompette (partie séparée)
991
Trombone et Piano
884
Trombone (partie séparée)
870
Quatuor de Cuivres : 2 trompettes, trombone, tuba
688
Tuba
618
Cor et Piano
595
2 Trompettes (duo)
468
Euphonium
418
2 Trombones (duo)
418
Quatuor de Cuivres
336
Tuba et Piano
315
Cor (partie séparée)
312
Quatuor de Cuivres: 2 trompettes, Cor, trombone
293
Trompette, Trombone (duo)
277
Tuba (partie séparée)
249
2 Cors (duo)
225
Cor anglais, Piano
170
Quatuor de cuivres: 4 trombones
160
Trompette, Saxophone (duo)
129
Bass Clef Instruments
115
Euphonium, Piano (duo)
110
Trio de Cuivres
109
Trompette, Cor (duo)
103
Quatuor de cuivres: 4 cors
92
Trompette, Tuba (duo)
91
2 Tubas (duo)
78
Instruments en Sib
68
Trombone, Tuba (duo)
64
3 Trompettes (trio)
54
2 Euphoniums et 2 Tubas
54
3 Trombones (trio)
50
Quatuor de cuivres: 4 trompettes
47
Ensemble de Trombones
44
Cor Anglais
42
2 Euphoniums (duo)
30
Cor et Harpe
29
Ensemble de Trompettes
28
Trombone, Violon (duo)
27
Trompette, Harpe
24
Trombone, violoncelle (duo)
22
Tuba et Orgue
22
Trombone basse
21
4 Tubas
20
Cor, Tuba (duo)
20
Trombone, Orgue
18
Quatuor de cuivres: 2 trompettes, 2 trombones
18
Trombone, Cor (duo)
17
Ensemble de Cors
16
2 Trompettes, Clavier (piano ou orgue)
15
3 Cors (trio)
14
Euphonium, Tuba (duo)
13
Tuba ou Euphonium ou Saxhorn
12
Cor, Violoncelle (duo)
12
Trompette, Basson (duo)
11
Trompette, Violoncelle (duo)
11
Trombone basse et Piano
10
Trompette, Violoncelle et Piano
9
Clarinette, Cor (duo)
8
Trompette, Trombone, Piano
8
3 Tubas (trio)
7
Cor et Orgue
6
Cor et Basson (duo)
6
Cornet A Pistons
4
4 Euphoniums
4
Trompette, violon (duo)
3
Trombone, Alto (duo)
3
Instruments en Fa
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor anglais et Harpe (duo)
2
2 Cors Anglais Et Pianoforte
2
2 Cors, Piano
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
2
Cor, Trompette, Trombone (trio)
1
Ensemble de Tubas
1
Trompette et Guitare
1
Cornet et Piano
1
Cor anglais, Guitare (duo)
1
Instrumentations suivantes
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CORDES
Violon
5895
Violoncelle
4047
Alto seul
3372
Quatuor à cordes: 2 violons, alto, violoncelle
3346
Violon et Piano
2200
Violoncelle, Piano
1423
Alto, Piano
1302
2 Violons (duo)
893
Violon, Violoncelle (duo)
850
Harpe
834
Violon (partie séparée)
674
Trio à Cordes: violon, alto, violoncelle
599
2 Violoncelles (duo)
599
Contre Basse
513
Violon, Alto (duo)
448
2 Altos (duo)
413
Alto (partie séparée)
347
Contrebasse (partie séparée)
336
Contrebasse, Piano (duo)
297
Quintette à cordes: 2 violons, alto, violoncelle, basse
279
Alto, Violoncelle (duo)
244
Trio à Cordes: 2 violons, violoncelle
226
Violoncelle (partie séparée)
214
2 Harpes (duo)
205
Trio à cordes: 3 violins
145
Piano Trio: Violon, Alto, Piano
103
Trio à Cordes: 3 violoncelles
87
4 Violoncelles
85
Harpe, Flûte (duo)
72
2 Contrebasses (duo)
64
Harpe, Violon (duo)
63
Quatuor à cordes: 4 violons
59
Trio à cordes
56
Violon, Basson (duo)
52
Harpe, Violoncelle (duo)
49
Trio à cordes: 3 altos
44
2 Violons, Piano
41
Quatuor à cordes : 4 altos
38
Trio à Cordes: 2 violons, alto
37
Violon, Guitare (duo)
33
Alto et Harpe
33
Violoncelle, Contrebasse (duo)
32
Violoncelle , Guitare (duo)
28
Violon, Tuba (duo)
23
Quintette à cordes : 2 violons, alto et 2 violoncelles
17
Alto et Basson
15
Harpe, Voix
15
Violon, Clarinette, Piano (trio)
13
Violoncelle, Orgue
13
2 Violoncelles, Piano
12
Alto, Guitare (duo)
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
Flûte, Contrebasse (duo)
10
Ensemble de Violons
9
Harpe, Trombone (duo)
6
Violon, Trompette et Piano
6
4 Harpes
5
Violon, Orgue
5
2 Altos, Piano
4
3 Harpes
4
Harpe (partie séparée)
4
Ensemble d'Altos
4
Harpe et Piano
3
Alto, Orgue
3
Ensemble de Violoncelles
3
Harpe, Violon, Violoncelle
2
Harpe, Orchestre
2
4 Contrebasses
1
Harpe et mandoline
1
Violon, Violoncelle, Clarinette
1
Violoncelle, Orchestre
1
Alto et orchestre
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
6258
Batterie
6057
Orchestre
2918
Orchestre à Cordes
1531
Ensemble Jazz
1135
Cloches
869
Fanfare
691
Ensemble de cuivres
526
Percussion (partie séparée)
481
Orchestre de chambre
265
Percussion
240
Jazz combo
204
Batterie (partie séparée)
143
Ensemble de Percussions
128
Timbales (partie séparée)
76
Marimba
60
Timbales
29
Xylophone
23
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
21
Xylophone, Piano
16
Vibraphone
13
2 Xylophones
5
Quintette de Cuivres: autres combinaisons
5
Piano et Orchestre
5
Big band
4
Vibraphone (partie séparée)
4
Caisse Claire
4
Quintette à Vent
4
Quatuor à Vent : 4 instruments à vents
3
Instrumentation Flexible
2
Voix Mezzo-Soprano, Orchestre
1
Vibraphone et Marimba
1
2 Marimbas
1
Conga
1
3 Marimbas
1
Bongos
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
45
Théorie de la musique
1
Vous avez sélectionné:
DAY BY DAY
Piano et Orchestre
Partitions à imprimer
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)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 €
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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
O Holy Night- Arranged for Piano and String orchestra
Piano et Orchestre
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contem…
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Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contemporary Christian, Spiritual, Sacred, Christmas. Score, Set of Parts. 22 pages. Published by Ognyan Petrov (S0.88877). - Score,Set of Parts - Christian,Contemporary Christian,Spiritual,Sacred,Christmas - Ognyan Petrov
This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.
$19.50
17.88 €
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Piano et Orchestre
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Adolphe-Charles Adam
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Ognyan Petrov
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O Holy Night- Arranged for Piano and String orchestra
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Ognyan Petrov
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SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.72 €
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Piano et Orchestre
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
Good Friday
Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
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Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.66 €
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Piano et Orchestre
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Stephen DeCesare
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Good Friday
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Exultet Music
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SheetMusicPlus
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