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PIANO & CLAVIERS
Piano seul
8237
Piano, Voix
1561
Piano Facile
1414
Orgue
1143
Piano, Voix et Guitare
815
Instruments en Do
507
1 Piano, 4 mains
385
Accompagnement Piano
327
Piano Trio: piano, violon, violoncelle
112
2 Pianos, 4 mains
76
Accordéon
65
Orgue, Trompette (duo)
44
Piano Quatuor: piano, violon, alto, violoncelle
31
Orgue, Piano (duo)
27
Piano (partie séparée)
23
Piano Quatuor: piano, 2 violons, violoncelle
20
Clavecin
20
Piano Quintette: piano, 2 violons, alto, violoncelle
20
Clavier
12
1 Piano, 6 mains
9
2 Pianos, 8 mains
2
2 Accordéons
2
Ensemble de Pianos
1
2 Orgues (duo)
1
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GUITARES
Guitare
727
Guitare notes et tablatures
341
Ligne De Mélodie, (Paroles) et Accords
135
2 Guitares (duo)
132
Ukulele
109
Piano, Guitare (duo)
45
Basse electrique
44
Guitare (partie séparée)
42
3 Guitares (trio)
40
4 Guitares (Quatuor)
34
Mandoline
22
Ensemble de guitares
22
Dulcimer
14
Banjo
14
Paroles et Accords
8
Basse électrique (partie séparée)
7
2 Ukuleles
5
Ukulele Baryton
4
Mandoline, Guitare (duo)
3
Mandoline, Piano (duo)
2
Dobro
1
Ensemble de Ukulélés
1
Guitare, Violon, Violoncelle (trio)
1
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VOIX
Chorale SATB
3123
Chorale 3 parties
1125
Chorale 2 parties
586
Chorale SSAA
471
Chorale TTBB
466
Chorale Unison
254
Voix duo, Piano
120
Voix duo
70
Voix Alto, Piano
55
Voix Tenor, Piano
45
Voix Soprano, Piano
38
Voix Tenor
36
Voix Soprano
24
Chorale
24
Voix moyenne, Piano
19
Voix seule
16
Chorale SSAATTBB
12
Voix haute
12
Chorale SSATB
9
Voix basse, Piano
7
Voix, Guitare
6
Chorale SSATTB
5
Voix Mezzo-Soprano, Piano
4
Male Voice
2
Chorale SSAB a cappella
2
Soli, choeur mixte et accompagnement
2
Chorale SSAB, Piano
2
Chorale SAATB A Cappella
1
Voix Baryton, Piano
1
Chorale SATBB
1
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VENTS
2 Saxophones (duo)
1378
Flûte traversière et Piano
1239
Quatuor de Saxophones: 4 saxophones
1115
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
889
Flûte, Hautbois, Clarinette, Basson
816
Hautbois, Piano (duo)
770
2 Flûtes traversières (duo)
727
2 Clarinettes (duo)
713
Quintette de Saxophone: 5 saxophones
630
Clarinette
567
Clarinette et Piano
546
Saxophone Alto et Piano
512
Saxophone (partie séparée)
507
Saxophone, Clarinette (duo)
446
Flûte traversière
435
Quatuor de Clarinettes: 4 clarinettes
405
Clarinette, Violon (duo)
347
Flûte, Clarinette (duo)
336
Ensemble de saxophones
333
Saxophone Tenor et Piano
316
Saxophone Alto
308
2 Hautbois (duo)
293
Clarinette, Trompette (duo)
271
2 Flûte à bec (duo)
265
Quatuor de Flûtes : 4 flûtes
247
Saxophone Soprano et Piano
239
Hautbois, Basson (duo)
237
Hautbois, Clarinette (duo)
237
Ensemble de Clarinettes
226
3 Clarinettes (trio)
213
Hautbois (partie séparée)
198
3 Saxophones (trio)
194
Flûte, Violon
189
Trio de Flûtes: 3 flûtes
185
Clarinette et Alto
184
Flûte, Alto (duo)
160
Flûte, Saxophone (duo)
160
Saxophone Baryton, Piano
159
Hautbois, Flûte
150
Flûte, Trompette (duo)
135
Cor anglais, Piano
130
Quatuor de Flûtes à bec
118
Hautbois
101
Flûte et Guitare
100
Ensemble de Flûtes
91
Quintette de Flûte : 5 flûtes
90
Flûte à bec Soprano
90
Quintette de Clarinettes: 5 clarinettes
88
Saxophone Tenor
87
Clarinette, Basson (duo)
82
3 Flûtes à bec (trio)
79
Flûte, Clarinette et Basson
75
Flûte, Violoncelle
71
Hautbois, Clarinette, Basson (trio d'anches)
71
Flûte, Hautbois, Clarinette (trio)
67
Ensemble De Flûte à bec
64
Clarinette (partie séparée)
62
Flûte, Clarinette, Piano (trio)
59
Saxophone Baryton
54
Saxophone Soprano
54
Flûte, Violon, Piano
53
Flûte, Hautbois (duo)
52
Clarinette Basse, Piano
50
Clarinette, Violoncelle (duo)
49
Hautbois, Violoncelle
46
Flute (partie séparée)
36
Flûte à Bec
35
5 Flûtes à bec
35
Clarinette, Guitare (duo)
32
Flûte, Hautbois, Basson
32
Cor Anglais
32
Flûte à bec Tenor
30
Hautbois, violon (duo)
29
Hautbois et alto (duo)
26
Flûte à bec Alto
26
2 Clarinettes, Piano
22
Flûte, Violon et Violoncelle
19
Flûte, Clarinette, Cor, Basson (Quartet)
17
4 Hautbois
17
2 Flûtes traversières, Piano
14
Piccolo, Piano
14
2 Saxophones, Piano
14
Harmonica
14
Clarinette, Tuba
14
Flûte, Tuba (duo)
14
Hautbois, trombone (duo)
13
Flûte, Trombone (duo)
13
Flûte à bec Soprano, Piano
12
Clarinette, Trombone (duo)
12
Flûte, Violoncelle, Piano (trio)
12
Flûte à bec Alto, Piano
11
Flûte traversière, Orgue (duo)
11
Flûte, Basson et Piano
11
Clarinette, Harpe (duo)
9
2 Clarinettes, Basson
9
3 Hautbois
8
Clarinette, Contrebasse (duo)
8
Clarinette, Alto et Piano (trio)
8
Clarinette, Violoncelle, Piano (trio)
8
Piccolo
8
Hautbois, Violon, Piano
7
Flûte, Violon, Violoncelle et Piano
7
Saxophone et Orgue
6
Flûte, Alto et Piano
6
Flûte et Trio à cordes
6
Ensemble de Hautbois
6
Flûte à Bec, Piano
6
Saxophone et Guitare
6
Flute, harpe et violon
5
Hautbois, Guitare (duo)
5
Flûte, Hautbois, Piano (trio)
5
Flûte, Hautbois, Violon
4
Saxophone et Harpe
4
Clarinette, Basson, Piano (trio)
4
Flûte irlandaise
3
Flûte, Violoncelle, Guitare
3
Hautbois, Basson et Piano
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Flûte, trombone et piano
3
Flûte, Harpe et Violoncelle
3
2 Flûtes à bec, Piano
3
Hautbois, Harpe
3
Saxophone
2
2 Hautbois, Piano
2
Hautbois, Violoncelle et Piano
2
Flûte, Clarinette, Violon (trio)
2
Flûte, Violon, Guitare
2
Clarinette Basse
2
Ensemble à vent
2
Flûte à bec Soprano, Basse continue
1
Hautbois et Orchestre
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Clarinette, Orgue
1
2 Cors Anglais Et Pianoforte
1
Flûte traversière, Basse continue
1
Clarinette, Saxophone, Piano
1
2 Hautbois et Cor anglais
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Flûte de Pan
1
Clarinette, Orchestre
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2 Flûtes, Basse continue
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Flûte à bec Alto, Basse continue
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1261
Trombone et Piano
570
Trompette
481
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Trombone
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Cor et Piano
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318
Tuba et Piano
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Cor
256
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247
Quatuor de cuivres: 4 trombones
195
Tuba
191
Quatuor de Cuivres
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2 Cors (duo)
177
Ensemble de Trombones
176
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151
Trombone (partie séparée)
143
Trio de Cuivres
142
Cor anglais, Piano
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Ensemble de Trompettes
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2 Tubas (duo)
93
Cor (partie séparée)
61
Quatuor de cuivres: 4 cors
48
Quatuor de cuivres: 4 trompettes
39
Tuba (partie séparée)
39
Trompette, Cor (duo)
35
Cor Anglais
32
Euphonium
31
Ensemble de Cors
28
4 Tubas
27
2 Euphoniums (duo)
26
3 Trombones (trio)
24
Trompette, Tuba (duo)
19
3 Trompettes (trio)
18
Trompette, Violoncelle (duo)
15
Trombone, Tuba (duo)
14
Trombone, Violon (duo)
14
Trompette, Basson (duo)
13
Trombone, Cor (duo)
12
Trombone basse et Piano
12
2 Euphoniums et 2 Tubas
11
3 Cors (trio)
10
Euphonium, Tuba (duo)
8
Cor et Basson (duo)
8
Cor, Violoncelle (duo)
8
Trombone, Orgue
8
Trombone basse
8
Tuba et Orgue
8
3 Tubas (trio)
8
Quatuor de cuivres: 2 trompettes, 2 trombones
7
Trombone et orchestre
6
Trompette, Trombone, Piano
5
Cor, Tuba (duo)
5
Cor et Orgue
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Cor et Harpe
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2 Cors, Piano
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3 Euphoniums
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Clarinette, Cor (duo)
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Trompette, Violoncelle et Piano
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Trompette, violon (duo)
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2 Trompettes, Clavier (piano ou orgue)
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Trompette et Guitare
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Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
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4 Euphoniums
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Trompette, Euphonium (duo)
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Ensemble de Tubas
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2 Cors Anglais Et Pianoforte
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Cornet et orchestre
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2376
Violon et Piano
1406
Harpe
1181
Violon
987
Violoncelle, Piano
680
Alto, Piano
677
Violon, Violoncelle (duo)
642
2 Violons (duo)
566
2 Violoncelles (duo)
468
Trio à Cordes: violon, alto, violoncelle
462
2 Altos (duo)
414
Violon, Alto (duo)
376
Quintette à cordes: 2 violons, alto, violoncelle, basse
349
Alto seul
295
Violoncelle (partie séparée)
271
Violoncelle
195
Contrebasse, Piano (duo)
194
Contre Basse
158
Harpe, Flûte (duo)
118
Alto (partie séparée)
93
Alto, Violoncelle (duo)
82
2 Contrebasses (duo)
79
Violon (partie séparée)
78
Trio à Cordes: 2 violons, violoncelle
72
Trio à cordes: 3 violins
71
2 Harpes (duo)
67
4 Violoncelles
61
Contrebasse (partie séparée)
54
Piano Trio: Violon, Alto, Piano
48
Trio à Cordes: 3 violoncelles
36
Violoncelle, Contrebasse (duo)
35
Violon, Basson (duo)
35
Violoncelle , Guitare (duo)
35
Violon, Guitare (duo)
33
Quatuor à cordes: 4 violons
29
Ensemble de Violons
25
Ensemble d'Altos
24
Quatuor à cordes : 4 altos
21
Trio à Cordes: 2 violons, alto
19
Trio à cordes: 3 altos
17
Alto et Basson
16
Violon, Tuba (duo)
15
Flûte, Contrebasse (duo)
14
Harpe, Violon (duo)
14
Harpe, Voix
11
Violon, Clarinette, Piano (trio)
9
Harpe, Violoncelle (duo)
8
Alto, Guitare (duo)
8
Violon, Orgue
8
Violoncelle, Orgue
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Alto et Harpe
5
2 Violons, Piano
4
Violoncelle, Orchestre
4
4 Harpes
4
Autoharp
3
2 Violoncelles, Piano
3
Alto, Orgue
3
Violon, Violoncelle, Clarinette
3
Ensemble de Violoncelles
3
Harpe, Violon, Violoncelle
2
4 Contrebasses
2
Harpe, Trombone (duo)
1
Harpe et mandoline
1
3 Harpes
1
Trio à cordes
1
2 Altos, Piano
1
Harpe et Piano
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2698
Orchestre à Cordes
935
Cloches
657
Orchestre
561
Ensemble de cuivres
495
Ensemble Jazz
359
Orchestre de chambre
301
Ensemble de Percussions
143
Jazz combo
99
Batterie
88
Fanfare
73
Marimba
51
Percussion (partie séparée)
51
Batterie (partie séparée)
50
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
26
Xylophone, Piano
22
Vibraphone
22
Xylophone
15
Piano et Orchestre
10
Ensemble d'École
4
Instrumentation Flexible
3
Orchestre, Violon
2
Quintette de Cuivres: autres combinaisons
2
Marimba, Piano (duo)
2
Vibraphone et Marimba
2
Big band
2
Percussion
1
Xylophone ou Marimba ou Vibraphone
1
Bongos
1
2 Caisses Claires (duo)
1
2 Marimbas
1
3 Percussions
1
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AUTRES
Formation musicale - Solfège
7
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.13 €
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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
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
24.86 €
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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
Konzert fur Piano und Orchester, Opus 15
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$31.95
29.47 €
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Piano et Orchestre
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Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
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Bisel Classics - Digital
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SheetMusicPlus
VARIANTS (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057960 Composed by Jordan Grigg. Contemporary,Standards. Full Performance. Duration 413. Jordan Grigg #3628987. Published by Jordan Grigg (A0.1057960).
$1.99
1.84 €
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Piano et Orchestre
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Jordan Grigg
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VARIANTS
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Jordan Grigg
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SheetMusicPlus
Fantasia for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069115 Composed by Joseph Hull. Contemporary. Full Performance. Duration 318. Genesis #3514027. Published by Genesis (A0.1069115). This is the third movement from Fantasia for Piano and Orchestra. The full work contains four movements. .
$1.99
1.84 €
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Piano et Orchestre
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Joseph Hull
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Fantasia for Piano and Orchestra
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Genesis
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SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057446 Composed by Jordan Grigg. 20th Century,Concert,Instructional,Standards. Full Performance. Duration 222. Jordan Grigg #3464809. Published by Jordan Grigg (A0.1057446).
$2.99
2.76 €
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Piano et Orchestre
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Jordan Grigg
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Passions
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Jordan Grigg
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SheetMusicPlus
Fantasy for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058105 Composed by Jordan Grigg. Concert,Contemporary,Instructional,Standards. Full Performance. Duration 376. Jordan Grigg #5360293. Published by Jordan Grigg (A0.1058105).
$2.99
2.76 €
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Piano et Orchestre
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Jordan Grigg
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Fantasy for Piano and Orchestra
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Jordan Grigg
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Trombone,Trumpet,Tuba,Viola,Vio…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069110 Composed by Joseph Hull. Contemporary. Full Performance. Duration 234. Genesis #3017735. Published by Genesis (A0.1069110).
$3.99
3.68 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
Elegy for Piano and Orchestra MP3
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violi…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1056809 Composed by Jordan Grigg. Concert,Contemporary,Standards. Full Performance. Duration 389. Jordan Grigg #3093137. Published by Jordan Grigg (A0.1056809).
$3.99
3.68 €
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Piano et Orchestre
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Jordan Grigg
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Elegy for Piano and Orchestra MP3
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Jordan Grigg
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SheetMusicPlus
Ballade for Piano and Orchestra No.1
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
$3.99
3.68 €
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Piano et Orchestre
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Joseph Hull
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Ballade for Piano and Orchestra No.1
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Genesis
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SheetMusicPlus
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