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PIANO & CLAVIERS
Piano seul
3413
Piano Facile
1669
Piano, Voix et Guitare
1451
Piano, Voix
1393
Instruments en Do
1083
Orgue
248
1 Piano, 4 mains
200
Accompagnement Piano
120
Piano grosses notes
96
Accordéon
84
Piano Trio: piano, violon, violoncelle
81
2 Pianos, 4 mains
66
Piano (partie séparée)
41
Piano Quatuor: piano, violon, alto, violoncelle
26
Piano Quatuor: piano, 2 violons, violoncelle
22
Piano Quintette: piano, 2 violons, alto, violoncelle
15
Orgue, Piano (duo)
10
Orgue, Trompette (duo)
9
Clavecin
7
1 Piano, 6 mains
6
Clavier
5
Ligne De Mélodie, Piano
4
Accordéon, Voix
2
Fake Book
1
Instrument seul et Orgue
1
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GUITARES
Guitare notes et tablatures
472
Ligne De Mélodie, (Paroles) et Accords
403
Guitare
365
Basse electrique
206
Ukulele
155
Guitare (partie séparée)
85
2 Guitares (duo)
74
Paroles et Accords
39
4 Guitares (Quatuor)
21
3 Guitares (trio)
17
Piano, Guitare (duo)
17
Mandoline
16
Banjo
12
Dulcimer
9
2 Ukuleles
5
Ensemble de guitares
4
Ukulele Baryton
2
Partitions De Groupes
1
Guitare Pedal Steel
1
Guitare, Violon, Violoncelle (trio)
1
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VOIX
Chorale SATB
2055
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980
Chorale 2 parties
697
Chorale TTBB
456
Pack Instrumental pour Chorale
355
Chorale Unison
332
Chorale SSAA
260
Voix duo, Piano
149
Voix Alto, Piano
82
Voix duo
76
Voix seule
75
Voix Soprano, Piano
67
Voix Baryton, Piano
39
Voix Tenor, Piano
35
Voix Tenor
28
Voix Soprano
26
Voix haute
26
Voix moyenne, Piano
21
Chorale
20
Voix basse, Piano
18
Chorale SSAATTBB
6
Chorale SSATTB
4
Chorale SSATB
3
Voix Mezzo-Soprano, Piano
3
Voix, Guitare
1
Chorale SSAB, Piano
1
Chorale SAATB A Cappella
1
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VENTS
Quatuor de Saxophones: 4 saxophones
732
Flûte, Hautbois, Clarinette, Basson
582
2 Saxophones (duo)
560
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
492
Saxophone (partie séparée)
461
Saxophone Alto
453
Flûte traversière et Piano
448
Flûte traversière
443
Clarinette
443
2 Flûtes traversières (duo)
371
Saxophone Tenor
356
Clarinette et Piano
352
Quatuor de Clarinettes: 4 clarinettes
346
2 Clarinettes (duo)
324
Hautbois, Piano (duo)
296
Saxophone Alto et Piano
288
Quintette de Saxophone: 5 saxophones
283
Saxophone Tenor et Piano
247
Quatuor de Flûtes : 4 flûtes
186
Saxophone Soprano et Piano
184
3 Saxophones (trio)
158
Quintette de Clarinettes: 5 clarinettes
155
Flûte, Clarinette (duo)
148
Hautbois (partie séparée)
146
2 Flûte à bec (duo)
132
2 Hautbois (duo)
131
3 Clarinettes (trio)
112
Hautbois
108
Saxophone
99
Saxophone Baryton, Piano
98
Saxophone Soprano
97
Saxophone, Clarinette (duo)
82
Hautbois, Basson (duo)
78
Clarinette, Violon (duo)
78
Quintette de Flûte : 5 flûtes
73
Hautbois, Clarinette (duo)
72
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69
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65
Flûte, Violon
64
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62
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58
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57
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55
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53
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52
Ensemble de Flûtes
51
Flûte, Alto (duo)
50
Clarinette, Trompette (duo)
49
Saxophone Baryton
47
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45
Flûte et Guitare
45
Hautbois, Flûte
43
Cor anglais, Piano
40
Clarinette et Alto
40
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39
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36
Flûte à Bec
35
Flûte, Saxophone (duo)
35
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35
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34
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33
Flûte à bec Soprano
32
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30
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29
Hautbois, Clarinette, Basson (trio d'anches)
28
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26
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25
Cor Anglais
24
Flûte à bec Alto
22
Flûte à bec Tenor
18
Clarinette, Guitare (duo)
17
Flûte, Hautbois, Basson
16
3 Hautbois
14
Clarinette, Trombone (duo)
12
5 Flûtes à bec
12
Saxophone, Violon (duo)
12
Flûte, Violon et Violoncelle
11
4 Hautbois
10
Piccolo
10
Flûte, Hautbois, Piano (trio)
10
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9
Flûte à bec Soprano, Piano
9
Flûte, Basson et Piano
9
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8
Piccolo, Piano
7
Flûte à Bec, Piano
7
Clarinette, Harpe (duo)
7
Hautbois et alto (duo)
6
2 Flûtes traversières, Piano
6
2 Clarinettes, Piano
5
Flûte à bec Alto, Basse continue
5
Flûte à bec Alto, Piano
5
Clarinette, Violoncelle, Piano (trio)
5
Harmonica
5
Flûte, Clarinette, Piano (trio)
4
Cor anglais, Guitare (duo)
4
Instruments en Mib
4
3 Flûtes à bec (trio)
4
2 Saxophones, Piano
4
Flûte, Harpe et Violoncelle
3
Flûte, Alto et Piano
3
2 Clarinettes, Basson
3
Saxophone et Guitare
3
Flûte, Clarinette, Cor, Basson (Quartet)
2
Flûte irlandaise
2
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2
Clarinette, Contrebasse (duo)
2
Flûte, Violon, Violoncelle et Piano
2
Flûte, Violoncelle, Piano (trio)
2
Flûte et Trio à cordes
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
2 Cors Anglais Et Pianoforte
2
Ocarina
1
Flûte de Pan
1
Hautbois, Trompette (duo)
1
Ensemble de Hautbois
1
Clarinette, Alto et Piano (trio)
1
Hautbois, Violoncelle et Piano
1
Saxophone et Harpe
1
Clarinette, Tuba
1
Saxophone, Basson (duo)
1
Saxophone, Tuba (duo)
1
Flûte à bec, Guitare (duo)
1
Ensemble à vent
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois, Harpe
1
Flûte, alto et harpe
1
Saxophone et violoncelle
1
Hautbois, Violon, Piano
1
Hautbois, trombone (duo)
1
Hautbois, Basson et Piano
1
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1
Cornemuse
1
Saxophone et Orgue
1
Clarinette, Basson, Piano (trio)
1
Clarinette Basse
1
Flûte à bec, Harpe
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
473
Trompette
466
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373
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369
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325
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318
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290
Cor
276
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267
Cor et Piano
225
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203
2 Trompettes (duo)
188
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165
Tuba
152
Tuba et Piano
147
2 Cors (duo)
121
Trompette, Trombone (duo)
103
Quatuor de cuivres: 4 trombones
87
Quatuor de Cuivres
83
2 Tubas (duo)
75
Trompette, Saxophone (duo)
70
Cor (partie séparée)
52
2 Euphoniums et 2 Tubas
48
Trompette, Cor (duo)
48
Ensemble de Trombones
47
Tuba (partie séparée)
42
Quatuor de cuivres: 4 cors
41
Euphonium, Piano (duo)
40
Cor anglais, Piano
40
Trompette, violon (duo)
27
Cor Anglais
24
Euphonium
22
3 Trombones (trio)
22
2 Euphoniums (duo)
19
Euphonium, Tuba (duo)
19
Cor, Violoncelle (duo)
18
Cor, Tuba (duo)
16
Trompette, Violoncelle (duo)
16
4 Tubas
15
Trio de Cuivres
14
Ensemble de Trompettes
13
3 Trompettes (trio)
12
Trompette, Basson (duo)
11
Quatuor de cuivres: 4 trompettes
10
Trombone basse
9
Quatuor de cuivres: 2 trompettes, 2 trombones
8
Ensemble de Cors
7
Bass Clef Instruments
6
Tuba et Orgue
6
Trombone, Tuba (duo)
5
Instruments en Sib
5
Cor et Harpe
5
Cor anglais, Guitare (duo)
4
Trompette, Trombone, Piano
4
Trompette, Tuba (duo)
4
Trombone basse et Piano
4
Trombone, Cor (duo)
3
Cor et Basson (duo)
3
3 Cors (trio)
3
2 Cors, Piano
2
Cor et Orgue
2
2 Cors Anglais Et Pianoforte
2
Trombone, Orgue
1
Trompette, Euphonium (duo)
1
3 Tubas (trio)
1
Trompette, Harpe
1
Trombone, Alto (duo)
1
Trompette, Violoncelle et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
2 Trompettes, Clavier (piano ou orgue)
1
Instruments en Fa
1
Trompette et Guitare
1
Cor anglais et Harpe (duo)
1
Trombone, Violon (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1830
Violon
737
Violon et Piano
644
Violon, Violoncelle (duo)
550
Violoncelle
432
Violoncelle, Piano
396
Trio à Cordes: violon, alto, violoncelle
374
Alto, Piano
370
Alto seul
342
2 Violons (duo)
317
Harpe
257
2 Violoncelles (duo)
253
Quintette à cordes: 2 violons, alto, violoncelle, basse
217
Violon, Alto (duo)
172
2 Altos (duo)
163
Contre Basse
146
Trio à Cordes: 2 violons, violoncelle
121
Contrebasse, Piano (duo)
113
Violon (partie séparée)
102
Alto, Violoncelle (duo)
102
2 Harpes (duo)
82
Contrebasse (partie séparée)
80
Alto (partie séparée)
76
2 Contrebasses (duo)
63
Violoncelle, Contrebasse (duo)
50
Quatuor à cordes: 4 violons
45
4 Violoncelles
45
Trio à cordes: 3 violins
44
Piano Trio: Violon, Alto, Piano
42
Trio à Cordes: 3 violoncelles
32
Violon, Guitare (duo)
25
Violoncelle (partie séparée)
24
Harpe, Flûte (duo)
22
Violon, Basson (duo)
19
Quintette à cordes: 2 violons, 2 altos, violoncelle
17
Trio à cordes: 3 altos
16
Flûte, Contrebasse (duo)
15
Alto et Basson
15
Trio à Cordes: 2 violons, alto
13
Quatuor à cordes : 4 altos
12
Violoncelle , Guitare (duo)
11
Harpe, Violoncelle (duo)
10
Quintette à cordes : 2 violons, alto et 2 violoncelles
8
4 Contrebasses
7
Violon, Clarinette, Piano (trio)
7
Trio à cordes
6
Alto, Guitare (duo)
6
Harpe, Violon (duo)
6
Harpe, Voix
5
3 Contrebasses
4
Alto et Harpe
4
Ensemble de Violoncelles
4
Harpe et Orgue
3
Violoncelle, Orgue
3
5 Harpes
2
Harpe et mandoline
2
2 Violoncelles, Piano
2
Harpe et Piano
1
Ensemble de Violons
1
3 Harpes
1
Ensemble d'Altos
1
4 Harpes
1
Harpe, Violon, Violoncelle
1
Violon, Tuba (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3423
Orchestre à Cordes
834
Fanfare
698
Ensemble Jazz
501
Orchestre
482
Ensemble de cuivres
428
Cloches
360
Batterie
165
Orchestre de chambre
135
Ensemble de Percussions
96
Jazz combo
85
Batterie (partie séparée)
61
Percussion (partie séparée)
31
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
17
Marimba
13
Xylophone, Piano
10
Vibraphone
10
Xylophone
5
Percussion
5
2 Xylophones
4
Orchestre, Violon
3
Piano et Orchestre
2
Quintette à Vent
1
Vibraphone et Marimba
1
Voix Mezzo-Soprano, Orchestre
1
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AUTRES
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Get Down
Piano et Orchestre
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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)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Concerto
Piano et Orchestre
Piano and Orchestra - Digital Download SKU: S9.Q23932 For Piano and Orchestra
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Piano and Orchestra - Digital Download SKU: S9.Q23932 For Piano and Orchestra. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 24 minutes. Schott Music - Digital #Q23932. Published by Schott Music - Digital (S9.Q23932). 1 (auch Picc.) * 1 * 1 (auch Alt-Okarina in G) * 1 - 1 * 1 * 1 * 0 - S. (Trgl. * 2 Crot. * 2 hg. Beck., klein u. normal gross * 4 Woodbl. * 5 Tempelbl. * Schellentr. * kl. Tr. * 3 Rototoms * 4 Tomt. * gr. Tr. * Guero * Kast. * Peitsche * Sirenenpfeife * Trillerpfeife * Lotosfl. * Flexaton * Chromonica in C 270 [Hohner] * Glspl. * Xyl.) (1-2 Spieler) - Str. (8 * 7 * 6 * 5 * 4; auch solistische Streicherbesetzung 1 * 1 * 1 * 1 * 1 moglich)1 (auch Picc.) · 1 · 1 (auch Alt-Okarina in G) · 1 – 1 · 1 · 1 · 0 – S. (Trgl. · 2 Crot. · 2 hg. Beck., klein u. normal groß · 4 Woodbl. · 5 Tempelbl. · Schellentr. · kl. Tr. · 3 Rototoms · 4 Tomt. · gr. Tr. · Guero · Kast. · Peitsche · Sirenenpfeife · Trillerpfeife · Lotosfl. · Flexaton · Chromonica in C 270 [Hohner] · Glspl. · Xyl.) (1–2 Spieler) – Str. (8 · 7 · 6 · 5 · 4; auch solistische Streicherbesetzung 1 · 1 · 1 · 1 · 1 möglich).
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Gyorgy Ligeti
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Concerto
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