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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Gin
Sheetmusicplus
Non classifié
28 481
Piano & claviers
Piano seul
18 275
Piano Facile
13 577
Piano, Voix
7 049
Piano, Voix et Guitare
3 631
Piano grosses notes
3 321
Orgue
3 224
Instruments en Do
1 674
1 Piano, 4 mains
795
Accompagnement Piano
656
Piano Trio: piano, violon, violoncelle
271
Accordéon
200
2 Pianos, 4 mains
175
Piano Quatuor: piano, violon, alto, violoncelle
125
Piano (partie séparée)
103
Clavier
77
Piano Quatuor: piano, 2 violons, violoncelle
54
Piano Quintette: piano, 2 violons, alto, violoncelle
45
1 Piano, 6 mains
44
Orgue, Piano (duo)
40
Orgue, Trompette (duo)
39
Clavecin
32
2 Accordéons
16
2 Pianos, 8 mains
12
Fake Book
7
Orgue, Voix
4
Ensemble d'Accordéons
4
Tous Les Instruments
4
Accordéon, Piano
1
Orgue et Orchestre
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Ensemble de Pianos
1
+ 26 instrumentations
Retracter
Guitares
Guitare notes et tablatures
2 199
Guitare
1 833
Basse electrique
704
Ukulele
668
Ligne De Mélodie, (Paroles) et Accords
508
2 Guitares (duo)
295
Guitare (partie séparée)
178
Paroles et Accords
115
Dulcimer
88
Banjo
76
Mandoline
75
4 Guitares (Quatuor)
74
Piano, Guitare (duo)
72
Guitare Pedal Steel
44
Ensemble de guitares
40
3 Guitares (trio)
31
Ukulele Baryton
8
2 Ukuleles
7
Basse électrique (partie séparée)
3
Ensemble de Ukulélés
3
Dobro
3
Mandoline, Guitare (duo)
2
Guitare, Violon, Violoncelle (trio)
2
Mandoline, Piano (duo)
2
2 Mandolines (duo)
2
2 Dulcimers (duo)
2
Cithare
1
Guitare, Quatuor à cordes
1
Luth
1
+ 24 instrumentations
Retracter
Voix
Chorale SATB
8 409
Chorale 3 parties
3 168
Chorale 2 parties
2 063
Chorale Unison
1 799
Chorale TTBB
1 772
Chorale SSAA
1 128
Voix duo, Piano
451
Pack Instrumental pour Chorale
311
Voix Soprano, Piano
287
Voix duo
227
Voix haute
224
Voix Alto, Piano
209
Voix seule
184
Voix Baryton, Piano
167
Voix Tenor, Piano
156
Chorale
130
Voix basse, Piano
90
Voix moyenne, Piano
80
Voix Tenor
33
Chorale SSAATTBB
30
Chorale SSATB
18
Voix basse
17
Voix Soprano
14
Voix, Guitare
12
Voix Mezzo-Soprano, Piano
10
Chorale SSAB a cappella
7
Chorale SSAB, Piano
7
Chorale SSATTB
6
Soli, choeur mixte et accompagnement
6
Chorale, Orgue
4
Chorale SSAATB
4
Chorale SATBB
2
Voix Moyenne
2
Chorale SAATB A Cappella
1
Voix Soprano, Orchestre
1
Voix duo, Orgue
1
Voix Baryton
1
+ 32 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
2 707
Flûte traversière et Piano
2 552
Flûte, Hautbois, Clarinette, Basson
2 017
Flûte traversière
1 937
2 Saxophones (duo)
1 808
Saxophone (partie séparée)
1 685
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1 644
Clarinette et Piano
1 610
2 Flûtes traversières (duo)
1 532
Clarinette
1 520
Hautbois, Piano (duo)
1 507
Saxophone Alto
1 442
Saxophone Alto et Piano
1 275
Saxophone Tenor
1 201
2 Clarinettes (duo)
939
Quatuor de Clarinettes: 4 clarinettes
925
Saxophone Tenor et Piano
820
Hautbois (partie séparée)
789
Quintette de Saxophone: 5 saxophones
756
Saxophone Soprano et Piano
627
Quatuor de Flûtes : 4 flûtes
608
3 Saxophones (trio)
524
3 Clarinettes (trio)
494
2 Hautbois (duo)
415
Saxophone Baryton, Piano
398
Flûte, Clarinette (duo)
373
Ensemble de Clarinettes
342
Trio de Flûtes: 3 flûtes
337
Quatuor de Flûtes à bec
318
Hautbois
300
Saxophone Soprano
298
Saxophone, Clarinette (duo)
297
Quintette de Clarinettes: 5 clarinettes
289
Clarinette (partie séparée)
283
Hautbois, Basson (duo)
275
Clarinette, Violon (duo)
270
2 Flûte à bec (duo)
261
Ensemble de saxophones
254
Hautbois, Clarinette (duo)
223
Flûte et Guitare
220
Ensemble de Flûtes
216
3 Flûtes à bec (trio)
206
Cor anglais, Piano
204
Flûte à bec Soprano
191
Flute (partie séparée)
182
Flûte, Violon
175
Clarinette, Trompette (duo)
174
Quintette de Flûte : 5 flûtes
140
5 Flûtes à bec
140
Clarinette et Alto
139
Saxophone Baryton
139
Flûte, Hautbois, Basson
139
Flûte, Alto (duo)
136
Clarinette Basse, Piano
131
Clarinette, Basson (duo)
129
Flûte, Violoncelle
124
Flûte à bec Alto
121
Flûte, Clarinette et Basson
119
Hautbois, Flûte
115
Flûte, Saxophone (duo)
104
Flûte à Bec
103
Flûte, Hautbois, Clarinette (trio)
101
Flûte, Violon, Piano
101
Ensemble De Flûte à bec
96
Hautbois, Violoncelle
92
Clarinette, Guitare (duo)
88
Harmonica
86
Flûte, Trompette (duo)
85
Hautbois, Clarinette, Basson (trio d'anches)
82
Clarinette, Violoncelle (duo)
80
Flûte, Hautbois (duo)
70
Cor Anglais
60
Clarinette, Harpe (duo)
60
3 Hautbois
49
Flûte, Violoncelle, Piano (trio)
49
Hautbois, violon (duo)
46
Flûte à bec Alto, Piano
45
Hautbois et alto (duo)
44
4 Hautbois
44
Saxophone
42
Flûte à bec Tenor
41
Piccolo
36
Flûte à bec Soprano, Piano
35
Flûte à bec Alto, Basse continue
34
Saxophone et Piano
34
Flûte, Clarinette, Piano (trio)
33
Flûte, Hautbois, Piano (trio)
28
Piccolo, Piano
28
Flûte, Basson et Piano
27
Flûte, Violon et Violoncelle
26
Clarinette, Violoncelle, Piano (trio)
25
Clarinette, Trombone (duo)
25
Flûte, Trombone (duo)
25
2 Flûtes traversières, Piano
21
2 Clarinettes, Piano
21
2 Saxophones, Piano
21
Clarinette Basse
19
Ocarina
19
Flûte, Clarinette, Cor, Basson (Quartet)
19
Flûte, Alto et Piano
18
Flûte à Bec, Piano
18
Flûte, Harpe et Violoncelle
17
Cor anglais, Guitare (duo)
17
2 Clarinettes, Basson
17
Saxophone et Guitare
16
Clarinette, Basson, Piano (trio)
15
Hautbois, trombone (duo)
14
Hautbois, Guitare (duo)
14
Clarinette, Tuba
13
Saxophone et Orgue
12
Clarinette, Alto et Piano (trio)
11
Flute, harpe et violon
10
Hautbois, Clarinette et Piano (Trio)
10
Hautbois, Basson et Piano
10
Flûte, Tuba (duo)
9
Flûte traversière, Orgue (duo)
9
Clarinette, Contrebasse (duo)
9
Hautbois, Trompette (duo)
8
Flûte irlandaise
8
Hautbois, Violoncelle et Piano
6
Ensemble de Hautbois
6
Instruments en Mib
6
Flûte et Trio à cordes
5
Hautbois, Violon, Piano
5
Flûte à bec Soprano, Basse continue
4
Flûte, trombone et piano
4
Flûte, Violon, Violoncelle et Piano
4
2 Cors Anglais Et Pianoforte
4
Ensemble à vent
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
4
Flûte traversière, Basse continue
4
Flûte, Hautbois, Violon
4
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
4
2 Flûtes à bec, Piano
3
2 Hautbois, Piano
3
Flute, Cor (duo)
2
2 Flûtes, Basse continue
2
Saxophone, Violon (duo)
2
Cornemuse
2
2 Flûtes traversières, Harpe
2
Clarinette, Orgue
2
Flûte de Pan
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Flûte à bec, Guitare (duo)
2
Hautbois, Harpe
2
Clarinette, trompette et piano
1
Flûte, Violon, Guitare
1
Flûte, Clarinette, Violon (trio)
1
Saxophone, Basson (duo)
1
2 clarinettes, 2 bassons
1
Clarinette, Saxophone, Piano
1
Flûte, alto et harpe
1
2 Flûtes à bec, Guitare
1
Flûte traversière, Orchestre
1
Cor anglais et Harpe (duo)
1
Melodica
1
Flûte, Violoncelle, Guitare
1
+ 152 instrumentations
Retracter
Cuivres
Trompette
1 674
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1 598
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1 454
Trombone
1 201
Trompette, Piano
1 156
Trombone et Piano
1 048
Cor et Piano
917
Cor
894
Trombone (partie séparée)
697
Tuba
676
Trompette (partie séparée)
659
2 Trompettes (duo)
594
2 Trombones (duo)
517
Tuba et Piano
510
Quatuor de Cuivres
465
Quatuor de Cuivres: 2 trompettes, Cor, trombone
455
Trompette, Trombone (duo)
318
2 Cors (duo)
260
Euphonium
240
Euphonium, Piano (duo)
231
Trompette, Saxophone (duo)
214
Cor anglais, Piano
204
Cor (partie séparée)
196
Quatuor de cuivres: 4 trombones
168
Tuba (partie séparée)
156
Quatuor de cuivres: 4 cors
133
Trompette, Cor (duo)
130
2 Tubas (duo)
113
Ensemble de Trombones
107
Trio de Cuivres
88
Ensemble de Trompettes
85
Quatuor de cuivres: 4 trompettes
61
Tuba et Orgue
61
Cor Anglais
60
2 Euphoniums et 2 Tubas
59
Ensemble de Cors
56
4 Tubas
44
3 Trombones (trio)
40
3 Trompettes (trio)
40
Trompette, Tuba (duo)
35
Trombone, Tuba (duo)
31
Trombone, Cor (duo)
31
Cor, Violoncelle (duo)
27
2 Euphoniums (duo)
24
Trombone basse
22
Trompette, Basson (duo)
20
Trombone basse et Piano
19
3 Tubas (trio)
18
Trombone, Violon (duo)
17
Cor anglais, Guitare (duo)
17
Euphonium, Tuba (duo)
17
Cor, Tuba (duo)
16
Trompette, Violoncelle (duo)
15
3 Cors (trio)
14
Trombone, Orgue
13
Cor et Basson (duo)
12
Trompette, violon (duo)
10
Trompette et Guitare
10
Bass Clef Instruments
9
Instruments en Sib
8
Quatuor de cuivres: 2 trompettes, 2 trombones
7
Trompette, Trombone, Piano
7
2 Trompettes, Clavier (piano ou orgue)
5
Cor et Orgue
5
2 Cors, Piano
5
Cor et Harpe
4
2 Cors Anglais Et Pianoforte
4
3 Euphoniums
3
Trombone et orchestre
3
Clarinette, Cor (duo)
2
Trombone, violoncelle (duo)
2
2 Trombones, Piano
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
2
Trompette, Harpe
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Ensemble de Tubas
1
Trompette, Violoncelle et Piano
1
Trombone, Alto (duo)
1
4 Euphoniums
1
Cor, Violoncelle et Piano
1
Cor anglais et Harpe (duo)
1
+ 76 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
5 507
Violon et Piano
2 896
Violon
2 822
Harpe
2 768
Violoncelle
1 929
Violoncelle, Piano
1 651
Alto, Piano
1 480
Alto seul
1 291
Violon, Violoncelle (duo)
1 141
Trio à Cordes: violon, alto, violoncelle
920
2 Violons (duo)
916
2 Violoncelles (duo)
743
Contre Basse
554
Violon, Alto (duo)
550
Contrebasse, Piano (duo)
535
2 Altos (duo)
529
Quintette à cordes: 2 violons, alto, violoncelle, basse
485
Alto (partie séparée)
393
Violon (partie séparée)
359
Trio à Cordes: 2 violons, violoncelle
314
Contrebasse (partie séparée)
249
4 Violoncelles
229
Trio à cordes: 3 violins
191
Harpe, Flûte (duo)
187
Alto, Violoncelle (duo)
181
2 Harpes (duo)
152
Trio à Cordes: 3 violoncelles
151
Violon, Guitare (duo)
124
2 Contrebasses (duo)
93
Piano Trio: Violon, Alto, Piano
85
Violon, Basson (duo)
83
Quatuor à cordes: 4 violons
79
Violoncelle (partie séparée)
78
Harpe, Violon (duo)
76
Violoncelle , Guitare (duo)
68
Quatuor à cordes : 4 altos
61
Violoncelle, Contrebasse (duo)
58
Trio à cordes: 3 altos
55
Trio à Cordes: 2 violons, alto
43
Alto et Basson
29
Trio à cordes
27
Alto, Guitare (duo)
25
Ensemble de Violons
24
Quintette à cordes: 2 violons, 2 altos, violoncelle
20
Flûte, Contrebasse (duo)
20
Ensemble d'Altos
20
Violon, Tuba (duo)
19
Violon, Clarinette, Piano (trio)
19
Violon, Orgue
15
Harpe, Voix
13
2 Violons, Piano
13
Harpe, Violoncelle (duo)
13
Quintette à cordes : 2 violons, alto et 2 violoncelles
10
Ensemble de Violoncelles
10
4 Contrebasses
9
Violoncelle, Orgue
9
Harpe et Piano
8
Harpe, Violon, Violoncelle
8
Alto et Harpe
7
3 Harpes
7
Autoharp
7
4 Harpes
6
Harpe, Quatuor à cordes
4
Violoncelle, Orchestre
4
3 Contrebasses
4
Violon, Violoncelle, Clarinette
4
Violoncelle, Basse continue
4
Alto, Orgue
4
2 Altos, Piano
4
5 Harpes
3
Violon, Basse continue
3
2 Violoncelles, Piano
3
Harpe et mandoline
2
Harpe (partie séparée)
2
Harpe et Orgue
1
2 Violons et Basse continue
1
+ 71 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
8 989
Orchestre à Cordes
2 453
Orchestre
1 788
Cloches
1 674
Ensemble Jazz
1 379
Ensemble de cuivres
1 068
Orchestre de chambre
593
Fanfare
552
Jazz combo
384
Batterie
345
Ensemble de Percussions
193
Percussion (partie séparée)
192
Batterie (partie séparée)
121
Marimba
106
Xylophone, Piano
58
Xylophone
45
Vibraphone
45
Percussion
37
Timbales (partie séparée)
33
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
14
2 Xylophones
13
Quintette à Vent
10
Piano et Orchestre
10
Big band
9
Caisse Claire
8
Xylophone ou Marimba ou Vibraphone
6
Ensemble d'École
6
Vibraphone et Marimba
5
Instrumentation Flexible
4
Quintette de Cuivres: autres combinaisons
4
Orchestre, Violon
3
Timbales
3
Cajon
2
Quatuor à Vent : 4 instruments à vents
2
Marimba, Piano (duo)
2
Bodhran
1
3 Marimbas
1
Conga
1
Marimba, Saxophone (duo)
1
Marimba ou Xylophone et Piano
1
2 Caisses Claires (duo)
1
2 Marimbas
1
3 Percussions
1
Bongos
1
+ 39 instrumentations
Retracter
Autres
Théorie de la musique
5
Formation musicale - Solfège
5
Papeterie
1
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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AMERICANA
ASIE
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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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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Schott Music - Digital
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Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.13 €
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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
Totentanz
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4503 (original version). Com…
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Piano and orchestra - Digital Download SKU: S9.Q4503 (original version). Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4503. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4503). With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$11.99
11.05 €
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Piano et Orchestre
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Franz Liszt
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Totentanz
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano et Orchestre
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
$5.00
4.61 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Helios D'Andrea
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
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D'Andrea Helios
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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.
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24.85 €
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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
How Can I Keep From Singing?
Piano et Orchestre
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Pop, Gospel. Early Intermediate. Sheet Music Single. Published by Exultet Music
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3.68 €
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Piano et Orchestre
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Stephen DeCesare
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How Can I Keep From Singing?
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Exultet Music
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SheetMusicPlus
Concerto No. 6 for Piano and Orchestra
Piano et Orchestre
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By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC6. Published by Classical Video Concepts, Inc
$20.00
18.44 €
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Piano et Orchestre
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Concerto No. 6 for Piano and Orchestra
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Classical Video Concepts, Inc
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Concerto No. 9 (Boston Concerto) for Piano and Orchestra
Piano et Orchestre
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC9. Published by Classical Video Concepts, Inc
$20.00
18.44 €
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Concerto No. 9
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Classical Video Concepts, Inc
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SheetMusicPlus
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Piano et Orchestre
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$20.00
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 4 for Piano and Orchestra
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Classical Video Concepts, Inc
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SheetMusicPlus
Concerto No. 9 (Boston Concerto) - Orchestra Score
Piano et Orchestre
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Score. Classical Video Concepts, Inc #M-YC9-SCORE. Published by Classical Video Concepts, Inc
$50.00
46.1 €
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 9
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Classical Video Concepts, Inc
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SheetMusicPlus
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