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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)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
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
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FLAMENCO
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
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MARIAGE - AMOUR - BA…
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METHODE : ETUDES
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OLD TIME - EARLY ROC…
OPERA
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POLKA
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PUNK
RAGTIME
REGGAE
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TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
14091
PIANO & CLAVIERS
Piano, Voix et Guitare
34428
Piano, Voix
18868
Piano seul
9674
Piano Facile
9597
Piano grosses notes
2403
Orgue
1045
Instruments en Do
677
1 Piano, 4 mains
327
Accompagnement Piano
130
Accordéon
128
Accordéon, Voix
116
Ligne De Mélodie, Piano
106
2 Pianos, 4 mains
100
Piano Trio: piano, violon, violoncelle
83
Piano (partie séparée)
31
Clavecin
28
Piano Quatuor: piano, violon, alto, violoncelle
22
Orgue, Trompette (duo)
22
Piano Quintette: piano, 2 violons, alto, violoncelle
19
Piano Quatuor: piano, 2 violons, violoncelle
15
Orgue, Piano (duo)
9
Orgue, Voix
7
Instrument seul et Orgue
6
1 Piano, 6 mains
5
Clavier
5
2 Pianos, 8 mains
4
Ensemble d'Accordéons
2
Accordéon - Piano, Voix, Guitare
2
Orgue et Orchestre
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
10736
Ligne De Mélodie, (Paroles) et Accords
7586
Basse electrique
2351
Ukulele
1848
Guitare
843
Paroles et Accords
381
2 Guitares (duo)
73
Banjo
67
Mandoline
54
Guitare (partie séparée)
48
Dulcimer
36
Piano, Guitare (duo)
29
4 Guitares (Quatuor)
23
3 Guitares (trio)
22
Mandoline, Piano (duo)
12
Ensemble de guitares
11
Ensemble de Ukulélés
10
Ukulele Baryton
9
Dobro
6
Basse électrique (partie séparée)
5
2 Ukuleles
3
Mandoline, Guitare (duo)
3
Partitions De Groupes
2
Guitare, Violon, Violoncelle (trio)
2
2 Dulcimers (duo)
2
Guitare Pedal Steel
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
4813
Chorale 3 parties
1680
Chorale 2 parties
948
Chorale TTBB
868
Pack Instrumental pour Chorale
585
Chorale SSAA
360
Chorale Unison
333
Voix duo, Piano
327
Chorale
236
Voix seule
215
Voix, Guitare
115
Voix Soprano, Piano
97
Voix Baryton, Piano
85
Voix Alto, Piano
74
Voix Tenor, Piano
68
Voix Moyenne
66
Voix duo
54
Voix haute
44
Voix Tenor
30
Chorale SSATBB
25
Voix Soprano
24
Voix moyenne, Piano
14
Chorale SSAATTBB
12
Voix basse, Piano
11
Voix Mezzo-Soprano, Piano
9
Chorale SATTB
9
Chorale SSATB
9
Chorale SSAB, Piano
7
Chorale SSATTB
6
Chorale SAATB A Cappella
5
Soli, choeur mixte et accompagnement
5
Voix basse
3
Chorale SSAB a cappella
3
Voix et basse continue
1
Chorale SSAATB
1
Chorale, Orgue
1
Voix Baryton
1
Voix haute, Piano
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière
970
Quatuor de Saxophones: 4 saxophones
850
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
828
Flûte traversière et Piano
787
Clarinette
764
Saxophone Alto
747
Saxophone Tenor
671
Saxophone (partie séparée)
658
Clarinette et Piano
636
Flûte, Hautbois, Clarinette, Basson
567
2 Saxophones (duo)
554
Saxophone Alto et Piano
520
Hautbois, Piano (duo)
510
Quintette de Saxophone: 5 saxophones
446
2 Flûtes traversières (duo)
386
Quatuor de Clarinettes: 4 clarinettes
379
Saxophone Tenor et Piano
325
2 Clarinettes (duo)
324
Ensemble de Clarinettes
275
Quatuor de Flûtes : 4 flûtes
267
Clarinette (partie séparée)
248
Ensemble de saxophones
237
Saxophone Soprano et Piano
222
Hautbois (partie séparée)
209
Saxophone
200
Saxophone Soprano
181
3 Saxophones (trio)
159
2 Hautbois (duo)
152
Flute (partie séparée)
141
3 Clarinettes (trio)
141
Quintette de Clarinettes: 5 clarinettes
131
Saxophone Baryton, Piano
122
Flûte, Clarinette (duo)
114
Trio de Flûtes: 3 flûtes
113
Hautbois
108
Saxophone et Guitare
100
2 Flûte à bec (duo)
93
Quintette de Flûte : 5 flûtes
93
Cor anglais, Piano
91
Ensemble de Flûtes
84
Flûte et Guitare
80
Flûte à Bec
74
Clarinette Basse, Piano
67
Hautbois, Basson (duo)
66
Harmonica
63
Clarinette, Harpe (duo)
61
Hautbois, Clarinette (duo)
57
Flûte, Clarinette et Basson
51
Flûte à bec Soprano
49
Saxophone, Clarinette (duo)
42
Hautbois, Clarinette, Basson (trio d'anches)
42
Clarinette, Guitare (duo)
39
2 Flûtes traversières, Piano
39
Flûte, Hautbois, Clarinette (trio)
38
Quatuor de Flûtes à bec
36
Clarinette, Violon (duo)
35
Flûte, Violon, Piano
34
Clarinette, Basson (duo)
32
Flûte, Violon
31
Flûte, Hautbois, Basson
30
Cor Anglais
27
Ocarina
25
Ensemble De Flûte à bec
24
Flûte, Hautbois (duo)
24
Saxophone Baryton
24
Piccolo, Piano
23
Instruments en Mib
23
Flûte à bec Alto
23
Clarinette, Trompette (duo)
22
Clarinette, Violoncelle (duo)
21
Hautbois, Flûte
20
Flûte, Violoncelle
20
Flûte à bec, Guitare (duo)
20
Flûte, Trompette (duo)
19
Flûte à bec Soprano, Piano
19
Flûte, Alto (duo)
18
Hautbois, Guitare (duo)
17
Flûte, Clarinette, Piano (trio)
17
Flûte, Saxophone (duo)
17
Flûte à bec Tenor
17
Flûte à Bec, Piano
17
5 Flûtes à bec
16
Clarinette et Alto
16
Flûte, Trombone (duo)
15
Flûte à bec Alto, Piano
15
Hautbois, Violoncelle
14
3 Flûtes à bec (trio)
14
3 Hautbois
13
Piccolo
13
Flûte, Hautbois, Piano (trio)
12
2 Saxophones, Piano
11
Flûte, Violoncelle, Piano (trio)
11
2 Clarinettes, Piano
10
2 Cors Anglais Et Pianoforte
9
4 Hautbois
9
Flûte, Violon et Violoncelle
9
Flûte, Clarinette, Cor, Basson (Quartet)
8
Clarinette, Violoncelle, Piano (trio)
8
Flûte, Alto et Piano
8
Flute, harpe et violon
7
Flûte, Basson et Piano
7
Hautbois, violon (duo)
6
Clarinette Basse
6
Ensemble à vent
6
Cor anglais et Harpe (duo)
6
Hautbois, Harpe
5
Flûte, Harpe et Violoncelle
4
Flûte irlandaise
4
Saxophone et Harpe
4
Flûte traversière, Orgue (duo)
3
Flûte traversière, Basse continue
3
Clarinette, Trombone (duo)
3
Flûte et Trio à cordes
3
Hautbois, trombone (duo)
2
Hautbois, Violon, Piano
2
Hautbois et alto (duo)
2
Clarinette, Contrebasse (duo)
2
Flûte à bec Alto, Basse continue
2
2 Clarinettes, Basson
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Clarinette, trompette et piano
2
Flûte, Violon, Violoncelle et Piano
2
Saxophone et Orchestre
1
Flûte, Tuba (duo)
1
Flûte, alto et harpe
1
Clarinette, Alto et Piano (trio)
1
2 Hautbois et Cor anglais
1
Flûte de Pan
1
Saxophone et Orgue
1
Hautbois, Trompette (duo)
1
Flûte traversière, Orchestre
1
Clarinette, Tuba
1
Saxophone, Tuba (duo)
1
2 Flûtes à bec, Guitare
1
Flûte, Clarinette, Violon (trio)
1
Flûte, trombone et piano
1
Saxophone et Piano
1
Ensemble de Hautbois
1
2 Hautbois, Piano
1
Flûte, Hautbois, Violon
1
Cor anglais, Guitare (duo)
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
953
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
945
Trombone
757
Trompette, Piano
418
Trombone et Piano
413
Quatuor de Cuivres : 2 trompettes, trombone, tuba
385
Cor
369
Trompette (partie séparée)
366
Cor et Piano
360
Trombone (partie séparée)
340
Tuba
188
2 Trompettes (duo)
184
Tuba et Piano
182
Quatuor de Cuivres
178
2 Trombones (duo)
170
Cor (partie séparée)
133
Quatuor de Cuivres: 2 trompettes, Cor, trombone
132
2 Cors (duo)
117
Quatuor de cuivres: 4 trombones
115
Ensemble de Trompettes
108
Cor anglais, Piano
91
Trompette, Trombone (duo)
86
Ensemble de Trombones
80
Euphonium, Piano (duo)
78
Tuba (partie séparée)
76
2 Tubas (duo)
57
Quatuor de cuivres: 4 cors
49
Euphonium
30
Quatuor de cuivres: 4 trompettes
30
Bass Clef Instruments
29
Trompette, Saxophone (duo)
28
Trompette, Cor (duo)
28
Cor Anglais
27
3 Trompettes (trio)
27
Instruments en Sib
25
3 Trombones (trio)
22
Ensemble de Cors
21
Trompette et Guitare
20
2 Euphoniums (duo)
14
Trombone, Tuba (duo)
14
Trombone basse et Piano
12
2 Euphoniums et 2 Tubas
10
Trio de Cuivres
10
Trompette, Basson (duo)
9
Trompette, Violoncelle (duo)
9
2 Cors Anglais Et Pianoforte
9
Cornet A Pistons
8
4 Tubas
8
Trombone basse
8
3 Cors (trio)
8
Cor et Harpe
7
Trompette, Harpe
6
Tuba et Orgue
6
Cor anglais et Harpe (duo)
6
Cor, Violoncelle (duo)
5
Euphonium, Tuba (duo)
5
Instruments en Fa
5
Trompette, Tuba (duo)
5
Trombone, Cor (duo)
5
Trompette, Trombone, Piano
4
Trompette, Violoncelle et Piano
4
3 Tubas (trio)
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Tuba ou Euphonium ou Saxhorn
3
Trombone, Orgue
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor et Basson (duo)
2
Cor, Trompette, Trombone (trio)
1
2 Cors, Piano
1
Trompette, Orchestre
1
Clarinette, Cor (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Trombone et orchestre
1
Trompette, violon (duo)
1
Ensemble de Tubas
1
Trombone, Violon (duo)
1
Cor anglais, Guitare (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1767
Violon et Piano
1066
Violon
1019
Violoncelle
781
Violoncelle, Piano
637
Alto seul
602
Harpe
553
Alto, Piano
531
Violon (partie séparée)
325
2 Violons (duo)
308
Violon, Violoncelle (duo)
266
2 Violoncelles (duo)
243
Quintette à cordes: 2 violons, alto, violoncelle, basse
215
Trio à Cordes: violon, alto, violoncelle
214
Violon, Alto (duo)
172
2 Altos (duo)
172
Contre Basse
171
Alto (partie séparée)
161
Contrebasse, Piano (duo)
153
Trio à Cordes: 2 violons, violoncelle
111
Contrebasse (partie séparée)
107
Violon, Guitare (duo)
76
Harpe, Flûte (duo)
73
Violoncelle (partie séparée)
66
Violoncelle , Guitare (duo)
59
Alto, Violoncelle (duo)
55
2 Contrebasses (duo)
51
2 Harpes (duo)
51
4 Violoncelles
48
Trio à cordes: 3 violins
42
Trio à Cordes: 3 violoncelles
36
Ensemble de Violons
30
Ensemble d'Altos
29
Trio à cordes
29
Trio à cordes: 3 altos
27
Piano Trio: Violon, Alto, Piano
25
Trio à Cordes: 2 violons, alto
19
Quatuor à cordes: 4 violons
19
Alto, Guitare (duo)
16
Harpe, Violon (duo)
15
2 Violons, Piano
14
Harpe, Voix
12
Violon, Basson (duo)
11
Quintette à cordes : 2 violons, alto et 2 violoncelles
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
Quatuor à cordes : 4 altos
10
Harpe et mandoline
9
Harpe, Violoncelle (duo)
9
Violoncelle, Contrebasse (duo)
8
Flûte, Contrebasse (duo)
7
Alto et Harpe
6
3 Harpes
5
Alto et Basson
5
Violon, Clarinette, Piano (trio)
5
Ensemble de Violoncelles
5
Harpe, Violon, Violoncelle
4
Autoharp
3
Violon, Orgue
3
Harpe, Trombone (duo)
2
2 Altos, Piano
2
Violoncelle, Orgue
2
2 Violons et Basse continue
2
4 Harpes
2
5 Harpes
2
Harpe (partie séparée)
1
Violon, Tuba (duo)
1
Harpe et Piano
1
3 Contrebasses
1
Violoncelle, Orchestre
1
Violon, Contrebasse (duo)
1
4 Contrebasses
1
Violon, Basse continue
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
11035
Orchestre
6030
Ensemble Jazz
3084
Orchestre à Cordes
2416
Fanfare
1803
Percussion
1594
Cloches
765
Percussion (partie séparée)
581
Orchestre de chambre
425
Ensemble de cuivres
290
Batterie
284
Ensemble de Percussions
226
Jazz combo
180
Marimba
141
Vibraphone
48
Batterie (partie séparée)
44
Xylophone
41
Xylophone, Piano
32
Timbales (partie séparée)
32
Timbales
11
2 Xylophones
10
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
9
Quintette à Vent
9
Ensemble d'École
8
Caisse Claire
6
Vibraphone et Marimba
6
Vibraphone (partie séparée)
4
Piano et Orchestre
4
Orchestre, Violon
4
Quintette de Cuivres: autres combinaisons
4
Xylophone ou Marimba ou Vibraphone
3
Big band
3
Instrumentation Flexible
3
Quatuor à Vent : 4 instruments à vents
2
Marimba, Piano (duo)
1
Marimba, Saxophone (duo)
1
3 Percussions
1
2 Caisses Claires (duo)
1
Marimba ou Xylophone et Piano
1
2 Marimbas
1
Instrumentations suivantes
Retracter
AUTRES
Théorie de la musique
17
Formation musicale - Solfège
7
Papeterie
2
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Piano et Orchestre
Partitions à imprimer
4 partitions trouvées
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1
Konzertstück F minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4516 Composed by Carl Maria von Web…
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Piano and orchestra - Digital Download SKU: S9.Q4516 Composed by Carl Maria von Weber. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 79. Duration 16 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4516. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4516). Key: F minor.New Edition based on the Weber Complete Edition with a preface by Markus Bandur. 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.
$12.99
11.9 €
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Piano et Orchestre
#
Carl Maria von Weber
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Konzertstück F minor
#
Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
Piano et Orchestre
String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang A…
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String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score and parts. 271 pages. Santino Cara #5197099. Published by Santino Cara (A0.517429). Complete score and parts of the Piano Concerto No.20 in D minor K.466 for Piano solo and Orchestra. Composed in 1785 in Vienna by Wolfgang Amadeus Mozart. Rewritten and elaborated in Rome in 2019 by Santino Cara.
$26.20
24 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
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Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
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Santino Cara
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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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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Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
Piano et Orchestre
Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Pa…
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Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Parts, Solo Part. 32 pages. Published by Musik Fabrik (S0.136477). - Score,Set of Parts,Solo Part - 21st Century,Minimalism,Christmas - Musik Fabrik
$38.95
35.68 €
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Piano et Orchestre
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
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Musik Fabrik
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SheetMusicPlus
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