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PIANO & CLAVIERS
Piano seul
2363
Piano, Voix
476
Orgue
447
Piano Facile
231
Piano, Voix et Guitare
188
1 Piano, 4 mains
132
Instruments en Do
123
Piano Trio: piano, violon, violoncelle
89
2 Pianos, 4 mains
62
Orgue, Trompette (duo)
38
Clavecin
30
Orgue, Piano (duo)
15
Accompagnement Piano
15
Accordéon
15
Piano Quatuor: piano, violon, alto, violoncelle
13
Piano Quintette: piano, 2 violons, alto, violoncelle
10
2 Accordéons
7
Piano Quatuor: piano, 2 violons, violoncelle
7
2 Pianos, 8 mains
5
Orgue, Voix
4
Piano (partie séparée)
4
1 Piano, 6 mains
4
Fake Book
2
Ensemble d'Accordéons
2
Clavier
1
Piano grosses notes
1
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GUITARES
Guitare
201
Guitare notes et tablatures
117
Ligne De Mélodie, (Paroles) et Accords
49
2 Guitares (duo)
39
Basse electrique
25
Ukulele
10
Mandoline
10
Paroles et Accords
7
4 Guitares (Quatuor)
6
Dulcimer
6
3 Guitares (trio)
5
Banjo
4
Guitare, Quatuor à cordes
4
Guitare (partie séparée)
3
Ensemble de guitares
3
Guitare, Orchestre
2
Piano, Guitare (duo)
2
Mandoline, Guitare (duo)
2
Basse électrique (partie séparée)
1
Dobro
1
Guitare, Violon, Violoncelle (trio)
1
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VOIX
Chorale SATB
1714
Chorale TTBB
437
Chorale 3 parties
336
Chorale 2 parties
110
Voix Soprano, Piano
109
Chorale SSAA
102
Chorale Unison
81
Chorale SSAATTBB
65
Voix Baryton, Piano
42
Chorale
40
Voix haute
37
Voix Tenor, Piano
35
Voix moyenne, Piano
34
Chorale SSATTB
32
Voix basse, Piano
29
Voix duo, Piano
21
Voix Mezzo-Soprano, Piano
19
Chorale SSATB
16
Soli, choeur mixte et accompagnement
15
Voix Alto, Piano
15
Voix haute, Piano
8
Voix duo
6
Voix Soprano, Orchestre
5
Voix seule
5
Voix Soprano
3
Voix basse
3
Chorale SSAATB
3
Voix Tenor
3
Chorale SATBB
1
Voix, Guitare
1
Voix duo, Orgue
1
Chorale SATTBB A Cappella
1
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VENTS
2 Saxophones (duo)
877
2 Clarinettes (duo)
429
Saxophone, Clarinette (duo)
414
Flûte traversière et Piano
375
2 Flûtes traversières (duo)
354
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
307
Clarinette et Piano
305
Saxophone Alto et Piano
303
Clarinette, Violon (duo)
277
Hautbois, Piano (duo)
272
Quatuor de Clarinettes: 4 clarinettes
252
Quatuor de Saxophones: 4 saxophones
250
Clarinette, Trompette (duo)
239
Clarinette
200
2 Hautbois (duo)
193
Flûte, Clarinette (duo)
192
Flûte traversière
170
Flûte, Hautbois, Clarinette, Basson
157
Saxophone Tenor et Piano
149
Hautbois, Clarinette (duo)
145
Hautbois, Basson (duo)
143
Flûte, Violon
142
Hautbois, Flûte
141
Clarinette et Alto
140
Flûte, Saxophone (duo)
135
Flûte, Trompette (duo)
111
Flûte, Alto (duo)
109
Quatuor de Flûtes : 4 flûtes
104
Saxophone Soprano et Piano
94
Ensemble de Flûtes
92
Saxophone (partie séparée)
89
Hautbois (partie séparée)
86
Saxophone Alto
81
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76
2 Flûte à bec (duo)
70
3 Clarinettes (trio)
68
Trio de Flûtes: 3 flûtes
68
Saxophone Tenor
67
Quintette de Saxophone: 5 saxophones
62
Quintette de Clarinettes: 5 clarinettes
53
3 Saxophones (trio)
48
Clarinette Basse, Piano
46
Saxophone Baryton, Piano
45
Flûte à bec Soprano
36
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34
Clarinette (partie séparée)
24
Cor Anglais
23
Cor anglais, Piano
22
Hautbois, Clarinette, Basson (trio d'anches)
21
Flute (partie séparée)
20
Flûte et Guitare
20
3 Flûtes à bec (trio)
19
Quatuor de Flûtes à bec
18
2 Clarinettes, Piano
17
Quintette de Flûte : 5 flûtes
14
Flûte, Clarinette, Piano (trio)
14
Flûte, Clarinette et Basson
14
Flûte traversière, Orgue (duo)
13
Flûte, Violoncelle, Piano (trio)
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Clarinette, Trombone (duo)
12
Flûte à bec Alto
12
Flûte, Violon, Piano
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Flûte à bec Alto, Piano
11
2 Flûtes traversières, Piano
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Hautbois
10
Ensemble à vent
10
Flûte, Hautbois (duo)
9
Clarinette, Violoncelle (duo)
9
Clarinette, Orchestre
9
Quintette de Clarinette: Clarinette, Quatuor à Cordes
8
Flûte, Violoncelle
8
Ensemble De Flûte à bec
8
Flûte à bec Soprano, Piano
8
Flûte traversière, Orchestre
7
Flûte, Violon et Violoncelle
7
2 Cors Anglais Et Pianoforte
6
Flûte à bec Tenor
6
Piccolo
6
3 Hautbois
6
Clarinette Basse
6
Clarinette, Basson (duo)
5
Clarinette, Basson, Piano (trio)
5
Flûte, Hautbois, Clarinette (trio)
5
5 Flûtes à bec
5
2 Flûtes à bec, Piano
4
Flûte à Bec, Piano
4
Flûte, Hautbois, Piano (trio)
4
Hautbois, violon (duo)
4
Flûte à Bec
4
Hautbois, Quatuor à cordes
4
Flûte, Hautbois, Basson
4
Clarinette, Violoncelle, Piano (trio)
3
Clarinette, Alto et Piano (trio)
3
4 Hautbois
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Clarinette, Contrebasse (duo)
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Flûte, Basson et Piano
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2
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Saxophone Soprano
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Hautbois et Orchestre
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Piccolo, Piano
2
Flûte, Clarinette, Violon (trio)
2
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Hautbois, Orgue
2
Flûte traversière, Basse continue
2
Flûte, Trombone (duo)
2
Hautbois, Guitare (duo)
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Saxophone
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Harmonica
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Flute, harpe et violon
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Flûte et Trio à cordes
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2 Hautbois, 2 Cors et 2 Bassons
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Cornemuse
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Hautbois, Violin, Alto et Violoncelle (Quatuor)
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2 Clarinettes, Basson
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Clarinette, Tuba
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2 Saxophones, Piano
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
472
Trompette, Saxophone (duo)
288
Trombone et Piano
243
2 Trompettes (duo)
176
Cor et Piano
174
2 Trombones (duo)
174
Trompette
166
Trompette, Piano
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Trompette, Trombone (duo)
151
Quatuor de Cuivres : 2 trompettes, trombone, tuba
119
Tuba et Piano
113
Ensemble de Trombones
106
Euphonium, Piano (duo)
105
Quatuor de cuivres: 4 trombones
98
Trombone
83
Trompette (partie séparée)
68
Trombone (partie séparée)
67
Cor
58
Quatuor de cuivres: 4 cors
46
2 Cors (duo)
38
Quatuor de Cuivres
37
Quatuor de Cuivres: 2 trompettes, Cor, trombone
27
Cor Anglais
23
Cor anglais, Piano
22
Tuba
22
3 Trombones (trio)
18
4 Tubas
17
Trio de Cuivres
16
Euphonium
14
Trombone basse
14
2 Euphoniums (duo)
12
Cornet et Piano
12
Trombone basse et Piano
12
3 Trompettes (trio)
11
Euphonium, Tuba (duo)
10
Cor (partie séparée)
9
Ensemble de Cors
8
Quatuor de cuivres: 4 trompettes
8
2 Euphoniums et 2 Tubas
8
Ensemble de Trompettes
8
Trombone, Orgue
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2 Cors Anglais Et Pianoforte
6
3 Tubas (trio)
6
Tuba (partie séparée)
5
Trombone et orchestre
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Trompette, Cor (duo)
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Cor et Orgue
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2 Tubas (duo)
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Trompette, violon (duo)
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Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
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Trombone, Tuba (duo)
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3 Cors (trio)
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Trompette, Orchestre
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Cor, Tuba (duo)
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3 Euphoniums
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Cor, Orchestre
2
2 Trompettes, Clavier (piano ou orgue)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
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Clarinette, Cor (duo)
2
Cor et Harpe
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Ensemble de Tubas
2
Trompette, Trombone, Piano
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Cornet et orchestre
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4 Euphoniums
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Saxhorn basse ou Euphonium ou Tuba et Piano
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Tuba ou Euphonium ou Saxhorn
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
894
Violon et Piano
537
Violoncelle, Piano
369
Violon, Violoncelle (duo)
326
Violon
321
Violon (partie séparée)
259
Alto, Piano
259
2 Violons (duo)
240
2 Violoncelles (duo)
230
Violon, Alto (duo)
220
Violoncelle
214
2 Altos (duo)
180
Trio à Cordes: violon, alto, violoncelle
134
Alto (partie séparée)
123
Alto seul
123
Alto, Violoncelle (duo)
99
Harpe
96
Trio à Cordes: 2 violons, violoncelle
40
Violoncelle (partie séparée)
39
Trio à cordes: 3 violins
25
Contre Basse
22
4 Violoncelles
22
Harpe, Flûte (duo)
22
Trio à cordes
19
Violon, Orgue
19
Violoncelle, Orchestre
19
Contrebasse, Piano (duo)
18
Trio à Cordes: 3 violoncelles
17
Alto et Harpe
17
Contrebasse (partie séparée)
17
Harpe, Violoncelle (duo)
16
Harpe, Violon (duo)
15
Violoncelle, Orgue
14
Violon, Guitare (duo)
13
Piano Trio: Violon, Alto, Piano
10
Alto et orchestre
10
Trio à cordes: 3 altos
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
10
Ensemble de Violoncelles
7
Quatuor à cordes : 4 altos
7
Violoncelle, Contrebasse (duo)
6
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Alto, Orgue
5
Quatuor à cordes: 4 violons
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Harpe, Voix
3
Violoncelle , Guitare (duo)
3
2 Violons, Piano
2
Harpe et Piano
2
Flûte, Contrebasse (duo)
2
2 Altos, Piano
2
2 Violons et Basse continue
2
Harpe (partie séparée)
1
Violon, Clarinette, Piano (trio)
1
4 Contrebasses
1
Alto et Basson
1
2 Harpes (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre
754
Orchestre d'harmonie
538
Orchestre à Cordes
456
Ensemble de cuivres
368
Orchestre de chambre
253
Cloches
153
Ensemble Jazz
83
Fanfare
69
Batterie
42
Ensemble de Percussions
36
Jazz combo
23
Piano et Orchestre
21
Orchestre, Violon
18
Percussion (partie séparée)
16
Marimba
12
Percussion
8
Vibraphone
7
Quintette à Vent
5
Batterie (partie séparée)
5
Xylophone
3
Timbales (partie séparée)
2
Caisse Claire
2
Voix Mezzo-Soprano, Orchestre
2
Xylophone, Piano
1
Big band
1
Orchestre Symphonique
1
Marimba, Piano (duo)
1
Marimba et Orgue
1
3 Percussions
1
2 Xylophones
1
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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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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 et Orchestre
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Carl Maria von Weber
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Konzertstück F minor
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Concerto No. 1
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q54443 Composed by Carl Maria von We…
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Concerto No. 1
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Concerto D Major
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Piano (harpsichord) and orchestra - intermediate - Digital Download SKU: S9.Q47513 …
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Johann Wenzel Anton Stamitz
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Concerto D Major
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Piano et Orchestre
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Concerto No. 11 F major
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Piano Concerto No. 19 F major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by …
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Piano Concerto No. 19 F major
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Concerto No. 6 Bb major
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Piano and orchestra - Digital Download SKU: S9.Q12464 Cadenzas by the Composer
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Piano and orchestra - Digital Download SKU: S9.Q12464 Cadenzas by the Composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 21 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q12464. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12464). Key: B flat major.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.
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Wolfgang Amadeus Mozart
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Concerto No. 6 Bb major
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Concerto No. 1 G minor
Piano et Orchestre
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Felix Bartholdy Mendelssohn
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Concerto No. 1 G minor
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Burleske D minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4695 Composed by Richard Strauss. T…
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Richard Strauss
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Burleske D minor
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Concerto No. 1 Bb minor
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Peter Ilyich Tchaikovsky
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Concerto No. 1 Bb minor
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Piano Concerto A minor
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Piano and orchestra - Digital Download SKU: S9.Q12481 Composed by Edvard Grieg. Thi…
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Edvard Grieg
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Piano Concerto A minor
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Piano Concerto No. 2 A major
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Piano and orchestra - Digital Download SKU: S9.Q4502 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4502 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 15 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4502. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4502). Key: A major. German • English.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.
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Franz Liszt
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Piano Concerto No. 2 A major
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Rondo A Major
Piano et Orchestre
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Rondo A Major
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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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Piano et Orchestre
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Concerto F# minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4634 Composed by Alexander Scriabin…
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Piano and orchestra - Digital Download SKU: S9.Q4634 Composed by Alexander Scriabin. This edition: study score. Ernst Eulenburg - Orchestra. Eulenburg Miniature Scores. Downloadable, Study score. Op. 20. Duration 30 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4634. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4634). Key: F sharp minor.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.
$10.99
10.01 €
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Piano et Orchestre
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Alexander Scriabin
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Concerto F# minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Music with Orchestra
Piano et Orchestre
(Piano: Left Hand). Composed by Paul Hindemith (1895-1963). This edition: piano reduct…
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(Piano: Left Hand). Composed by Paul Hindemith (1895-1963). This edition: piano reduction with solo part. Downloadable, piano reduction with solo part. Op. 29. Duration 18 minutes. Schott Music - Digital #Q19660. Published by Schott Music - Digital
$55.99
50.98 €
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Piano et Orchestre
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Piano Music with Orchestra
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Schott Music - Digital
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SheetMusicPlus
Klaviermusik mit Orchester
Piano et Orchestre
(Piano: Left Hand) and Orchestra. Composed by Paul Hindemith (1895-1963). This editi…
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(Piano: Left Hand) and Orchestra. Composed by Paul Hindemith (1895-1963). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Op. 29. Duration 18 minutes. Schott Music - Digital #Q21351. Published by Schott Music - Digital
$15.99
14.56 €
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Piano et Orchestre
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Paul Hindemith
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Klaviermusik mit Orchester
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Schott Music - Digital
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SheetMusicPlus
Third Piano Concerto in E minor
Piano et Orchestre
Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minute…
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Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minutes. Zimmermann #Q564179. Published by Zimmermann
$19.99
18.2 €
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Piano et Orchestre
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Nikolai Medtner
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Third Piano Concerto in E minor
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SheetMusicPlus
Piano Concerto
Piano et Orchestre
Composed by Sir Michael Tippett (1905-1998). This edition: study score. Ernst Eulenb…
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Composed by Sir Michael Tippett (1905-1998). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Duration 32 minutes. Schott Music - Digital #Q21224. Published by Schott Music - Digital
$41.99
38.24 €
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Piano et Orchestre
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Sir Michael Tippett
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Piano Concerto
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Schott Music - Digital
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SheetMusicPlus
Concerto No. 2 G minor
Piano et Orchestre
Composed by Camille Saint- Saens (1835-1921). This edition: study score. Ernst Eulenb…
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Composed by Camille Saint- Saens (1835-1921). This edition: study score. Ernst Eulenburg, Orchester, Partitur, Konzert. Eulenburg Miniature Scores. Downloadable. Op. 22. Duration 25 minutes. Schott Music - Digital #Q48708. Published by Schott Music - Digital
$15.99
14.56 €
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Piano et Orchestre
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Camille Saint- Saens
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Concerto No. 2 G minor
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Schott Music - Digital
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SheetMusicPlus
Concerto No. 2
Piano et Orchestre
For Piano and Orchestra. Composed by Mikis Theodorakis (1925-). This edition: study …
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For Piano and Orchestra. Composed by Mikis Theodorakis (1925-). This edition: study score. Music Of Our Time. Downloadable. Duration 28 minutes. Schott Music - Digital #Q7222. Published by Schott Music - Digital
$49.99
45.52 €
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Piano et Orchestre
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Mikis Theodorakis (1925-)
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Concerto No. 2
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Schott Music - Digital
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SheetMusicPlus
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