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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
Music
Sheetmusicplus
Non classifié
86 011
Piano & claviers
Piano seul
83 966
Piano, Voix et Guitare
52 442
Piano, Voix
43 999
Piano Facile
31 993
Orgue
9 940
Piano grosses notes
4 690
Instruments en Do
3 358
1 Piano, 4 mains
2 645
Accordéon
2 073
Accompagnement Piano
1 793
Piano (partie séparée)
1 593
Piano Trio: piano, violon, violoncelle
1 024
2 Pianos, 4 mains
772
Piano Quatuor: piano, 2 violons, violoncelle
206
Piano Quatuor: piano, violon, alto, violoncelle
201
Piano Quintette: piano, 2 violons, alto, violoncelle
198
Orgue, Trompette (duo)
191
1 Piano, 6 mains
154
Orgue, Piano (duo)
134
Clavier
123
Clavecin
96
2 Pianos, 8 mains
71
2 Accordéons
63
Ensemble d'Accordéons
54
Tous Les Instruments
22
2 Orgues (duo)
18
Orgue, Voix
17
Accordéon, Corde(s)
10
Accordéon, Piano
8
Fake Book
7
Accordéon, Voix
7
Accordéon et Orchestre
7
Piano Quintette: piano, violon, alto, violoncelle, contre basse
4
Concertina
3
3 Pianos
2
Orgue et Orchestre
2
Ensemble de Pianos
2
+ 32 instrumentations
Retracter
Guitares
Guitare notes et tablatures
29 537
Ligne De Mélodie, (Paroles) et Accords
9 170
Guitare
8 973
Paroles et Accords
8 768
Ukulele
5 770
Basse electrique
4 214
Guitare (partie séparée)
2 136
2 Guitares (duo)
958
Dulcimer
700
Mandoline
647
Banjo
448
Piano, Guitare (duo)
384
4 Guitares (Quatuor)
380
Basse électrique (partie séparée)
339
3 Guitares (trio)
244
Ensemble de guitares
237
Ukulele Baryton
105
Guitare Pedal Steel
95
2 Dulcimers (duo)
81
Dobro
43
Guitare Tab, Voix, Basse, Batterie
40
Mandoline, Guitare (duo)
29
Ensemble de Ukulélés
27
2 Ukuleles
26
Mandoline, Piano (duo)
22
3 Dulcimers (trio)
21
Guitare, Violon, Violoncelle (trio)
16
Guitare, Orchestre
10
Orchestre à Plectres
9
Guitare, Flûte, Clarinette
9
Guitare, Quatuor à cordes
8
2 Mandolines (duo)
7
Luth
7
Bouzouki
5
Cithare
4
2 Guitares et Orchestre
2
+ 31 instrumentations
Retracter
Voix
Chorale SATB
31 576
Chorale 3 parties
11 961
Chorale 2 parties
9 179
Chorale TTBB
4 818
Chorale
3 556
Chorale Unison
3 536
Chorale SSAA
2 784
Voix duo, Piano
2 762
Pack Instrumental pour Chorale
1 994
Voix seule
1 592
Voix duo
1 074
Voix haute
798
Voix Soprano, Piano
697
Voix basse, Piano
471
Voix Tenor, Piano
419
Voix Baryton, Piano
344
Voix Alto, Piano
312
Voix moyenne, Piano
305
Voix Moyenne
245
Chorale SSATB
234
Chorale SSAATTBB
181
Chorale SSATTB
124
Voix Mezzo-Soprano, Piano
118
Soli, choeur mixte et accompagnement
105
Voix, Guitare
85
Voix Tenor
82
Voix haute, Piano
59
Voix Soprano
50
Voix d'Enfants
37
Chorale SSAB a cappella
37
Chorale, Orgue
37
Voix basse
31
Chorale SATBB
25
Chorale SSAATB
23
Chorale SSAB, Piano
23
Male Voice
19
Voix Baryton
16
Voix Soprano, Orchestre
9
Chorale SSAATB A Cappella
8
Chorale SAATB A Cappella
7
Chorale SATTBB A Cappella
6
Voix duo, Orgue
6
Paroles Seulement
3
Voix et basse continue
1
Chorale SSATBB
1
+ 40 instrumentations
Retracter
Vents
Saxophone (partie séparée)
18 914
Clarinette (partie séparée)
12 165
Flûte traversière et Piano
7 393
Quatuor de Saxophones: 4 saxophones
6 050
Flute (partie séparée)
5 056
Flûte traversière
4 870
Clarinette et Piano
4 764
Clarinette
3 868
Flûte, Hautbois, Clarinette, Basson
3 827
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3 676
Hautbois (partie séparée)
3 608
Saxophone Alto et Piano
3 539
Hautbois, Piano (duo)
3 520
2 Saxophones (duo)
2 913
Quatuor de Clarinettes: 4 clarinettes
2 802
Saxophone Tenor
2 748
Saxophone Alto
2 736
Saxophone Tenor et Piano
2 590
2 Flûtes traversières (duo)
2 568
2 Clarinettes (duo)
1 847
Saxophone Soprano et Piano
1 786
Quintette de Saxophone: 5 saxophones
1 773
Quatuor de Flûtes : 4 flûtes
1 470
Hautbois
1 441
3 Clarinettes (trio)
1 004
3 Saxophones (trio)
933
Ensemble de Clarinettes
913
Flûte, Clarinette (duo)
870
Ensemble de Flûtes
832
Trio de Flûtes: 3 flûtes
805
Saxophone Baryton, Piano
740
Flûte et Guitare
709
Ensemble de saxophones
687
Quintette de Clarinettes: 5 clarinettes
629
2 Flûte à bec (duo)
599
2 Hautbois (duo)
590
Flûte à bec Soprano
577
Saxophone Soprano
548
Cor anglais, Piano
435
Ocarina
406
Saxophone, Clarinette (duo)
391
Instruments en Mib
390
Clarinette, Violon (duo)
383
Harmonica
383
Piccolo
376
Flûte à bec Alto
370
Hautbois, Basson (duo)
365
Quatuor de Flûtes à bec
360
Flûte, Violon, Piano
343
Flûte à Bec
320
Flûte, Violon
308
Clarinette Basse
304
Hautbois, Clarinette (duo)
303
Flûte, Hautbois, Clarinette (trio)
281
Saxophone Baryton
256
Clarinette Basse, Piano
254
Clarinette, Trompette (duo)
248
Flûte, Clarinette et Basson
232
2 Flûtes traversières, Piano
220
Clarinette, Guitare (duo)
212
Cor Anglais
204
Saxophone
199
Flûte, Clarinette, Piano (trio)
196
3 Flûtes à bec (trio)
190
Clarinette, Basson (duo)
183
Flûte, Violoncelle
176
Flûte à bec Alto, Piano
176
Hautbois, Clarinette, Basson (trio d'anches)
173
Quintette de Flûte : 5 flûtes
169
Hautbois, Flûte
168
Clarinette et Alto
168
Flûte, Alto (duo)
163
Flûte à bec Soprano, Piano
154
Flûte, Saxophone (duo)
152
Flûte, Hautbois, Basson
145
Clarinette, Harpe (duo)
141
Flûte, Hautbois (duo)
133
Flûte, Violoncelle, Piano (trio)
133
Flûte, Trompette (duo)
132
Ensemble De Flûte à bec
127
Clarinette, Violoncelle (duo)
126
Hautbois, Violoncelle
113
5 Flûtes à bec
110
2 Clarinettes, Piano
107
2 Saxophones, Piano
104
Ensemble à vent
86
Clarinette, Violoncelle, Piano (trio)
86
Flûte à bec Tenor
84
Saxophone et Piano
78
Flûte, Hautbois, Piano (trio)
70
Flûte, Violon et Violoncelle
70
Flûte, Basson et Piano
59
Hautbois, violon (duo)
55
Flûte à bec Alto, Basse continue
54
Flûte irlandaise
53
Flûte, Alto et Piano
51
Flûte à bec, Guitare (duo)
49
Flûte à Bec, Piano
48
Flûte, Clarinette, Cor, Basson (Quartet)
47
Saxophone et Orgue
47
3 Hautbois
46
Piccolo, Piano
45
Saxophone et Harpe
44
Hautbois, Guitare (duo)
44
Hautbois, Harpe
39
Flûte, Trombone (duo)
39
Flûte traversière, Basse continue
38
Hautbois et alto (duo)
37
Flûte, Harpe et Violoncelle
34
Flûte, trombone et piano
33
Flûte traversière, Orgue (duo)
33
4 Hautbois
31
Clarinette, Alto et Piano (trio)
29
Flûte, Violon, Violoncelle et Piano
29
Clarinette, Trombone (duo)
28
Flute, harpe et violon
27
Saxophone et Guitare
26
Hautbois, Basson et Piano
25
Flûte, Violon, Guitare
24
2 Flûtes à bec, Piano
24
Flûte et Quatuor à Cordes
24
Flûte et Trio à cordes
23
Clarinette, Basson, Piano (trio)
23
2 Clarinettes, Basson
20
Flûte, Hautbois, Violon
19
Cornemuse
19
Flûte traversière, Orchestre
19
Quintette de Clarinette: Clarinette, Quatuor à Cordes
18
2 Hautbois, Piano
18
Hautbois, Violoncelle et Piano
18
Flûte, Violoncelle, Guitare
18
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
17
Clarinette, trompette et piano
16
Saxophone et Orchestre
15
Clarinette, Orgue
15
Hautbois, Violon, Piano
14
Ensemble de Hautbois
14
Hautbois, Clarinette et Piano (Trio)
13
Clarinette, Contrebasse (duo)
12
Flûte à bec Soprano, Basse continue
11
Clarinette, Orchestre
11
Flûte, Tuba (duo)
10
Flûte, Clarinette, Violon (trio)
10
2 Flûtes traversières, Harpe
10
2 Hautbois et Cor anglais
10
2 Hautbois et Basson
9
Flute, Cor (duo)
8
Clarinette, Tuba
8
Flûte de Pan
8
Hautbois, Orgue
8
Hautbois, Violin, Alto et Violoncelle (Quatuor)
8
Flûte, Alto et Violoncelle
8
Flûte, alto et harpe
8
Flûte, Guitare, Piano
7
2 Cors Anglais Et Pianoforte
7
Hautbois, trombone (duo)
7
2 Flûtes, 2 Clarinettes (Quatuor)
6
Hautbois et Orchestre
6
Hautbois, Trompette (duo)
6
2 Flûtes, Basse continue
6
Cor anglais, Guitare (duo)
6
Harmonica, Piano
4
Clarinette, Quatuor à cordes et Piano
3
Clarinette, Saxophone, Piano
3
Hautbois, Quatuor à cordes
3
2 Flûtes traversières, Guitare
3
Flûte à bec, Harpe
3
Melodica
2
Saxophone et violoncelle
2
2 clarinettes, 2 bassons
2
Saxophone, Tuba (duo)
2
2 Flûtes à bec, Guitare
2
Cor anglais et Harpe (duo)
2
Hautbois, Clarinette, Basson et Piano
1
Flute, alto, violoncelle et guitare
1
2 Hautbois, 2 Cors et 2 Bassons
1
3 Flûtes à bec, Piano
1
+ 172 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
14 898
Trompette (partie séparée)
11 840
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5 429
Cor (partie séparée)
5 396
Tuba (partie séparée)
4 463
Trompette
3 687
Trompette, Piano
3 586
Trombone et Piano
2 985
Cor
2 778
Trombone
2 572
Cor et Piano
2 258
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2 187
Tuba
1 412
2 Trompettes (duo)
1 116
Tuba et Piano
1 090
Quatuor de Cuivres
948
2 Trombones (duo)
931
Quatuor de Cuivres: 2 trompettes, Cor, trombone
837
Bass Clef Instruments
770
Quatuor de cuivres: 4 trombones
671
Euphonium, Piano (duo)
584
2 Euphoniums et 2 Tubas
572
Quatuor de cuivres: 4 cors
559
4 Tubas
552
2 Cors (duo)
547
Trompette, Trombone (duo)
505
Cor anglais, Piano
435
Tuba ou Euphonium ou Saxhorn
381
Cornet A Pistons
368
Trompette, Cor (duo)
350
Trio de Cuivres
317
Trompette, Saxophone (duo)
302
Euphonium
296
Instruments en Sib
288
Ensemble de Trombones
256
Ensemble de Trompettes
227
Quatuor de cuivres: 4 trompettes
217
2 Tubas (duo)
204
Cor Anglais
204
3 Trompettes (trio)
202
3 Trombones (trio)
194
Ensemble de Cors
176
2 Trompettes, Clavier (piano ou orgue)
112
Quatuor de cuivres: 2 trompettes, 2 trombones
93
Tuba et Orgue
88
Ensemble de Tubas
75
3 Cors (trio)
59
Trombone basse
57
Cor et Harpe
54
Euphonium, Tuba (duo)
48
Trombone, Cor (duo)
45
Trombone, Tuba (duo)
43
Trombone, Orgue
43
Trompette, Violoncelle et Piano
41
Cor, Violoncelle (duo)
40
Trombone basse et Piano
40
Trompette, Harpe
39
2 Euphoniums (duo)
38
2 Trombones, Piano
34
Cor, Tuba (duo)
33
Trompette, Trombone, Piano
30
Trompette, Violoncelle (duo)
30
Trompette, Tuba (duo)
29
3 Tubas (trio)
28
Trompette, Basson (duo)
27
Trompette, Orchestre
17
Trompette et Guitare
17
4 Euphoniums
16
Cor et Basson (duo)
16
2 Cors, Piano
16
Cornet et Piano
15
Cor et Orgue
15
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
12
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
9
Trombone, Violon (duo)
9
Bugle
9
Euphonium (partie séparée)
9
Cor, Orchestre
9
Trompette, violon (duo)
8
Trombone et orchestre
8
Trombone, violoncelle (duo)
7
Instruments en Fa
7
2 Cors Anglais Et Pianoforte
7
Clarinette, Cor (duo)
6
Cor, Violoncelle et Piano
6
Cor anglais, Guitare (duo)
6
Trompette, Euphonium (duo)
5
G Instruments
4
3 Euphoniums
4
Saxhorn basse ou Euphonium ou Tuba et Piano
3
Cor, Trompette, Trombone (trio)
3
Euphonium Ou Saxhorn Et Piano
3
Cornet et orchestre
2
Cor anglais et Harpe (duo)
2
Trombone, Alto (duo)
1
+ 90 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
16 281
Violon et Piano
8 754
Violon (partie séparée)
8 111
Violon
6 245
Harpe
5 750
Violoncelle, Piano
5 708
Contrebasse (partie séparée)
4 699
Violoncelle
4 238
Alto seul
3 937
Alto, Piano
3 936
Violoncelle (partie séparée)
2 840
Violon, Violoncelle (duo)
2 558
Trio à Cordes: violon, alto, violoncelle
2 188
2 Violons (duo)
1 994
Alto (partie séparée)
1 819
2 Violoncelles (duo)
1 484
Contre Basse
1 350
Quintette à cordes: 2 violons, alto, violoncelle, basse
1 120
Violon, Alto (duo)
1 039
Contrebasse, Piano (duo)
923
2 Altos (duo)
863
Trio à Cordes: 2 violons, violoncelle
794
Piano Trio: Violon, Alto, Piano
504
4 Violoncelles
476
2 Harpes (duo)
450
Alto, Violoncelle (duo)
404
Harpe, Flûte (duo)
399
Trio à cordes: 3 violins
385
Violon, Guitare (duo)
353
Violoncelle , Guitare (duo)
293
Trio à Cordes: 3 violoncelles
272
Trio à cordes
271
Quatuor à cordes: 4 violons
236
Harpe, Violon (duo)
170
Alto, Guitare (duo)
169
2 Contrebasses (duo)
135
2 Violons, Piano
124
Quatuor à cordes : 4 altos
117
Trio à cordes: 3 altos
111
Violon, Basson (duo)
96
Harpe, Violoncelle (duo)
95
Trio à Cordes: 2 violons, alto
89
Violoncelle, Contrebasse (duo)
82
Harpe (partie séparée)
82
Quintette à cordes: 2 violons, 2 altos, violoncelle
65
Alto et Harpe
61
Ensemble de Violoncelles
57
Violon, Basse continue
55
Alto et Basson
50
Harpe, Voix
49
Violoncelle, Orgue
48
2 Violoncelles, Piano
48
Violon, Clarinette, Piano (trio)
48
Quintette à cordes : 2 violons, alto et 2 violoncelles
46
Violoncelle, Orchestre
43
Violoncelle, Basse continue
41
2 Violons et Basse continue
39
Ensemble de Violons
38
Violon, Orgue
37
Harpe et Piano
34
3 Harpes
31
Ensemble d'Altos
26
Flûte, Contrebasse (duo)
25
Harpe, Violon, Violoncelle
24
2 Altos, Piano
22
Autoharp
20
4 Contrebasses
18
Alto et orchestre
16
Harpe et mandoline
16
Harpe, Trombone (duo)
14
Violon, Trompette et Piano
11
Violon, Violoncelle, Clarinette
9
Alto, Orgue
9
Violon, Tuba (duo)
8
Harpe et Orgue
7
4 Harpes
7
5 Harpes
6
3 Contrebasses
6
Harpe, Quatuor à cordes
4
Harpe, Orchestre
4
Ensemble de Contre basses
3
Violon, Clarinette et Guitare
1
Violon, Contrebasse (duo)
1
+ 78 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
49 210
Fanfare
10 648
Orchestre à Cordes
8 828
Percussion (partie séparée)
7 105
Orchestre
7 053
Ensemble Jazz
5 498
Cloches
3 110
Batterie
2 713
Ensemble de cuivres
2 483
Percussion
2 256
Batterie (partie séparée)
1 939
Timbales (partie séparée)
1 917
Orchestre de chambre
1 194
Jazz combo
1 121
Ensemble de Percussions
567
Timbales
503
Marimba
395
Xylophone
298
Vibraphone
226
Caisse Claire
106
Quintette à Vent
97
Piano et Orchestre
94
Xylophone, Piano
76
Quatuor à Vent : 4 instruments à vents
68
Orchestre, Violon
48
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
44
Vibraphone (partie séparée)
43
Big band
37
Batterie-Fanfare
28
2 Xylophones
27
Instrumentation Flexible
23
Ensemble d'École
20
Xylophone (partie séparée)
19
Quintette de Cuivres: autres combinaisons
18
3 Marimbas
17
Xylophone ou Marimba ou Vibraphone
12
Marimba et Orgue
12
3 Percussions
11
Vibraphone et Marimba
9
2 Marimbas
8
Bongos
7
Voix et Orchestre
7
Marimba, Piano (duo)
7
Trio à Vent: 3 instruments à vents
5
Cajon
4
2 Caisses Claires (duo)
4
Conga
4
Orchestre Symphonique
3
Bodhran
3
2 Percussions
3
Voix Mezzo-Soprano, Orchestre
2
Marimba ou Xylophone et Piano
2
Vibraphone, Piano
1
Marimba, Saxophone (duo)
1
+ 49 instrumentations
Retracter
Autres
Formation musicale - Solfège
227
Théorie de la musique
53
Papeterie
33
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 :
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ACCORDEON
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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)
$23.99
22.12 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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
51.62 €
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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
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
46.09 €
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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
Diamond Dust
Piano et Orchestre
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and p…
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By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and parts. 19 pages. Roger Hudson Music #5219395. Published by Roger Hudson Music
Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .
$19.99
18.43 €
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Piano et Orchestre
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Jeff Beck
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Roger Hudson
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Diamond Dust
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Roger Hudson Music
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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
14.74 €
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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 F minor
Piano et Orchestre
Composed by Frederic Chopin (1810-1849). This edition: study score. Ernst Eulenburg - …
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Composed by Frederic Chopin (1810-1849). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 21. Schott Music - Digital #Q12492. Published by Schott Music - Digital
$15.99
14.74 €
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Piano et Orchestre
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Frederic Chopin (1810-1849)
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Concerto No. 2 F minor
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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
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14.74 €
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Piano et Orchestre
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Paul Hindemith
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Klaviermusik mit Orchester
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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
38.71 €
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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. 20 D minor
Piano et Orchestre
Piano and orchestra - Digital Download Composed by Wolfgang Amadeus Mozart (1756-1791…
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Piano and orchestra - Digital Download Composed by Wolfgang Amadeus Mozart (1756-1791). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Schott Music - Digital #Q12448. Published by Schott Music - Digital
$13.99
12.9 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 20 D minor
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Schott Music - Digital
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SheetMusicPlus
Concerto para piano e orquestra n.2 em formas brasileiras
Piano et Orchestre
Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part…
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Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part. 34 pages. Published by Musica Brasilis (S0.240407). - Solo Part - 21st Century,Contemporary Classical,South American - Musica Brasilis
$17.50
16.13 €
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Piano et Orchestre
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Hekel Tavares
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Concerto para piano e orquestra n.2 em formas brasileiras
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Musica Brasilis
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SheetMusicPlus
Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
Piano et Orchestre
Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067…
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Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067 Composed by Nicolae Kirculescu. Arranged by Andrei Lucian Drăgoi. 20th Century,Contemporary,Standards. 3 pages. Andrei-Lucian Dragoi #6188049. Published by Andrei-Lucian Dragoi (A0.913067). Composed for piano and orchestra by: Nicolae Kirculescu (Romanian composer) (1903-1985)
$2.00
1.84 €
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Piano et Orchestre
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Nicolae Kirculescu
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Andrei Lucian Drăgoi
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Kirculescu
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Andrei-Lucian Dragoi
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SheetMusicPlus
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).
$51.99
47.93 €
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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
Rondo A Major
Piano et Orchestre
Piano and orchestra - intermediate - Digital Download SKU: S9.Q3662 Composed by Wol…
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Piano and orchestra - intermediate - Digital Download SKU: S9.Q3662 Composed by Wolfgang Amadeus Mozart. This edition: score. Downloadable, Score. Duration 9 minutes. Schott Music - Digital #Q3662. Published by Schott Music - Digital (S9.Q3662). Key: A major.
$13.99
12.9 €
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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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Schott Music - Digital
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SheetMusicPlus
Concerto D Major
Piano et Orchestre
Piano (harpsichord) and orchestra - intermediate - Digital Download SKU: S9.Q47513 …
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Piano (harpsichord) and orchestra - intermediate - Digital Download SKU: S9.Q47513 Composed by Johann Wenzel Anton Stamitz. Arranged by Karlheinz Schultz-Hauser. This edition: piano reduction for 2 pianos. Schott Archive. Downloadable, vocal/piano score. Op. 10/1. Duration 14 minutes. Schott Music - Digital #Q47513. Published by Schott Music - Digital (S9.Q47513). Key: D major.
$23.99
22.12 €
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Piano et Orchestre
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Johann Wenzel Anton Stamitz
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Karlheinz Schultz-Hauser
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Concerto D Major
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Schott Music - Digital
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SheetMusicPlus
Symphonic Variations
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4511 Composed by Cesar Auguste Fran…
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Piano and orchestra - Digital Download SKU: S9.Q4511 Composed by Cesar Auguste Franck. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4511. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4511). 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
10.13 €
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Piano et Orchestre
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Cesar Auguste Franck
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Symphonic Variations
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 1 G minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4535 Composed by Felix Bartholdy Me…
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Piano and orchestra - Digital Download SKU: S9.Q4535 Composed by Felix Bartholdy Mendelssohn. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 25. Duration 20 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4535. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4535). Key: G 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.
$16.99
15.66 €
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Piano et Orchestre
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Felix Bartholdy Mendelssohn
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Concerto No. 1 G minor
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Ernst Eulenburg & Co. GmbH - Digital
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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
Concert Rondo D major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4529 Composed by Wolfgang Amadeus M…
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Piano and orchestra - Digital Download SKU: S9.Q4529 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4529. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4529). Key: D 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.
$9.99
9.21 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concert Rondo D major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Ballade
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4662 Composed by Gabriel Faure. Thi…
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Piano and orchestra - Digital Download SKU: S9.Q4662 Composed by Gabriel Faure. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 19. Ernst Eulenburg & Co. GmbH - Digital #Q4662. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4662). 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.
$9.99
9.21 €
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Piano et Orchestre
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Gabriel Faure
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Ballade
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 3 C minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4491 Composed by Ludwig van Beethov…
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Piano and orchestra - Digital Download SKU: S9.Q4491 Composed by Ludwig van Beethoven. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 37. Ernst Eulenburg & Co. GmbH - Digital #Q4491. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4491). Key: C 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.
$13.99
12.9 €
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Piano et Orchestre
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Ludwig van Beethoven
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Concerto No. 3 C minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto No. 1 Eb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4496. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4496). Key: E 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.
$13.99
12.9 €
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Piano et Orchestre
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Franz Liszt
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Piano Concerto No. 1 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Burleske D minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4695 Composed by Richard Strauss. T…
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Piano and orchestra - Digital Download SKU: S9.Q4695 Composed by Richard Strauss. This edition: study score. Ernst eulenburg - orchestra - score. Eulenburg Miniature Scores. Downloadable, Study score. Volume o. Op. AV 85. Duration 22 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4695. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4695). Key: D 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.
$29.99
27.65 €
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Piano et Orchestre
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Richard Strauss
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Burleske D minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
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
11.98 €
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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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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 1 Bb minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4495 Composed by Peter Ilyich Tchai…
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Piano and orchestra - Digital Download SKU: S9.Q4495 Composed by Peter Ilyich Tchaikovsky. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 23. Duration 34 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4495. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4495). Key: B flat 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.
$15.99
14.74 €
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Piano et Orchestre
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Peter Ilyich Tchaikovsky
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Concerto No. 1 Bb minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 27 Bb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21349 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21349 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21349. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21349). 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.
$12.99
11.98 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 27 Bb major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
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