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Non classifié
14511
PIANO & CLAVIERS
Piano seul
14017
Piano, Voix et Guitare
8049
Piano, Voix
6748
Piano Facile
4508
Orgue
1430
Instruments en Do
888
Accompagnement Piano
576
Piano grosses notes
514
1 Piano, 4 mains
383
Accordéon
342
Piano Trio: piano, violon, violoncelle
129
Piano (partie séparée)
113
2 Pianos, 4 mains
89
Ligne De Mélodie, Piano
42
Orgue, Piano (duo)
37
Orgue, Trompette (duo)
33
Piano Quatuor: piano, 2 violons, violoncelle
27
Piano Quatuor: piano, violon, alto, violoncelle
23
Clavecin
14
Piano Quintette: piano, 2 violons, alto, violoncelle
11
Clavier
10
Accordéon, Voix
10
1 Piano, 6 mains
4
2 Pianos, 8 mains
3
2 Accordéons
2
Instrument seul et Orgue
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
3316
Ligne De Mélodie, (Paroles) et Accords
2631
Guitare
1433
Paroles et Accords
1019
Ukulele
943
Basse electrique
735
2 Guitares (duo)
138
Guitare (partie séparée)
84
Banjo
79
Guitare Pedal Steel
68
Piano, Guitare (duo)
62
Dulcimer
48
Mandoline
42
4 Guitares (Quatuor)
35
Basse électrique (partie séparée)
26
Ensemble de guitares
24
3 Guitares (trio)
19
Mandoline, Piano (duo)
10
Ukulele Baryton
9
Dobro
7
2 Ukuleles
5
Mandoline, Guitare (duo)
5
Ensemble de Ukulélés
5
2 Dulcimers (duo)
3
Partitions De Groupes
2
Guitare Tab, Voix, Basse, Batterie
1
3 Dulcimers (trio)
1
Guitare, Orchestre
1
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VOIX
Chorale SATB
5294
Chorale 3 parties
1898
Chorale 2 parties
1282
Chorale TTBB
1208
Chorale SSAA
748
Chorale Unison
544
Voix duo, Piano
399
Chorale
354
Voix seule
294
Voix Soprano, Piano
201
Voix duo
156
Voix haute
85
Voix Tenor, Piano
33
Voix Alto, Piano
24
Chorale SSATB
17
Voix moyenne, Piano
16
Voix basse, Piano
13
Chorale SSAATTBB
13
Voix Soprano
9
Voix, Guitare
9
Voix Tenor
7
Voix Baryton, Piano
7
Chorale SSATTB
6
Voix Mezzo-Soprano, Piano
5
Chorale, Orgue
4
Voix basse
3
Chorale SSAB, Piano
3
Chorale SATTBB A Cappella
2
Voix Moyenne
2
Soli, choeur mixte et accompagnement
2
Voix Baryton
2
Chorale SSAATB
1
Voix haute, Piano
1
Chorale SATTB
1
Chorale SAATB A Cappella
1
Chorale SATBB
1
Instrumentations suivantes
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VENTS
Quatuor de Saxophones: 4 saxophones
1793
Flûte, Hautbois, Clarinette, Basson
1465
Flûte traversière et Piano
1210
Clarinette
1066
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1028
Flûte traversière
950
Saxophone (partie séparée)
863
Hautbois, Piano (duo)
801
Clarinette et Piano
754
Saxophone Alto et Piano
745
2 Saxophones (duo)
643
Saxophone Alto
638
2 Flûtes traversières (duo)
612
2 Clarinettes (duo)
515
Quatuor de Clarinettes: 4 clarinettes
495
Saxophone Tenor et Piano
469
Saxophone
406
Quintette de Saxophone: 5 saxophones
359
Saxophone Tenor
307
Flûte, Clarinette (duo)
302
Saxophone Soprano et Piano
300
3 Clarinettes (trio)
275
Quatuor de Flûtes : 4 flûtes
228
Hautbois (partie séparée)
227
Saxophone Baryton, Piano
188
Clarinette (partie séparée)
186
Flûte et Guitare
183
Trio de Flûtes: 3 flûtes
173
3 Saxophones (trio)
161
2 Hautbois (duo)
153
Flûte, Violon
148
Ensemble de saxophones
143
2 Flûte à bec (duo)
139
Hautbois
130
Flute (partie séparée)
127
Clarinette, Violon (duo)
123
Clarinette, Harpe (duo)
113
Ensemble de Clarinettes
106
Ensemble de Flûtes
105
Hautbois, Clarinette (duo)
97
Hautbois, Basson (duo)
94
Cor anglais, Piano
87
Flûte à Bec
86
Quintette de Clarinettes: 5 clarinettes
82
Clarinette, Basson (duo)
77
Saxophone Soprano
74
Clarinette, Guitare (duo)
71
Flûte, Violoncelle
70
Flûte, Hautbois, Clarinette (trio)
65
Flûte à bec Soprano
64
Flûte, Clarinette et Basson
59
Quintette de Flûte : 5 flûtes
59
Instruments en Mib
56
Hautbois, Clarinette, Basson (trio d'anches)
51
Harmonica
48
Flûte à bec Alto
46
Flûte, Clarinette, Piano (trio)
46
Flûte, Hautbois (duo)
45
Ensemble De Flûte à bec
45
Flûte, Alto (duo)
44
Clarinette et Alto
43
Clarinette, Violoncelle (duo)
43
Hautbois, Violoncelle
40
Flûte, Hautbois, Violon
39
Flûte, Violoncelle, Piano (trio)
38
Quatuor de Flûtes à bec
35
Cor anglais, Guitare (duo)
33
Saxophone et Guitare
32
Flûte, Violon, Piano
32
Saxophone, Clarinette (duo)
31
Flûte à bec Tenor
30
Flute, harpe et violon
30
Hautbois et alto (duo)
29
Clarinette Basse, Piano
27
Flûte, Trombone (duo)
27
Hautbois, Guitare (duo)
27
Flûte, Hautbois, Basson
26
Hautbois, Flûte
25
Flûte, Harpe et Violoncelle
25
Ocarina
24
Saxophone Baryton
24
Flûte, Clarinette, Cor, Basson (Quartet)
21
Flûte, Saxophone (duo)
16
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
16
Flûte, Trompette (duo)
16
Flûte à bec Soprano, Piano
15
Hautbois, violon (duo)
15
Clarinette, Tuba
14
Hautbois, trombone (duo)
14
Clarinette, Trompette (duo)
14
Flûte, Tuba (duo)
14
Cor Anglais
14
Flûte, Violon et Violoncelle
14
2 Flûtes traversières, Piano
14
3 Hautbois
13
Flûte, Basson et Piano
13
2 Saxophones, Piano
13
Flûte, Clarinette, Violon (trio)
11
Saxophone et Piano
11
Flûte à bec Alto, Piano
11
Piccolo
11
2 Clarinettes, Piano
11
Flûte, Alto et Piano
9
Harmonica, Piano
7
Clarinette, Violoncelle, Piano (trio)
7
Clarinette Basse
7
Flûte irlandaise
6
3 Flûtes à bec (trio)
6
5 Flûtes à bec
6
Clarinette, Trombone (duo)
5
Flûte traversière, Orgue (duo)
5
Flute, Cor (duo)
5
2 Cors Anglais Et Pianoforte
5
Flûte à Bec, Piano
4
4 Hautbois
4
Cornemuse
4
Saxophone, Violon (duo)
3
Flûte, trombone et piano
3
Piccolo, Piano
3
Flûte et Trio à cordes
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Saxophone et Orgue
3
Flûte, Violoncelle, Guitare
2
2 Clarinettes, Basson
2
2 Flûtes traversières, Harpe
2
Saxophone et Harpe
2
Clarinette, Basson, Piano (trio)
2
2 Flûtes à bec, Piano
2
Flûte à bec, Guitare (duo)
1
Clarinette, Alto et Piano (trio)
1
Clarinette, Orchestre
1
Hautbois, Harpe
1
Clarinette, Orgue
1
Ensemble à vent
1
Saxophone, Basson (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte, alto et harpe
1
Flûte, Violon, Violoncelle et Piano
1
Clarinette, trompette et piano
1
Flûte, Hautbois, Piano (trio)
1
Melodica
1
Flûte, Violon, Guitare
1
Hautbois, Basson et Piano
1
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CUIVRES
Trompette
879
Quatuor de Cuivres : 2 trompettes, trombone, tuba
869
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
788
Trombone
647
Trompette, Piano
619
Trombone et Piano
535
Cor et Piano
483
Trompette (partie séparée)
443
Cor
425
Quatuor de Cuivres
384
Trombone (partie séparée)
328
Tuba et Piano
223
Quatuor de Cuivres: 2 trompettes, Cor, trombone
222
2 Trompettes (duo)
203
2 Trombones (duo)
189
Tuba
171
Quatuor de cuivres: 4 trombones
142
2 Cors (duo)
119
Trompette, Trombone (duo)
107
Cor (partie séparée)
97
Cor anglais, Piano
87
Bass Clef Instruments
71
Trio de Cuivres
70
2 Tubas (duo)
61
Tuba (partie séparée)
59
Euphonium, Piano (duo)
59
Instruments en Sib
55
Trompette, Cor (duo)
52
Trompette, Saxophone (duo)
36
Ensemble de Trompettes
34
Cor anglais, Guitare (duo)
33
Ensemble de Trombones
33
Quatuor de cuivres: 4 cors
29
Trompette, Tuba (duo)
28
3 Trombones (trio)
21
Trombone, Violon (duo)
21
Euphonium
19
3 Trompettes (trio)
18
Tuba et Orgue
15
2 Euphoniums et 2 Tubas
14
Cor Anglais
14
4 Tubas
13
Instruments en Fa
10
2 Trompettes, Clavier (piano ou orgue)
10
Quatuor de cuivres: 2 trompettes, 2 trombones
9
Trombone basse et Piano
8
Trompette, violon (duo)
8
Trombone, Tuba (duo)
6
Cor, Tuba (duo)
6
Trompette, Violoncelle (duo)
5
Trombone, Orgue
5
2 Cors Anglais Et Pianoforte
5
Ensemble de Cors
5
Cor, Violoncelle (duo)
5
Quatuor de cuivres: 4 trompettes
4
Trombone basse
3
Trompette, Basson (duo)
3
2 Cors, Piano
3
Clarinette, Cor (duo)
3
3 Cors (trio)
3
Trompette, Harpe
2
Trompette, Violoncelle et Piano
2
Cor et Harpe
2
Euphonium, Tuba (duo)
2
Ensemble de Tubas
1
Cor, Trompette, Trombone (trio)
1
2 Euphoniums (duo)
1
2 Trombones, Piano
1
Trombone, Cor (duo)
1
Trompette et Guitare
1
Trompette, Trombone, Piano
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Tuba ou Euphonium ou Saxhorn
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
3760
Harpe
2862
Violon
1325
Violon et Piano
1280
Violoncelle, Piano
824
Alto, Piano
636
Violon, Violoncelle (duo)
615
Alto seul
569
2 Violons (duo)
501
Trio à Cordes: violon, alto, violoncelle
484
Violoncelle (partie séparée)
423
Violoncelle
397
Quintette à cordes: 2 violons, alto, violoncelle, basse
326
Harpe, Flûte (duo)
311
2 Violoncelles (duo)
290
Violon, Alto (duo)
255
2 Altos (duo)
220
Contrebasse, Piano (duo)
200
Contre Basse
196
2 Harpes (duo)
193
Violon (partie séparée)
188
Alto (partie séparée)
161
Contrebasse (partie séparée)
156
Trio à Cordes: 2 violons, violoncelle
138
Alto, Violoncelle (duo)
96
4 Violoncelles
83
Trio à cordes: 3 violins
71
Violon, Guitare (duo)
68
Harpe, Violon (duo)
62
Piano Trio: Violon, Alto, Piano
61
Violoncelle , Guitare (duo)
58
2 Contrebasses (duo)
55
Quatuor à cordes: 4 violons
39
Violon, Basson (duo)
39
Trio à Cordes: 3 violoncelles
36
Alto, Guitare (duo)
34
Trio à cordes
31
Trio à Cordes: 2 violons, alto
23
Violon, Tuba (duo)
23
Trio à cordes: 3 altos
20
Harpe et mandoline
18
Harpe (partie séparée)
17
Harpe, Voix
15
Quintette à cordes : 2 violons, alto et 2 violoncelles
14
Ensemble de Violons
13
Violoncelle, Contrebasse (duo)
13
Quintette à cordes: 2 violons, 2 altos, violoncelle
12
2 Violons, Piano
12
Violon, Clarinette, Piano (trio)
11
Violoncelle, Orgue
11
Ensemble d'Altos
10
Harpe, Violon, Violoncelle
9
Alto et Harpe
9
Quatuor à cordes : 4 altos
7
Harpe et Piano
6
Harpe, Violoncelle (duo)
6
Alto et Basson
5
4 Contrebasses
5
Flûte, Contrebasse (duo)
3
Ensemble de Violoncelles
3
Alto, Orgue
2
Violoncelle, Orchestre
2
Violon, Orgue
2
2 Altos, Piano
2
Violon, Contrebasse (duo)
1
3 Harpes
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1819
Orchestre
867
Ensemble Jazz
752
Orchestre à Cordes
649
Batterie
464
Ensemble de cuivres
398
Cloches
392
Orchestre de chambre
328
Fanfare
225
Jazz combo
183
Batterie (partie séparée)
149
Percussion (partie séparée)
135
Ensemble de Percussions
89
Marimba
51
Vibraphone
28
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
26
Percussion
17
Xylophone
11
Timbales (partie séparée)
11
Xylophone, Piano
9
Quintette à Vent
8
Timbales
6
Piano et Orchestre
4
Instrumentation Flexible
2
Orchestre Symphonique
2
2 Xylophones
2
Ensemble d'École
2
Big band
1
Quintette de Cuivres: autres combinaisons
1
Quatuor à Vent : 4 instruments à vents
1
Xylophone ou Marimba ou Vibraphone
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Xylophone (partie séparée)
1
Caisse Claire
1
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AUTRES
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Piano et Orchestre
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Gyorgy Ligeti (1923-2006)
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Stephen DeCesare
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Exultet Music
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Chri…
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Piano et Orchestre
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Stephen DeCesare
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The True Bread Of My Soul
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Exultet Music
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