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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
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DIDGERIDOO
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Non classifié
13713
PIANO & CLAVIERS
Piano seul
10899
Piano, Voix
4657
Piano, Voix et Guitare
3956
Piano Facile
3929
Piano grosses notes
3458
Orgue
2494
Instruments en Do
989
Accompagnement Piano
313
1 Piano, 4 mains
273
Accordéon
219
Piano Trio: piano, violon, violoncelle
196
Piano Quatuor: piano, 2 violons, violoncelle
78
Piano (partie séparée)
75
Clavier
67
2 Pianos, 4 mains
58
Orgue, Trompette (duo)
40
Piano Quatuor: piano, violon, alto, violoncelle
34
Piano Quintette: piano, 2 violons, alto, violoncelle
27
Orgue, Piano (duo)
18
Clavecin
8
Ligne De Mélodie, Piano
7
1 Piano, 6 mains
6
Orgue, Voix
4
2 Accordéons
4
2 Pianos, 8 mains
4
Accordéon, Voix
3
Ensemble d'Accordéons
1
Fake Book
1
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GUITARES
Guitare notes et tablatures
2118
Guitare
1217
Ligne De Mélodie, (Paroles) et Accords
1165
Ukulele
827
Paroles et Accords
510
Basse electrique
369
Mandoline
320
Piano, Guitare (duo)
147
Dulcimer
134
Guitare (partie séparée)
101
2 Guitares (duo)
98
Banjo
51
4 Guitares (Quatuor)
40
3 Guitares (trio)
19
2 Dulcimers (duo)
11
Ensemble de guitares
11
Ukulele Baryton
8
Partitions De Groupes
7
2 Ukuleles
6
Basse électrique (partie séparée)
5
Guitare, Violon, Violoncelle (trio)
4
Mandoline, Guitare (duo)
2
Guitare Pedal Steel
2
Ensemble de Ukulélés
1
Guitare, Orchestre
1
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VOIX
Chorale SATB
4568
Chorale 3 parties
1996
Chorale 2 parties
1837
Chorale Unison
1388
Chorale TTBB
781
Voix duo, Piano
475
Pack Instrumental pour Chorale
434
Chorale SSAA
392
Voix duo
300
Voix Soprano, Piano
192
Chorale
159
Voix seule
159
Voix Alto, Piano
148
Voix Tenor, Piano
140
Voix Baryton, Piano
79
Voix haute
79
Voix basse, Piano
45
Voix moyenne, Piano
39
Voix Tenor
15
Chorale SSATB
14
Chorale SSAATTBB
11
Chorale SSATTB
10
Soli, choeur mixte et accompagnement
7
Voix basse
7
Voix Soprano
6
Chorale, Orgue
6
Voix, Guitare
5
Chorale SSAATB
4
Chorale SSAB, Piano
4
Chorale SSATBB
3
Chorale SSAB a cappella
3
Chorale SSAATB A Cappella
2
Voix Moyenne
2
Chorale SATBB
1
Chorale SATTB
1
Voix Baryton
1
Voix Soprano, Orchestre
1
Voix Mezzo-Soprano, Piano
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
1348
Quatuor de Saxophones: 4 saxophones
1327
Clarinette et Piano
1242
Flûte traversière
1066
2 Saxophones (duo)
1054
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1016
Clarinette
976
Flûte, Hautbois, Clarinette, Basson
968
Hautbois, Piano (duo)
967
Saxophone Alto et Piano
943
Saxophone Tenor et Piano
845
Saxophone (partie séparée)
819
Saxophone Alto
787
Saxophone Soprano et Piano
699
Quintette de Saxophone: 5 saxophones
606
Saxophone Tenor
571
Quatuor de Clarinettes: 4 clarinettes
565
2 Flûtes traversières (duo)
525
Saxophone
464
2 Clarinettes (duo)
421
Hautbois (partie séparée)
342
Saxophone Baryton, Piano
306
Clarinette (partie séparée)
293
Quatuor de Flûtes : 4 flûtes
288
Flûte, Clarinette (duo)
272
3 Saxophones (trio)
257
Ensemble de Clarinettes
240
Flûte à bec Soprano
239
Hautbois
233
Flûte à bec Alto
226
Harmonica
223
Ensemble de saxophones
199
2 Hautbois (duo)
168
Quintette de Clarinettes: 5 clarinettes
164
3 Clarinettes (trio)
156
Flute (partie séparée)
154
Ensemble de Flûtes
150
2 Flûte à bec (duo)
137
Saxophone Soprano
136
Cor anglais, Piano
129
Saxophone, Clarinette (duo)
115
Quintette de Flûte : 5 flûtes
115
Flûte à Bec
113
Trio de Flûtes: 3 flûtes
100
Saxophone Baryton
96
Clarinette, Violon (duo)
95
Hautbois, Basson (duo)
93
Flûte et Guitare
79
Quatuor de Flûtes à bec
77
Flûte, Hautbois, Clarinette (trio)
76
Hautbois, Clarinette (duo)
76
Clarinette Basse, Piano
73
Flûte, Violon, Piano
70
Clarinette, Trompette (duo)
69
Flûte, Violon
65
Hautbois, Clarinette, Basson (trio d'anches)
61
Flûte, Clarinette et Basson
47
Clarinette, Basson (duo)
44
Clarinette, Guitare (duo)
43
Clarinette et Alto
43
Ensemble De Flûte à bec
41
Flûte, Saxophone (duo)
38
Hautbois, Flûte
36
Cor Anglais
36
Flûte, Alto (duo)
35
Instruments en Mib
31
Flûte, Hautbois (duo)
31
Flûte, Clarinette, Piano (trio)
30
Flûte, Trompette (duo)
30
Flûte à bec Alto, Piano
29
Flûte, Violoncelle
27
Flûte, Hautbois, Basson
26
Ocarina
26
5 Flûtes à bec
26
Flûte à bec Tenor
25
Flûte à bec Soprano, Piano
25
Flûte, Violon et Violoncelle
24
Clarinette, Violoncelle (duo)
23
2 Saxophones, Piano
23
Flûte, Violoncelle, Piano (trio)
22
3 Flûtes à bec (trio)
21
Flûte, Hautbois, Piano (trio)
20
Piccolo, Piano
20
Saxophone et Orgue
19
Flûte, Clarinette, Cor, Basson (Quartet)
19
Clarinette, Violoncelle, Piano (trio)
17
Saxophone et Piano
17
2 Clarinettes, Piano
17
Piccolo
14
Hautbois, Violoncelle
14
Clarinette, Harpe (duo)
14
2 Flûtes traversières, Piano
13
Hautbois, Guitare (duo)
11
Saxophone et Guitare
11
Flûte à Bec, Piano
10
Flûte, Basson et Piano
10
Flûte, Alto et Piano
9
Clarinette Basse
8
Clarinette, Alto et Piano (trio)
7
4 Hautbois
7
2 Clarinettes, Basson
7
Ensemble de Hautbois
6
Clarinette, Trombone (duo)
6
Flûte à bec, Guitare (duo)
5
Hautbois, Basson et Piano
5
Cor anglais, Guitare (duo)
5
Flûte irlandaise
5
Hautbois et alto (duo)
5
Saxophone et Harpe
5
Flûte, Trombone (duo)
4
Clarinette, Basson, Piano (trio)
4
Flûte et Trio à cordes
4
Flûte traversière, Orgue (duo)
4
Hautbois, Violoncelle et Piano
4
Hautbois, Clarinette et Piano (Trio)
4
Hautbois, violon (duo)
4
Clarinette, trompette et piano
4
Hautbois, Harpe
4
Flûte, trombone et piano
4
Flûte, Violon, Violoncelle et Piano
4
3 Hautbois
3
Clarinette, Orgue
3
Flûte, Harpe et Violoncelle
3
Flute, Cor (duo)
3
Hautbois, Violon, Piano
2
2 Hautbois, Piano
2
Flûte à bec Alto, Basse continue
2
Flute, harpe et violon
2
Flûte et Quatuor à Cordes
2
Flûte, Clarinette, Violon (trio)
2
2 Cors Anglais Et Pianoforte
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Flûte, Hautbois, Violon
2
2 Flûtes à bec, Piano
1
2 Flûtes, Basse continue
1
Flûte de Pan
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Saxophone, Tuba (duo)
1
Flûte traversière, Orchestre
1
Flûte, alto et harpe
1
2 Flûtes à bec, Guitare
1
2 Flûtes traversières, Harpe
1
Flûte, Violoncelle, Guitare
1
Cornemuse
1
Cor anglais et Harpe (duo)
1
Ensemble à vent
1
Flûte traversière, Basse continue
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1162
Trompette
1124
Trombone et Piano
1030
Trompette, Piano
982
Trombone
791
Quatuor de Cuivres : 2 trompettes, trombone, tuba
707
Cor et Piano
639
Cor
506
Trompette (partie séparée)
500
Trombone (partie séparée)
441
Quatuor de Cuivres: 2 trompettes, Cor, trombone
437
Tuba et Piano
354
Tuba
352
2 Trompettes (duo)
326
2 Trombones (duo)
283
Quatuor de Cuivres
233
Trompette, Trombone (duo)
173
2 Cors (duo)
169
Quatuor de cuivres: 4 trombones
168
Cor (partie séparée)
166
Trompette, Cor (duo)
142
Cor anglais, Piano
129
Euphonium, Piano (duo)
106
Tuba (partie séparée)
102
Quatuor de cuivres: 4 cors
98
Ensemble de Trombones
94
Trompette, Saxophone (duo)
86
Ensemble de Trompettes
77
2 Tubas (duo)
66
Euphonium
53
Quatuor de cuivres: 4 trompettes
50
2 Euphoniums et 2 Tubas
42
Bass Clef Instruments
39
Cor Anglais
36
Ensemble de Cors
35
4 Tubas
32
3 Trombones (trio)
29
Instruments en Sib
29
Quatuor de cuivres: 2 trompettes, 2 trombones
25
3 Trompettes (trio)
23
Trio de Cuivres
23
Trombone, Orgue
20
Euphonium, Tuba (duo)
18
Trombone basse
15
Tuba et Orgue
14
Trombone, Cor (duo)
14
2 Trompettes, Clavier (piano ou orgue)
12
Trombone, Tuba (duo)
11
3 Tubas (trio)
11
3 Cors (trio)
8
Cor et Orgue
7
Instruments en Fa
7
Trombone basse et Piano
7
Cor et Harpe
7
Trompette, Trombone, Piano
6
Trompette, Basson (duo)
5
2 Euphoniums (duo)
5
2 Trombones, Piano
5
Trompette, Tuba (duo)
5
Cor, Violoncelle (duo)
5
Cor anglais, Guitare (duo)
5
Cor, Tuba (duo)
5
Tuba ou Euphonium ou Saxhorn
4
Trompette, Violoncelle (duo)
4
Clarinette, Cor (duo)
3
Trompette, Harpe
3
Trompette, Violoncelle et Piano
2
Cor et Basson (duo)
2
2 Cors Anglais Et Pianoforte
2
Trompette et Guitare
1
Trompette, Euphonium (duo)
1
2 Cors, Piano
1
3 Euphoniums
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Cornet et Piano
1
Cornet et orchestre
1
Cor anglais et Harpe (duo)
1
Ensemble de Tubas
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2772
Violon et Piano
1600
Violoncelle, Piano
1264
Violon
1170
Alto, Piano
1141
Violoncelle
969
Alto seul
657
Violon, Violoncelle (duo)
525
Harpe
485
2 Violons (duo)
436
Trio à Cordes: violon, alto, violoncelle
427
2 Violoncelles (duo)
372
Quintette à cordes: 2 violons, alto, violoncelle, basse
346
Contrebasse, Piano (duo)
324
Contre Basse
311
Violon (partie séparée)
263
Violon, Alto (duo)
251
2 Altos (duo)
229
Alto (partie séparée)
162
Trio à Cordes: 2 violons, violoncelle
160
Piano Trio: Violon, Alto, Piano
153
Contrebasse (partie séparée)
153
4 Violoncelles
94
Alto, Violoncelle (duo)
76
Trio à cordes: 3 violins
72
2 Harpes (duo)
60
Trio à Cordes: 3 violoncelles
58
Violoncelle (partie séparée)
55
Violon, Guitare (duo)
48
2 Contrebasses (duo)
44
Quatuor à cordes: 4 violons
40
Harpe, Flûte (duo)
35
Violoncelle , Guitare (duo)
34
Quatuor à cordes : 4 altos
33
Harpe, Violon (duo)
33
Trio à cordes: 3 altos
30
Alto, Guitare (duo)
28
Violon, Basson (duo)
25
Quintette à cordes: 2 violons, 2 altos, violoncelle
21
Trio à Cordes: 2 violons, alto
17
Ensemble de Violons
17
Violoncelle, Orgue
15
Ensemble d'Altos
15
Trio à cordes
14
Harpe, Voix
12
Violoncelle, Contrebasse (duo)
9
Violon, Clarinette, Piano (trio)
9
Quintette à cordes : 2 violons, alto et 2 violoncelles
9
Harpe, Violoncelle (duo)
9
2 Violons, Piano
9
Alto et Basson
7
Violon, Orgue
7
Alto et Harpe
6
2 Violoncelles, Piano
6
Harpe, Violon, Violoncelle
5
Violoncelle, Orchestre
4
Harpe (partie séparée)
3
Harpe, Trombone (duo)
3
Harpe et Piano
3
Violon, Basse continue
3
4 Harpes
3
Flûte, Contrebasse (duo)
2
Autoharp
2
3 Contrebasses
2
2 Altos, Piano
2
Ensemble de Violoncelles
2
4 Contrebasses
2
Alto, Orgue
2
Violon, Trompette et Piano
1
2 Violons et Basse continue
1
Violon, Violoncelle, Clarinette
1
Violoncelle, Basse continue
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3951
Orchestre à Cordes
1006
Orchestre
876
Ensemble Jazz
628
Fanfare
617
Ensemble de cuivres
576
Cloches
479
Batterie
301
Orchestre de chambre
290
Percussion (partie séparée)
253
Jazz combo
118
Ensemble de Percussions
93
Batterie (partie séparée)
73
Xylophone
53
Vibraphone
39
Timbales (partie séparée)
27
Marimba
22
Xylophone, Piano
17
Percussion
15
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
12
Timbales
8
Quintette à Vent
4
Caisse Claire
4
Orchestre, Violon
3
Quintette de Cuivres: autres combinaisons
3
Quatuor à Vent : 4 instruments à vents
3
Vibraphone et Marimba
2
2 Xylophones
2
Instrumentation Flexible
2
Piano et Orchestre
2
Conga
1
Xylophone (partie séparée)
1
Vibraphone (partie séparée)
1
2 Marimbas
1
Bongos
1
Instrumentations suivantes
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AUTRES
Théorie de la musique
2
Formation musicale - Solfège
2
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Piano et Orchestre
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Concerto in C-Moll, Opus 12
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
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Piano et Orchestre
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Gabriel Pierne
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Concerto in C-Moll, Opus 12
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Bisel Classics - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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