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Tri et filtres :
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HARMONICA
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PIANO
SAXOPHONE
SYNTHETISEUR
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Non classifié
21055
PIANO & CLAVIERS
Piano, Voix et Guitare
20475
Piano, Voix
20086
Piano seul
16107
Piano Facile
7412
Instruments en Do
1767
Orgue
1112
1 Piano, 4 mains
634
Accompagnement Piano
616
Piano grosses notes
387
2 Pianos, 4 mains
183
Accordéon
153
Piano Trio: piano, violon, violoncelle
139
Piano (partie séparée)
88
1 Piano, 6 mains
37
Piano Quatuor: piano, 2 violons, violoncelle
35
Piano Quatuor: piano, violon, alto, violoncelle
32
Clavecin
28
Ligne De Mélodie, Piano
23
Piano Quintette: piano, 2 violons, alto, violoncelle
22
Orgue, Piano (duo)
22
Orgue, Trompette (duo)
21
Accordéon, Voix
16
2 Pianos, 8 mains
12
Orgue, Voix
11
Clavier
8
Instrument seul et Orgue
5
2 Accordéons
3
Ensemble d'Accordéons
3
3 Pianos
2
Ensemble de Pianos
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
3642
Ligne De Mélodie, (Paroles) et Accords
1442
Guitare
1100
Ukulele
1094
Basse electrique
628
Paroles et Accords
338
2 Guitares (duo)
115
Piano, Guitare (duo)
91
Guitare Pedal Steel
77
Guitare (partie séparée)
77
Dulcimer
67
Mandoline
52
Banjo
38
4 Guitares (Quatuor)
37
Ensemble de guitares
17
Basse électrique (partie séparée)
17
3 Guitares (trio)
13
2 Ukuleles
7
Mandoline, Guitare (duo)
6
Ukulele Baryton
6
Bouzouki
4
Partitions De Groupes
4
2 Dulcimers (duo)
2
Ensemble de Ukulélés
2
Guitare, Orchestre
1
Luth
1
Cithare
1
Dobro
1
Instrumentations suivantes
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VOIX
Chorale SATB
9710
Voix seule
6080
Chorale 3 parties
4004
Chorale 2 parties
2867
Chorale Unison
1815
Chorale TTBB
1773
Chorale SSAA
1187
Voix duo, Piano
874
Chorale
584
Voix Soprano, Piano
241
Voix duo
191
Voix Alto, Piano
159
Voix Tenor, Piano
136
Voix haute
122
Voix Baryton, Piano
102
Voix moyenne, Piano
81
Voix, Guitare
63
Voix basse, Piano
57
Voix Tenor
49
Voix Soprano
37
Chorale SSATB
32
Chorale SSAATTBB
22
Voix Mezzo-Soprano, Piano
17
Chorale SSATTB
16
Chorale, Orgue
14
Chorale SSAB a cappella
11
Voix basse
8
Chorale SSAB, Piano
5
Chorale SSATBB
5
Chorale SAATB A Cappella
4
Soli, choeur mixte et accompagnement
4
Chorale SSAATB
3
Chorale SSAATB A Cappella
2
Voix haute, Piano
2
Voix duo, Orgue
2
Chorale SATTBB A Cappella
2
Chorale SATBB
2
Voix Moyenne
2
Chorale SATTB
1
Voix Soprano, Orchestre
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
1306
Flûte traversière
1016
Saxophone Alto
955
Clarinette et Piano
916
Quatuor de Saxophones: 4 saxophones
864
Saxophone Alto et Piano
807
Clarinette
734
Hautbois, Piano (duo)
728
Saxophone Tenor
701
Flûte, Hautbois, Clarinette, Basson
684
Saxophone (partie séparée)
683
2 Saxophones (duo)
640
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
618
2 Flûtes traversières (duo)
552
Saxophone Tenor et Piano
517
2 Clarinettes (duo)
442
Quatuor de Clarinettes: 4 clarinettes
400
Hautbois (partie séparée)
378
Saxophone Soprano et Piano
289
Quintette de Saxophone: 5 saxophones
256
Flûte, Clarinette (duo)
231
Clarinette (partie séparée)
223
Flûte et Guitare
215
Quatuor de Flûtes : 4 flûtes
209
Saxophone Baryton, Piano
178
Hautbois
165
Trio de Flûtes: 3 flûtes
163
2 Hautbois (duo)
162
Saxophone, Clarinette (duo)
158
Clarinette, Violon (duo)
135
Saxophone Soprano
132
Flute (partie séparée)
127
3 Clarinettes (trio)
126
Ensemble de Clarinettes
123
3 Saxophones (trio)
112
Ensemble de Flûtes
107
Cor anglais, Piano
104
Hautbois, Basson (duo)
101
Flûte, Violon
100
2 Flûte à bec (duo)
98
Hautbois, Clarinette (duo)
97
Ensemble de saxophones
91
Clarinette, Trompette (duo)
90
Flûte à bec Soprano
85
Flûte irlandaise
85
Saxophone
83
Quintette de Clarinettes: 5 clarinettes
81
Flûte à Bec
72
Hautbois, Flûte
66
Saxophone et Piano
65
Clarinette Basse, Piano
63
Clarinette et Alto
62
Saxophone Baryton
60
Clarinette, Basson (duo)
59
Cor Anglais
58
Flûte, Hautbois, Clarinette (trio)
58
Flûte, Alto (duo)
56
Flûte à bec Alto
56
Flûte, Saxophone (duo)
48
Flûte, Trompette (duo)
47
Flûte, Violoncelle
46
Piccolo
43
Flûte, Violon, Piano
43
Clarinette, Harpe (duo)
41
Quatuor de Flûtes à bec
40
Quintette de Flûte : 5 flûtes
38
Clarinette, Guitare (duo)
37
Ensemble De Flûte à bec
36
Flûte, Clarinette, Piano (trio)
32
Flûte, Clarinette et Basson
32
Flûte, Violoncelle, Piano (trio)
31
2 Flûtes traversières, Piano
31
Clarinette, Violoncelle (duo)
30
Flûte, Hautbois (duo)
28
Flûte à bec Tenor
26
Hautbois, Clarinette, Basson (trio d'anches)
26
Hautbois, Violoncelle
25
Instruments en Mib
22
Ocarina
21
Harmonica
20
3 Flûtes à bec (trio)
19
Flûte, Hautbois, Violon
18
Flûte à Bec, Piano
17
Clarinette, Violoncelle, Piano (trio)
14
Flûte à bec Soprano, Piano
14
Flûte, Basson et Piano
14
Hautbois et alto (duo)
13
Hautbois, Guitare (duo)
13
2 Clarinettes, Piano
12
Flûte, Hautbois, Basson
12
5 Flûtes à bec
11
Hautbois, violon (duo)
11
Flûte, Harpe et Violoncelle
11
2 Saxophones, Piano
10
Flûte, Trombone (duo)
10
Saxophone et Guitare
10
3 Hautbois
8
Flûte et Quatuor à Cordes
7
Flûte, Guitare, Piano
7
Cor anglais, Guitare (duo)
7
Flûte, Clarinette, Cor, Basson (Quartet)
7
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
7
Saxophone et Orgue
6
Flûte à bec Alto, Piano
6
Flûte à bec, Guitare (duo)
6
Clarinette, Trombone (duo)
6
Flûte, Violon et Violoncelle
6
Clarinette, Basson, Piano (trio)
5
Flûte, Violon, Violoncelle et Piano
5
Hautbois, Harpe
5
Flûte, Clarinette, Violon (trio)
5
Flute, harpe et violon
5
Piccolo, Piano
5
Clarinette Basse
5
Flûte, Alto et Piano
5
Flûte, Hautbois, Piano (trio)
4
Ensemble à vent
4
Saxophone et Harpe
3
Hautbois, Violon, Piano
3
2 Clarinettes, Basson
3
Flûte traversière, Orgue (duo)
3
Clarinette, Orgue
3
Flûte, alto et harpe
3
Flûte, trombone et piano
2
Flûte et Trio à cordes
2
2 Flûtes, 2 Clarinettes (Quatuor)
2
2 Flûtes à bec, Piano
2
Clarinette, Tuba
2
4 Hautbois
2
Clarinette, Orchestre
2
Hautbois, trombone (duo)
2
Flûte traversière, Orchestre
2
Flûte de Pan
2
Hautbois, Violoncelle et Piano
2
2 Flûtes traversières, Harpe
2
Clarinette, trompette et piano
2
Clarinette, Alto et Piano (trio)
2
Clarinette, Contrebasse (duo)
2
Flûte, Violon, Guitare
2
Flute, Cor (duo)
2
2 Flûtes traversières, Guitare
1
2 Flûtes à bec, Guitare
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
2 Cors Anglais Et Pianoforte
1
Hautbois, Clarinette et Piano (Trio)
1
Saxophone, Basson (duo)
1
Hautbois, Basson et Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte, Tuba (duo)
1
Instrumentations suivantes
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CUIVRES
Trompette
848
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
765
Trompette, Piano
715
Trombone
610
Trombone et Piano
598
Quatuor de Cuivres : 2 trompettes, trombone, tuba
525
Cor et Piano
487
Trompette (partie séparée)
478
Cor
392
Trombone (partie séparée)
370
Tuba et Piano
248
Quatuor de Cuivres
235
Tuba
229
2 Trompettes (duo)
220
2 Trombones (duo)
178
Quatuor de Cuivres: 2 trompettes, Cor, trombone
160
2 Cors (duo)
131
Cor (partie séparée)
131
Trompette, Trombone (duo)
116
Trompette, Saxophone (duo)
109
Cor anglais, Piano
104
Quatuor de cuivres: 4 trombones
97
Euphonium, Piano (duo)
96
Tuba (partie séparée)
80
Euphonium
80
Cor Anglais
58
Trio de Cuivres
55
Quatuor de cuivres: 4 cors
51
2 Tubas (duo)
39
2 Euphoniums et 2 Tubas
36
Trompette, Cor (duo)
34
Bass Clef Instruments
33
Ensemble de Trombones
32
Instruments en Sib
27
Ensemble de Trompettes
25
3 Trombones (trio)
19
Ensemble de Cors
15
Trompette, Tuba (duo)
13
3 Trompettes (trio)
12
4 Tubas
12
Trombone, Tuba (duo)
11
Quatuor de cuivres: 4 trompettes
11
2 Trompettes, Clavier (piano ou orgue)
11
Quatuor de cuivres: 2 trompettes, 2 trombones
10
Tuba et Orgue
10
Trombone basse
8
Cor anglais, Guitare (duo)
7
Trombone, Orgue
7
Euphonium, Tuba (duo)
6
Trompette, Violoncelle et Piano
6
Trombone basse et Piano
6
3 Cors (trio)
6
Trombone, Cor (duo)
6
Trompette, Trombone, Piano
5
Cor, Violoncelle (duo)
5
2 Euphoniums (duo)
5
G Instruments
4
Cor, Tuba (duo)
4
Trompette, violon (duo)
4
Trompette, Violoncelle (duo)
2
Trombone et orchestre
2
Trompette et Guitare
2
3 Euphoniums
2
3 Tubas (trio)
2
2 Cors, Piano
2
Cor et Harpe
2
Clarinette, Cor (duo)
2
Trompette, Basson (duo)
2
Trompette, Harpe
2
Trombone, Violon (duo)
2
Instruments en Fa
1
Trombone, violoncelle (duo)
1
Cor et Orgue
1
2 Cors Anglais Et Pianoforte
1
Trompette, Euphonium (duo)
1
Ensemble de Tubas
1
Tuba ou Euphonium ou Saxhorn
1
Cor, Trompette, Trombone (trio)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2482
Violon et Piano
1673
Violon
1408
Harpe
1019
Violoncelle
989
Violoncelle, Piano
946
Alto, Piano
813
Alto seul
617
2 Violons (duo)
463
Violon, Violoncelle (duo)
438
Trio à Cordes: violon, alto, violoncelle
331
2 Violoncelles (duo)
296
Violon (partie séparée)
277
Contre Basse
258
Alto (partie séparée)
228
2 Altos (duo)
226
Violon, Alto (duo)
221
Quintette à cordes: 2 violons, alto, violoncelle, basse
203
Contrebasse, Piano (duo)
202
Trio à Cordes: 2 violons, violoncelle
200
Contrebasse (partie séparée)
196
Harpe, Flûte (duo)
120
2 Harpes (duo)
117
Violoncelle (partie séparée)
84
Alto, Violoncelle (duo)
70
Piano Trio: Violon, Alto, Piano
64
Trio à cordes: 3 violins
58
Violon, Guitare (duo)
53
2 Contrebasses (duo)
40
Trio à Cordes: 3 violoncelles
37
4 Violoncelles
35
Violoncelle , Guitare (duo)
32
Quatuor à cordes: 4 violons
32
Harpe, Violon (duo)
29
Harpe, Voix
24
Violoncelle, Contrebasse (duo)
23
Trio à Cordes: 2 violons, alto
20
Trio à cordes
19
Violon, Basson (duo)
19
2 Violons, Piano
18
Harpe (partie séparée)
17
3 Harpes
15
Alto, Guitare (duo)
15
Quintette à cordes : 2 violons, alto et 2 violoncelles
12
Ensemble de Violons
12
Violon, Clarinette, Piano (trio)
11
Trio à cordes: 3 altos
11
Quatuor à cordes : 4 altos
11
2 Violoncelles, Piano
9
Ensemble d'Altos
9
Flûte, Contrebasse (duo)
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
Harpe, Violoncelle (duo)
6
4 Contrebasses
5
Alto et Basson
5
Harpe, Quatuor à cordes
4
Violon, Tuba (duo)
4
Alto et Harpe
3
Autoharp
3
Violoncelle, Orgue
3
Violon, Orgue
3
Harpe et Piano
2
2 Altos, Piano
2
Harpe et mandoline
2
Violoncelle, Basse continue
1
Ensemble de Violoncelles
1
Harpe, Violon, Violoncelle
1
4 Harpes
1
3 Contrebasses
1
Violon, Violoncelle, Clarinette
1
Alto, Orgue
1
Violoncelle, Orchestre
1
Harpe, Trombone (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
4430
Cloches
1329
Orchestre
1169
Orchestre à Cordes
913
Ensemble de cuivres
554
Ensemble Jazz
518
Orchestre de chambre
333
Batterie
269
Fanfare
255
Jazz combo
207
Percussion (partie séparée)
191
Batterie (partie séparée)
120
Ensemble de Percussions
77
Marimba
49
Percussion
26
Vibraphone
25
Piano et Orchestre
22
Xylophone, Piano
22
Timbales (partie séparée)
18
Xylophone
12
Xylophone ou Marimba ou Vibraphone
8
Quintette à Vent
8
Ensemble d'École
5
Timbales
5
2 Xylophones
4
Caisse Claire
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Instrumentation Flexible
4
Quintette de Cuivres: autres combinaisons
4
Quatuor à Vent : 4 instruments à vents
3
Big band
2
Orchestre, Violon
2
Vibraphone et Marimba
1
Marimba, Piano (duo)
1
Bodhran
1
Marimba ou Xylophone et Piano
1
2 Marimbas
1
Voix Mezzo-Soprano, Orchestre
1
Marimba et Orgue
1
Instrumentations suivantes
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AUTRES
Papeterie
15
Formation musicale - Solfège
14
Théorie de la musique
10
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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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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Stephen DeCesare
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Stephen DeCesare
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Good Friday
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Stephen DeCesare
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Stephen DeCesare
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The Lord's Prayer
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Listen To The Mocking Bird
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Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
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Cradled In A Lowly Manger
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Piano et Orchestre
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children's Music, Movies/TV, 21st Century. Early Intermediate. Sheet Music Single. Published by Exultet Music
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The "What's Your Answer?" Game Show
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Piano et Orchestre
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children's Music, Movies/TV, 21st Century. Early Intermediate. Sheet Music Single. Published by Exultet Music
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Stephen DeCesare
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The "What's Your Answer?" Game Show
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Piano et Orchestre
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Sacred, Secular, Children's Music, Movies/TV. Early Intermediate. Sheet Music Single. Published by Exultet Music
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Stephen DeCesare
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The "What's Your Answer?" Game Show
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Stephen DeCesare
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The True Bread Of My Soul
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian. Early Intermediate. Sheet Music Single. Published by Exultet Music
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Piano et Orchestre
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Stephen DeCesare
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Whatever You Do
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