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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
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HARMONICA
HARPE
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PIANO
SAXOPHONE
SYNTHETISEUR
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Note4Piano
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SheetMusicPlus
Tomplay
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Ventes
Prix - au +
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Nouveautes
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difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
15500
PIANO & CLAVIERS
Piano seul
15754
Piano Facile
4453
Piano, Voix
3987
Piano grosses notes
3580
Piano, Voix et Guitare
3096
Orgue
2465
Instruments en Do
1131
Accordéon
837
1 Piano, 4 mains
520
Accompagnement Piano
497
Piano Trio: piano, violon, violoncelle
157
2 Pianos, 4 mains
86
Clavier
77
Piano (partie séparée)
70
Piano Quatuor: piano, 2 violons, violoncelle
49
Orgue, Piano (duo)
37
Piano Quatuor: piano, violon, alto, violoncelle
37
Clavecin
26
Instrument seul et Orgue
22
Orgue, Trompette (duo)
21
Ligne De Mélodie, Piano
20
1 Piano, 6 mains
16
Accordéon, Voix
12
Piano Quintette: piano, 2 violons, alto, violoncelle
10
Orgue, Voix
6
Ensemble de Pianos
1
2 Pianos, 8 mains
1
2 Accordéons
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
2157
Guitare
2045
Basse electrique
1632
Ligne De Mélodie, (Paroles) et Accords
1450
Ukulele
720
Paroles et Accords
266
Piano, Guitare (duo)
168
Guitare (partie séparée)
108
2 Guitares (duo)
70
Mandoline
46
Banjo
43
Dulcimer
36
4 Guitares (Quatuor)
27
Ensemble de guitares
26
3 Guitares (trio)
19
Ensemble de Ukulélés
18
Ukulele Baryton
7
2 Ukuleles
5
Basse électrique (partie séparée)
4
2 Dulcimers (duo)
3
Guitare, Violon, Violoncelle (trio)
2
Guitare, Flûte, Clarinette
2
Guitare Pedal Steel
1
Mandoline, Guitare (duo)
1
Guitare, Quatuor à cordes
1
2 Mandolines (duo)
1
Orchestre à Plectres
1
3 Dulcimers (trio)
1
Instrumentations suivantes
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VOIX
Chorale SATB
5443
Chorale 3 parties
2127
Chorale 2 parties
1675
Voix seule
1454
Chorale TTBB
871
Chorale Unison
832
Voix duo, Piano
499
Pack Instrumental pour Chorale
483
Chorale SSAA
416
Voix Soprano, Piano
195
Voix duo
176
Chorale
166
Voix Tenor, Piano
154
Voix Alto, Piano
143
Voix haute
85
Voix Baryton, Piano
71
Voix basse, Piano
69
Voix moyenne, Piano
28
Voix Tenor
26
Chorale SSAATTBB
13
Chorale SSATB
10
Voix basse
9
Voix Soprano
8
Chorale SSAB, Piano
8
Chorale SSATTB
6
Chorale SSATBB
6
Voix Mezzo-Soprano, Piano
6
Voix, Guitare
5
Soli, choeur mixte et accompagnement
4
Chorale SAATB A Cappella
2
Chorale SSAATB
2
Chorale SSAB a cappella
2
Chorale SATTBB A Cappella
1
Chorale SATBB
1
Instrumentations suivantes
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VENTS
Saxophone
5101
Flûte traversière
3063
Clarinette
2896
Flûte traversière et Piano
1372
2 Saxophones (duo)
1086
Quatuor de Saxophones: 4 saxophones
1079
Clarinette et Piano
1060
Saxophone Alto
1050
Hautbois, Piano (duo)
988
Saxophone Tenor
874
Saxophone Alto et Piano
871
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
821
Flûte, Hautbois, Clarinette, Basson
812
Saxophone (partie séparée)
766
Saxophone Tenor et Piano
709
2 Flûtes traversières (duo)
678
2 Clarinettes (duo)
562
Quatuor de Clarinettes: 4 clarinettes
538
Flûte à Bec
433
Saxophone Soprano et Piano
397
3 Saxophones (trio)
361
Hautbois (partie séparée)
358
Quintette de Saxophone: 5 saxophones
348
Hautbois
340
Quatuor de Flûtes : 4 flûtes
310
Flûte, Clarinette (duo)
301
3 Clarinettes (trio)
255
Clarinette (partie séparée)
254
Saxophone Soprano
220
Saxophone Baryton, Piano
219
2 Flûte à bec (duo)
218
2 Hautbois (duo)
207
Flute (partie séparée)
183
Clarinette, Violon (duo)
165
Trio de Flûtes: 3 flûtes
159
Hautbois, Basson (duo)
156
Ensemble de Flûtes
154
Ensemble de Clarinettes
144
Hautbois, Clarinette (duo)
144
Saxophone, Clarinette (duo)
139
Quintette de Clarinettes: 5 clarinettes
139
Flûte, Violon, Piano
132
Ensemble de saxophones
122
Cor anglais, Piano
102
Flûte, Violon
99
Clarinette, Trompette (duo)
92
Flûte, Hautbois, Clarinette (trio)
89
Flûte, Clarinette et Basson
82
Flûte à bec Soprano
79
Hautbois, Flûte
78
Flûte, Alto (duo)
76
Clarinette, Basson (duo)
70
Clarinette et Alto
70
Flûte, Violoncelle
66
Clarinette Basse, Piano
65
Flûte, Saxophone (duo)
57
Flûte, Hautbois (duo)
55
Quintette de Flûte : 5 flûtes
55
Flûte, Hautbois, Basson
53
Flûte, Trompette (duo)
52
Flûte et Guitare
49
Harmonica
47
Saxophone Baryton
45
Hautbois, Clarinette, Basson (trio d'anches)
45
Flûte à bec Alto
44
Hautbois, Violoncelle
43
Flûte, Violon et Violoncelle
42
Quatuor de Flûtes à bec
41
Clarinette, Violoncelle (duo)
39
Flûte, Clarinette, Piano (trio)
38
Clarinette, Harpe (duo)
37
2 Flûtes traversières, Piano
34
Hautbois, violon (duo)
32
Cor Anglais
30
2 Clarinettes, Piano
28
Clarinette, Violoncelle, Piano (trio)
26
Ocarina
26
Flûte, Hautbois, Piano (trio)
26
Hautbois, Harpe
25
Instruments en Mib
24
Clarinette, Guitare (duo)
23
Flûte, Violoncelle, Piano (trio)
23
Saxophone et Harpe
22
Hautbois et alto (duo)
22
Clarinette, Trombone (duo)
21
Flûte, Basson et Piano
19
Flûte, Trombone (duo)
19
Flûte, Alto et Piano
18
Clarinette, Tuba
17
Hautbois, trombone (duo)
16
Ensemble De Flûte à bec
16
Flûte, Tuba (duo)
15
3 Hautbois
15
Saxophone et Orgue
14
3 Flûtes à bec (trio)
14
Piccolo, Piano
13
2 Saxophones, Piano
12
Flûte, trombone et piano
12
2 Clarinettes, Basson
12
Flûte à bec Alto, Piano
11
Flûte, Violon, Violoncelle et Piano
11
Flûte à bec Tenor
11
Clarinette Basse
10
Piccolo
10
Hautbois, Guitare (duo)
9
4 Hautbois
8
Saxophone et Guitare
8
5 Flûtes à bec
7
Flûte à bec Soprano, Piano
7
Clarinette, Alto et Piano (trio)
6
Clarinette, trompette et piano
6
Clarinette, Basson, Piano (trio)
6
Flûte, Hautbois, Violon
4
Flûte traversière, Orgue (duo)
4
Flute, Cor (duo)
4
Flûte irlandaise
3
Flûte, Clarinette, Violon (trio)
3
Flûte, Violoncelle, Guitare
3
2 Hautbois et Basson
3
Clarinette, Contrebasse (duo)
3
Flûte à Bec, Piano
3
2 Cors Anglais Et Pianoforte
2
Ensemble de Hautbois
2
Hautbois, Violon, Piano
2
Saxophone, Basson (duo)
2
Saxophone et violoncelle
2
Flûte de Pan
2
Ensemble à vent
2
Flûte, Harpe et Violoncelle
2
Cor anglais et Harpe (duo)
2
Clarinette, Orgue
2
Cornemuse
2
Saxophone, Violon (duo)
1
Flute, harpe et violon
1
Flûte à bec, Guitare (duo)
1
2 Flûtes traversières, Harpe
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Hautbois, Trompette (duo)
1
Flûte, alto et harpe
1
Clarinette, Orchestre
1
Hautbois, Basson et Piano
1
Hautbois, Clarinette et Piano (Trio)
1
Saxophone, Tuba (duo)
1
Flûte et Trio à cordes
1
Saxophone et Piano
1
Flûte et Quatuor à Cordes
1
Cor anglais, Guitare (duo)
1
Instrumentations suivantes
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CUIVRES
Trompette
2811
Trombone
2384
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
942
Trompette, Piano
800
Trombone et Piano
777
Cor
663
Quatuor de Cuivres : 2 trompettes, trombone, tuba
579
Cor et Piano
497
Trompette (partie séparée)
485
Trombone (partie séparée)
427
Tuba
375
2 Trompettes (duo)
359
2 Trombones (duo)
297
Tuba et Piano
285
Quatuor de Cuivres
261
Quatuor de Cuivres: 2 trompettes, Cor, trombone
257
Trompette, Trombone (duo)
217
2 Cors (duo)
187
Euphonium
174
Cor (partie séparée)
133
Quatuor de cuivres: 4 trombones
123
Cor anglais, Piano
102
Tuba (partie séparée)
100
Trompette, Saxophone (duo)
100
Trompette, Cor (duo)
97
Euphonium, Piano (duo)
88
Trio de Cuivres
67
2 Tubas (duo)
65
Quatuor de cuivres: 4 cors
63
Trompette, Tuba (duo)
54
Bass Clef Instruments
50
2 Euphoniums et 2 Tubas
42
Ensemble de Trombones
38
3 Trompettes (trio)
36
3 Trombones (trio)
35
Instruments en Sib
32
Quatuor de cuivres: 4 trompettes
31
Cor Anglais
30
Ensemble de Trompettes
27
Trombone, Tuba (duo)
27
Cor et Harpe
26
Trompette, Harpe
21
Trombone, Violon (duo)
21
Trombone, Orgue
17
Quatuor de cuivres: 2 trompettes, 2 trombones
17
Tuba et Orgue
17
2 Euphoniums (duo)
16
Trombone basse
14
Ensemble de Cors
13
Trombone, Cor (duo)
12
4 Tubas
12
Euphonium, Tuba (duo)
12
2 Trompettes, Clavier (piano ou orgue)
11
3 Cors (trio)
10
Cor, Tuba (duo)
10
Trompette, Violoncelle (duo)
9
Trompette, Basson (duo)
9
Cor, Violoncelle (duo)
9
Trompette, Trombone, Piano
8
Trombone, violoncelle (duo)
8
3 Tubas (trio)
7
Trompette, Violoncelle et Piano
7
Clarinette, Cor (duo)
7
Cor et Orgue
6
Trombone basse et Piano
4
Cor et Basson (duo)
4
2 Cors Anglais Et Pianoforte
2
Tuba ou Euphonium ou Saxhorn
2
Cor anglais et Harpe (duo)
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
2
Trompette, violon (duo)
1
Trompette et Guitare
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Cor, Trompette, Trombone (trio)
1
Trombone, Alto (duo)
1
2 Cors, Piano
1
Ensemble de Tubas
1
Cor anglais, Guitare (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2414
Violon
2253
Violon et Piano
1739
Violoncelle
1652
Alto seul
1469
Violoncelle, Piano
1105
Alto, Piano
1038
Violon, Violoncelle (duo)
673
2 Violons (duo)
657
Harpe
584
Trio à Cordes: violon, alto, violoncelle
482
2 Violoncelles (duo)
427
Violon, Alto (duo)
391
2 Altos (duo)
339
Violon (partie séparée)
308
Contre Basse
302
Contrebasse, Piano (duo)
270
Quintette à cordes: 2 violons, alto, violoncelle, basse
245
Alto (partie séparée)
220
2 Harpes (duo)
185
Trio à Cordes: 2 violons, violoncelle
176
Contrebasse (partie séparée)
164
Alto, Violoncelle (duo)
158
Trio à cordes: 3 violins
104
Piano Trio: Violon, Alto, Piano
89
Violoncelle (partie séparée)
85
4 Violoncelles
64
Trio à Cordes: 3 violoncelles
60
Harpe, Flûte (duo)
59
2 Contrebasses (duo)
54
Quatuor à cordes: 4 violons
50
Violon, Basson (duo)
46
Harpe, Violon (duo)
41
Trio à cordes
37
Harpe, Violoncelle (duo)
35
Quatuor à cordes : 4 altos
34
Trio à cordes: 3 altos
32
Violoncelle, Contrebasse (duo)
28
Alto et Harpe
28
Violon, Guitare (duo)
26
Violoncelle , Guitare (duo)
24
Violon, Tuba (duo)
23
Trio à Cordes: 2 violons, alto
22
2 Violons, Piano
16
Harpe, Voix
15
Quintette à cordes : 2 violons, alto et 2 violoncelles
14
Violoncelle, Orgue
11
Violon, Clarinette, Piano (trio)
11
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
Flûte, Contrebasse (duo)
10
Ensemble de Violons
8
Alto et Basson
8
Alto, Guitare (duo)
7
Harpe, Trombone (duo)
6
2 Violoncelles, Piano
4
Violon, Orgue
4
Ensemble d'Altos
4
Harpe (partie séparée)
3
Alto, Orgue
3
3 Harpes
3
Ensemble de Violoncelles
3
4 Harpes
2
Harpe, Violon, Violoncelle
2
Violon, Trompette et Piano
2
Violoncelle, Orchestre
1
4 Contrebasses
1
Alto et orchestre
1
2 Altos, Piano
1
Violon, Violoncelle, Clarinette
1
Harpe et mandoline
1
Harpe et Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
4572
Batterie
2000
Orchestre
1347
Orchestre à Cordes
1004
Ensemble Jazz
813
Cloches
636
Fanfare
437
Ensemble de cuivres
432
Orchestre de chambre
208
Percussion (partie séparée)
192
Jazz combo
144
Ensemble de Percussions
82
Batterie (partie séparée)
80
Percussion
71
Marimba
38
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
21
Timbales (partie séparée)
20
Xylophone, Piano
15
Xylophone
15
Vibraphone
9
Timbales
8
Quintette de Cuivres: autres combinaisons
5
Big band
4
2 Xylophones
3
Caisse Claire
3
Piano et Orchestre
2
Quintette à Vent
2
Vibraphone (partie séparée)
1
Instrumentation Flexible
1
Vibraphone et Marimba
1
Bongos
1
2 Marimbas
1
Conga
1
3 Marimbas
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
45
Théorie de la musique
1
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The Day
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)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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Klavierkonzert in C-Dur, Opus 7
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
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Piano et Orchestre
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
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