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Non classifié
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PIANO & CLAVIERS
Piano seul
11125
Piano, Voix
4611
Piano Facile
2981
Orgue
2143
Piano, Voix et Guitare
1685
Piano grosses notes
1044
Instruments en Do
612
1 Piano, 4 mains
361
Accompagnement Piano
311
Accordéon
177
2 Pianos, 4 mains
93
Piano Trio: piano, violon, violoncelle
90
Clavier
69
Piano Quatuor: piano, violon, alto, violoncelle
39
Piano (partie séparée)
31
Orgue, Piano (duo)
24
Piano Quintette: piano, 2 violons, alto, violoncelle
24
Orgue, Trompette (duo)
20
Piano Quatuor: piano, 2 violons, violoncelle
16
Clavecin
9
1 Piano, 6 mains
6
2 Pianos, 8 mains
6
Accordéon, Corde(s)
1
Accordéon, Piano
1
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GUITARES
Guitare
737
Guitare notes et tablatures
671
Basse electrique
394
Ukulele
391
Ligne De Mélodie, (Paroles) et Accords
339
Piano, Guitare (duo)
207
2 Guitares (duo)
71
Ukulele Baryton
70
Mandoline
63
Guitare (partie séparée)
56
4 Guitares (Quatuor)
52
Banjo
52
Dulcimer
46
Paroles et Accords
44
3 Guitares (trio)
14
Ensemble de guitares
14
Mandoline, Piano (duo)
10
2 Dulcimers (duo)
7
Guitare Pedal Steel
4
Dobro
4
Mandoline, Guitare (duo)
3
2 Mandolines (duo)
2
Guitare, Violon, Violoncelle (trio)
2
Orchestre à Plectres
1
Basse électrique (partie séparée)
1
2 Ukuleles
1
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VOIX
Chorale SATB
4838
Chorale 3 parties
1449
Chorale 2 parties
1034
Pack Instrumental pour Chorale
810
Chorale Unison
608
Chorale TTBB
550
Chorale SSAA
345
Voix duo, Piano
225
Voix duo
105
Voix haute
65
Voix seule
60
Voix Alto, Piano
54
Voix Soprano, Piano
52
Voix Baryton, Piano
29
Voix basse, Piano
27
Voix Tenor, Piano
27
Chorale
23
Voix moyenne, Piano
19
Voix Tenor
16
Chorale SSATB
11
Chorale SSAATTBB
10
Soli, choeur mixte et accompagnement
9
Chorale SSATTB
8
Voix Soprano
8
Voix Mezzo-Soprano, Piano
7
Voix basse
7
Chorale SSAB, Piano
2
Chorale SSAB a cappella
2
Chorale SATBB
2
Chorale SAATB A Cappella
1
Chorale SATTBB A Cappella
1
Voix duo, Orgue
1
Chorale SSAATB
1
Voix, Guitare
1
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VENTS
Flûte traversière et Piano
1307
Hautbois, Piano (duo)
937
Clarinette et Piano
882
2 Saxophones (duo)
836
Saxophone Alto et Piano
740
Quatuor de Saxophones: 4 saxophones
720
Flûte traversière
650
Clarinette
626
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
603
Quatuor de Clarinettes: 4 clarinettes
559
Saxophone (partie séparée)
539
Saxophone Tenor et Piano
514
Flûte, Hautbois, Clarinette, Basson
483
2 Flûtes traversières (duo)
441
2 Clarinettes (duo)
438
Saxophone Alto
386
Saxophone Tenor
337
Quintette de Saxophone: 5 saxophones
316
Hautbois (partie séparée)
305
Flûte à bec Soprano
295
Saxophone Soprano et Piano
262
Quatuor de Flûtes : 4 flûtes
254
3 Clarinettes (trio)
204
Flûte, Clarinette (duo)
204
3 Saxophones (trio)
195
2 Flûte à bec (duo)
192
Saxophone, Clarinette (duo)
188
Ensemble de Clarinettes
164
2 Hautbois (duo)
162
Saxophone Baryton, Piano
160
Clarinette, Violon (duo)
153
Ensemble de Flûtes
139
Hautbois, Basson (duo)
130
Trio de Flûtes: 3 flûtes
129
Clarinette, Trompette (duo)
122
Clarinette (partie séparée)
119
Ensemble de saxophones
118
Hautbois, Clarinette (duo)
112
Cor anglais, Piano
111
Quintette de Clarinettes: 5 clarinettes
111
Flûte, Violon
103
Flute (partie séparée)
99
Quintette de Flûte : 5 flûtes
84
Flûte et Guitare
82
Clarinette et Alto
76
Flûte à Bec
75
Flûte à bec Soprano, Piano
73
Flûte, Hautbois, Clarinette (trio)
71
Hautbois
70
Quatuor de Flûtes à bec
67
Flûte irlandaise
67
Flûte, Saxophone (duo)
66
Flûte, Alto (duo)
65
Hautbois, Flûte
62
Cor Anglais
57
Flûte, Clarinette et Basson
55
Clarinette Basse, Piano
55
Flûte à bec Alto
54
Flûte, Violon et Violoncelle
53
Clarinette, Basson (duo)
50
Flûte, Trompette (duo)
47
Flûte, Harpe et Violoncelle
46
2 Flûtes traversières, Piano
44
Flûte, Violoncelle
43
Flûte, Hautbois, Basson
41
Hautbois, Clarinette, Basson (trio d'anches)
39
Saxophone Soprano
38
Saxophone Baryton
38
3 Flûtes à bec (trio)
38
Harmonica
37
Ocarina
36
Clarinette, Harpe (duo)
35
Clarinette, Guitare (duo)
30
Flûte, Hautbois (duo)
26
Clarinette, Violoncelle (duo)
23
Flûte, Clarinette, Piano (trio)
21
2 Clarinettes, Basson
21
Hautbois, Violoncelle
20
Ensemble De Flûte à bec
19
Flûte, Violon, Piano
19
Clarinette, Violoncelle, Piano (trio)
18
Flûte à bec Tenor
17
5 Flûtes à bec
17
2 Clarinettes, Piano
15
Hautbois, Guitare (duo)
15
Flûte, Violoncelle, Piano (trio)
14
2 Saxophones, Piano
13
Piccolo, Piano
12
Flûte, Hautbois, Piano (trio)
11
Flute, harpe et violon
10
4 Hautbois
10
Flûte à bec Soprano, Basse continue
10
Flûte, Hautbois, Violon
9
Flûte à bec Alto, Piano
8
Flûte, Basson et Piano
8
Saxophone et Guitare
7
Hautbois et alto (duo)
7
Clarinette, trompette et piano
6
Flûte, trombone et piano
6
Flûte, Alto et Piano
6
Flûte, Clarinette, Violon (trio)
6
Cor anglais, Guitare (duo)
6
Ensemble de Hautbois
6
Piccolo
6
Flûte et Trio à cordes
6
Hautbois, violon (duo)
5
Hautbois, Clarinette et Piano (Trio)
5
Clarinette Basse
5
Flûte, Trombone (duo)
5
Saxophone
5
Flûte traversière, Basse continue
4
Flûte à bec Alto, Basse continue
4
Clarinette, Alto et Piano (trio)
4
Saxophone et Orgue
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
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Hautbois, Harpe
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Hautbois, Basson et Piano
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Flûte à bec, Guitare (duo)
3
Clarinette, Tuba
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Flûte, Violoncelle, Guitare
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Clarinette, Trombone (duo)
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Flûte de Pan
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Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Ensemble à vent
2
Flûte, alto et harpe
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Hautbois, trombone (duo)
2
Flûte, Violon, Guitare
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Cornemuse
2
Flûte traversière, Orgue (duo)
2
Instruments en Mib
2
2 Hautbois, Piano
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Clarinette, Contrebasse (duo)
2
Flûte, Violon, Violoncelle et Piano
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2 Cors Anglais Et Pianoforte
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Flûte et Quatuor à Cordes
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Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flute, alto, violoncelle et guitare
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Cor anglais et Harpe (duo)
1
3 Hautbois
1
2 Flûtes à bec, Piano
1
Hautbois, Trompette (duo)
1
2 Flûtes traversières, Harpe
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Clarinette, Basson, Piano (trio)
1
Hautbois, Violoncelle et Piano
1
Flute, Cor (duo)
1
Flûte, Tuba (duo)
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Flûte à Bec, Piano
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Saxophone et Harpe
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1297
Trombone et Piano
598
Trompette
591
Trompette, Piano
591
Quatuor de Cuivres : 2 trompettes, trombone, tuba
426
Trombone
422
Cor et Piano
419
Trompette (partie séparée)
406
Cor
317
Trombone (partie séparée)
262
2 Trombones (duo)
242
Tuba et Piano
219
Quatuor de Cuivres
206
2 Trompettes (duo)
206
Tuba
186
Quatuor de Cuivres: 2 trompettes, Cor, trombone
157
Trompette, Trombone (duo)
156
Trompette, Saxophone (duo)
134
Quatuor de cuivres: 4 trombones
113
Cor anglais, Piano
111
2 Cors (duo)
100
Ensemble de Trombones
88
Euphonium, Piano (duo)
84
Cor (partie séparée)
82
Ensemble de Trompettes
70
Cor Anglais
57
Quatuor de cuivres: 4 cors
56
Tuba (partie séparée)
52
Euphonium
51
2 Tubas (duo)
41
2 Euphoniums et 2 Tubas
37
Quatuor de cuivres: 4 trompettes
36
Trompette, Cor (duo)
35
Ensemble de Cors
27
3 Trombones (trio)
26
Trombone, Tuba (duo)
24
4 Tubas
21
Trio de Cuivres
19
Euphonium, Tuba (duo)
18
3 Trompettes (trio)
14
Trombone, Cor (duo)
13
Trompette, Tuba (duo)
12
2 Euphoniums (duo)
11
3 Tubas (trio)
9
Quatuor de cuivres: 2 trompettes, 2 trombones
8
Tuba et Orgue
8
Cor, Violoncelle (duo)
7
Cor et Harpe
7
3 Cors (trio)
7
Trompette, Harpe
6
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
6
Cor anglais, Guitare (duo)
6
Trombone basse
5
Bass Clef Instruments
5
Trompette, Trombone, Piano
5
Trompette, violon (duo)
5
Trompette, Basson (duo)
4
Trompette, Violoncelle et Piano
4
Cor, Tuba (duo)
4
Instruments en Sib
4
Trombone, Orgue
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Trompette et Guitare
2
2 Cors, Piano
2
Cornet et orchestre
2
Trompette, Violoncelle (duo)
2
Trombone et orchestre
2
Trombone basse et Piano
2
Cor, Violoncelle et Piano
1
2 Cors Anglais Et Pianoforte
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
4 Euphoniums
1
Tuba ou Euphonium ou Saxhorn
1
Cor et Orgue
1
Trombone, Violon (duo)
1
Euphonium (partie séparée)
1
Clarinette, Cor (duo)
1
3 Euphoniums
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1957
Harpe
1839
Violon et Piano
1531
Violoncelle, Piano
845
Alto, Piano
823
Violon
804
Violoncelle
622
Violon, Violoncelle (duo)
504
2 Violons (duo)
405
Trio à Cordes: violon, alto, violoncelle
360
Alto seul
337
Harpe, Flûte (duo)
293
2 Violoncelles (duo)
278
Violon, Alto (duo)
263
Violon (partie séparée)
245
2 Altos (duo)
218
Trio à Cordes: 2 violons, violoncelle
195
2 Harpes (duo)
187
Contrebasse, Piano (duo)
177
Quintette à cordes: 2 violons, alto, violoncelle, basse
174
Contre Basse
155
Harpe, Violon (duo)
138
Alto (partie séparée)
134
Contrebasse (partie séparée)
101
Trio à cordes: 3 violins
79
Alto, Violoncelle (duo)
77
4 Violoncelles
55
Harpe et Piano
42
Quatuor à cordes: 4 violons
42
Violon, Guitare (duo)
39
Violoncelle (partie séparée)
34
Trio à Cordes: 3 violoncelles
34
2 Contrebasses (duo)
33
Violoncelle, Contrebasse (duo)
30
Violoncelle , Guitare (duo)
30
Piano Trio: Violon, Alto, Piano
29
Trio à Cordes: 2 violons, alto
24
Trio à cordes: 3 altos
23
Harpe, Violoncelle (duo)
17
Violon, Basson (duo)
16
2 Violons et Basse continue
14
Quatuor à cordes : 4 altos
14
Flûte, Contrebasse (duo)
12
Harpe, Voix
12
Alto et Harpe
11
2 Violons, Piano
11
Alto et Basson
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
Harpe et mandoline
10
Ensemble de Violons
10
Alto, Guitare (duo)
9
Violon, Orgue
9
Violon, Clarinette, Piano (trio)
7
Ensemble d'Altos
7
2 Violoncelles, Piano
6
Violoncelle, Orgue
6
4 Contrebasses
5
Autoharp
5
Ensemble de Violoncelles
5
3 Harpes
5
Violoncelle, Basse continue
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
Harpe, Violon, Violoncelle
4
2 Altos, Piano
3
Alto, Orgue
3
Violoncelle, Orchestre
3
Violon, Tuba (duo)
2
5 Harpes
2
Violon, Basse continue
2
Violon, Violoncelle, Clarinette
1
4 Harpes
1
Harpe, Trombone (duo)
1
3 Contrebasses
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3818
Orchestre à Cordes
1180
Orchestre
839
Cloches
827
Ensemble Jazz
638
Ensemble de cuivres
573
Fanfare
363
Orchestre de chambre
323
Ensemble de Percussions
160
Jazz combo
159
Batterie
139
Percussion (partie séparée)
102
Marimba
69
Vibraphone
47
Batterie (partie séparée)
44
Xylophone, Piano
23
Xylophone
14
Percussion
13
Timbales (partie séparée)
9
Ensemble d'École
8
3 Marimbas
6
Piano et Orchestre
4
2 Xylophones
4
Orchestre, Violon
3
Timbales
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Quintette à Vent
2
Cajon
2
Vibraphone et Marimba
1
Instrumentation Flexible
1
Marimba, Piano (duo)
1
Quatuor à Vent : 4 instruments à vents
1
Quintette de Cuivres: autres combinaisons
1
Caisse Claire
1
Conga
1
Bongos
1
Voix et Orchestre
1
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AUTRES
Formation musicale - Solfège
9
Théorie de la musique
6
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.75 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
181.34 €
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Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
136.01 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
(+)
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
113.34 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
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