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Non classifié
14105
PIANO & CLAVIERS
Piano seul
8424
Piano, Voix
3702
Piano Facile
3069
Piano, Voix et Guitare
1510
Instruments en Do
1187
Orgue
737
Accompagnement Piano
446
1 Piano, 4 mains
258
Piano Trio: piano, violon, violoncelle
147
Piano (partie séparée)
126
2 Pianos, 4 mains
95
Accordéon
55
Piano Quatuor: piano, violon, alto, violoncelle
46
Piano grosses notes
45
Clavecin
32
Orgue, Trompette (duo)
22
Piano Quintette: piano, 2 violons, alto, violoncelle
21
Orgue, Piano (duo)
16
Piano Quatuor: piano, 2 violons, violoncelle
15
2 Pianos, 8 mains
7
Clavier
5
1 Piano, 6 mains
3
2 Accordéons
2
Ensemble d'Accordéons
2
Fake Book
1
Accordéon et Orchestre
1
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GUITARES
Guitare
819
Guitare notes et tablatures
673
Guitare (partie séparée)
258
Ukulele
245
Ligne De Mélodie, (Paroles) et Accords
148
Dulcimer
147
Basse electrique
113
2 Guitares (duo)
95
4 Guitares (Quatuor)
56
Mandoline
51
Piano, Guitare (duo)
42
Banjo
37
Ensemble de guitares
25
Paroles et Accords
20
3 Guitares (trio)
16
Mandoline, Piano (duo)
11
2 Dulcimers (duo)
6
Mandoline, Guitare (duo)
3
2 Ukuleles
3
2 Mandolines (duo)
2
Ensemble de Ukulélés
2
Ukulele Baryton
2
Guitare, Violon, Violoncelle (trio)
1
Cithare
1
Dobro
1
Guitare, Orchestre
1
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VOIX
Chorale SATB
4017
Chorale 3 parties
1389
Chorale 2 parties
883
Chorale Unison
773
Chorale TTBB
760
Chorale SSAA
521
Voix Soprano, Piano
152
Voix Tenor, Piano
136
Voix Alto, Piano
126
Voix duo, Piano
126
Pack Instrumental pour Chorale
99
Voix duo
99
Voix Baryton, Piano
68
Voix haute
57
Voix moyenne, Piano
31
Voix seule
21
Voix basse, Piano
19
Voix Tenor
15
Chorale SSAATTBB
10
Chorale
8
Voix basse
8
Voix Mezzo-Soprano, Piano
7
Chorale SSATTB
6
Voix Soprano
6
Chorale SSATB
5
Soli, choeur mixte et accompagnement
3
Voix, Guitare
1
Chorale SSAATB
1
Chorale SATTBB A Cappella
1
Chorale SATBB
1
Chorale SSAB a cappella
1
Instrumentations suivantes
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VENTS
Quatuor de Saxophones: 4 saxophones
1285
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1134
Flûte traversière et Piano
1128
Saxophone (partie séparée)
877
Clarinette et Piano
858
Flûte, Hautbois, Clarinette, Basson
856
2 Saxophones (duo)
811
Quatuor de Clarinettes: 4 clarinettes
790
Hautbois, Piano (duo)
723
Saxophone Alto et Piano
627
2 Flûtes traversières (duo)
618
Flûte traversière
578
Quintette de Saxophone: 5 saxophones
572
Clarinette
522
2 Clarinettes (duo)
488
Saxophone Tenor et Piano
430
Quatuor de Flûtes : 4 flûtes
395
Saxophone Alto
369
Saxophone Soprano et Piano
316
Hautbois (partie séparée)
270
Ensemble de Clarinettes
267
Ensemble de saxophones
248
Saxophone Tenor
220
3 Saxophones (trio)
212
Saxophone Baryton, Piano
211
Flûte, Clarinette (duo)
194
2 Hautbois (duo)
183
Ensemble de Flûtes
180
Quintette de Clarinettes: 5 clarinettes
160
2 Flûte à bec (duo)
157
Saxophone, Clarinette (duo)
151
3 Clarinettes (trio)
149
Trio de Flûtes: 3 flûtes
147
Clarinette, Violon (duo)
140
Flute (partie séparée)
138
Flûte à Bec
122
Hautbois
112
Cor anglais, Piano
110
Clarinette, Trompette (duo)
108
Clarinette (partie séparée)
108
Flûte, Violon
102
Hautbois, Basson (duo)
101
Flûte à bec Soprano
101
Hautbois, Clarinette (duo)
91
Clarinette Basse, Piano
91
Quintette de Flûte : 5 flûtes
85
Flûte et Guitare
81
Flûte irlandaise
81
Clarinette et Alto
73
Quatuor de Flûtes à bec
67
Clarinette, Basson (duo)
62
Saxophone Soprano
62
Flûte, Alto (duo)
62
Hautbois, Clarinette, Basson (trio d'anches)
57
Flûte, Hautbois, Clarinette (trio)
56
Flûte, Saxophone (duo)
54
Saxophone Baryton
52
Flûte, Trompette (duo)
49
Flûte, Violoncelle
48
Hautbois, Flûte
48
Flûte à bec Alto
45
Flûte, Hautbois (duo)
44
Flûte, Clarinette et Basson
41
Ensemble De Flûte à bec
39
Cor Anglais
33
5 Flûtes à bec
32
2 Flûtes traversières, Piano
31
Clarinette, Guitare (duo)
27
Saxophone
25
Clarinette, Violoncelle (duo)
24
Flûte, Clarinette, Piano (trio)
24
Flûte, Hautbois, Basson
24
Flûte à bec Tenor
23
3 Flûtes à bec (trio)
22
Flûte, Violon et Violoncelle
21
Hautbois, Violoncelle
19
Flûte, Trombone (duo)
19
Piccolo, Piano
19
Hautbois, violon (duo)
18
Piccolo
17
Flûte, Violon, Piano
17
Clarinette, Harpe (duo)
16
Harmonica
15
Flûte, Violoncelle, Piano (trio)
15
Flûte à bec Soprano, Piano
13
2 Clarinettes, Piano
13
Ocarina
12
Flûte à bec Alto, Piano
12
Flûte, Basson et Piano
12
4 Hautbois
11
2 Saxophones, Piano
10
Flûte, Harpe et Violoncelle
10
3 Hautbois
8
Hautbois et alto (duo)
8
Saxophone et Harpe
8
Flûte à Bec, Piano
8
Flûte et Trio à cordes
8
2 Clarinettes, Basson
7
Hautbois, Guitare (duo)
7
Flute, harpe et violon
6
Clarinette, Violoncelle, Piano (trio)
6
Hautbois, Harpe
6
Flûte, Hautbois, Piano (trio)
5
Ensemble à vent
5
Saxophone et Guitare
5
Clarinette, Trombone (duo)
5
Flûte, Alto et Piano
4
Clarinette Basse
4
Flûte, Violon, Violoncelle et Piano
4
Flûte, Clarinette, Violon (trio)
4
Flûte, Hautbois, Violon
4
Saxophone et Orgue
4
Ensemble de Hautbois
4
Flûte, Clarinette, Cor, Basson (Quartet)
4
Cor anglais, Guitare (duo)
3
Flûte traversière, Orgue (duo)
3
Flûte, trombone et piano
3
2 Cors Anglais Et Pianoforte
2
Flûte, alto et harpe
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Cornemuse
2
Clarinette, Tuba
2
Flûte à bec Alto, Basse continue
2
Flûte, Tuba (duo)
2
Clarinette, Contrebasse (duo)
2
Flûte à bec, Guitare (duo)
1
Flute, Cor (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois, Violon, Piano
1
2 Flûtes à bec, Guitare
1
Hautbois, Trompette (duo)
1
Flûte de Pan
1
Flute, alto, violoncelle et guitare
1
Cor anglais et Harpe (duo)
1
Hautbois, trombone (duo)
1
Clarinette, Orgue
1
Hautbois et Orchestre
1
Flûte, Violoncelle, Guitare
1
Instruments en Mib
1
2 Hautbois, Piano
1
Clarinette, Basson, Piano (trio)
1
Flûte traversière, Basse continue
1
Clarinette, trompette et piano
1
Saxophone, Tuba (duo)
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1182
Quatuor de Cuivres : 2 trompettes, trombone, tuba
857
Trombone (partie séparée)
654
Trompette, Piano
607
Trombone et Piano
581
Trompette (partie séparée)
527
Trompette
516
Cor et Piano
469
Trombone
351
Cor
304
Quatuor de Cuivres: 2 trompettes, Cor, trombone
279
Tuba et Piano
274
Tuba
249
2 Trompettes (duo)
224
2 Trombones (duo)
207
Quatuor de Cuivres
182
Euphonium, Piano (duo)
156
Cor (partie séparée)
139
Trompette, Trombone (duo)
139
Quatuor de cuivres: 4 trombones
137
2 Cors (duo)
126
Tuba (partie séparée)
119
Trompette, Saxophone (duo)
114
Cor anglais, Piano
110
Ensemble de Trombones
102
Ensemble de Trompettes
87
Quatuor de cuivres: 4 cors
87
2 Tubas (duo)
53
2 Euphoniums et 2 Tubas
49
Quatuor de cuivres: 4 trompettes
48
Trompette, Cor (duo)
46
Euphonium
45
Cor Anglais
33
3 Trombones (trio)
32
Trio de Cuivres
31
4 Tubas
31
Ensemble de Cors
29
Tuba et Orgue
25
3 Trompettes (trio)
22
Trombone, Cor (duo)
17
Trombone basse
13
Trombone basse et Piano
13
3 Tubas (trio)
12
Trombone, Tuba (duo)
10
Euphonium, Tuba (duo)
9
Cor, Tuba (duo)
9
Cor et Harpe
9
Cor, Violoncelle (duo)
9
3 Cors (trio)
9
Trombone, Orgue
8
Trompette, Tuba (duo)
7
Quatuor de cuivres: 2 trompettes, 2 trombones
7
Trompette, violon (duo)
5
Trompette, Harpe
5
Cor et Basson (duo)
5
Trompette, Basson (duo)
4
Cor anglais, Guitare (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
2 Euphoniums (duo)
3
Cor et Orgue
3
2 Cors Anglais Et Pianoforte
2
Bass Clef Instruments
2
Trompette, Violoncelle (duo)
2
Trompette, Violoncelle et Piano
2
Trompette, Trombone, Piano
2
Trombone, Violon (duo)
2
2 Cors, Piano
2
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Trompette et Guitare
1
Cornet et orchestre
1
2 Trompettes, Clavier (piano ou orgue)
1
4 Euphoniums
1
Trombone et orchestre
1
2 Trombones, Piano
1
Instruments en Sib
1
3 Euphoniums
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2779
Harpe
1509
Violon et Piano
1353
Violoncelle, Piano
917
Violon
819
Alto, Piano
808
Violoncelle
649
Violon, Violoncelle (duo)
530
2 Violons (duo)
504
Trio à Cordes: violon, alto, violoncelle
415
Alto seul
348
2 Violoncelles (duo)
286
Trio à Cordes: 2 violons, violoncelle
278
Quintette à cordes: 2 violons, alto, violoncelle, basse
269
Violon, Alto (duo)
258
2 Altos (duo)
246
Contrebasse, Piano (duo)
245
Contre Basse
198
Contrebasse (partie séparée)
181
2 Harpes (duo)
160
Harpe, Flûte (duo)
157
Violon (partie séparée)
130
Alto (partie séparée)
126
Alto, Violoncelle (duo)
81
4 Violoncelles
63
Trio à cordes: 3 violins
61
Trio à Cordes: 3 violoncelles
51
Quatuor à cordes: 4 violons
51
Violon, Guitare (duo)
45
Harpe, Violon (duo)
44
Quatuor à cordes : 4 altos
42
Trio à cordes: 3 altos
40
2 Contrebasses (duo)
37
Piano Trio: Violon, Alto, Piano
34
Ensemble de Violons
30
Ensemble d'Altos
28
Violoncelle, Contrebasse (duo)
28
Violoncelle (partie séparée)
23
Quintette à cordes: 2 violons, 2 altos, violoncelle
21
Violon, Basson (duo)
21
Trio à Cordes: 2 violons, alto
20
Violoncelle , Guitare (duo)
16
Alto et Basson
14
Harpe, Violoncelle (duo)
13
Harpe et mandoline
12
Alto et Harpe
12
4 Contrebasses
9
Harpe, Voix
8
Alto, Guitare (duo)
7
Ensemble de Violoncelles
7
Violon, Orgue
7
2 Violons, Piano
6
Flûte, Contrebasse (duo)
6
Harpe et Piano
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Harpe, Trombone (duo)
5
Violon, Clarinette, Piano (trio)
5
Violoncelle, Basse continue
4
Harpe, Quatuor à cordes
3
Violon, Tuba (duo)
3
Autoharp
3
Harpe, Violon, Violoncelle
3
3 Harpes
3
4 Harpes
3
Violoncelle, Orchestre
2
2 Altos, Piano
2
Violoncelle, Orgue
2
Harpe (partie séparée)
2
2 Violoncelles, Piano
2
5 Harpes
2
Harpe et Orgue
1
Trio à cordes
1
Alto, Orgue
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3909
Ensemble Jazz
1131
Orchestre à Cordes
1083
Orchestre
1031
Cloches
1016
Ensemble de cuivres
748
Jazz combo
524
Fanfare
401
Orchestre de chambre
338
Ensemble de Percussions
156
Batterie (partie séparée)
134
Batterie
129
Percussion (partie séparée)
46
Marimba
32
Xylophone, Piano
23
Vibraphone
20
Xylophone
9
Ensemble d'École
6
Piano et Orchestre
4
Percussion
4
Quintette de Cuivres: autres combinaisons
4
3 Marimbas
3
Big band
2
Marimba, Piano (duo)
2
Xylophone ou Marimba ou Vibraphone
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Orchestre, Violon
2
2 Xylophones
2
Quintette à Vent
2
Marimba ou Xylophone et Piano
1
Caisse Claire
1
Bodhran
1
Vibraphone et Marimba
1
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AUTRES
Formation musicale - Solfège
2
Théorie de la musique
1
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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)
$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
Konzert fur Piano und Orchester, Opus 15
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$32.95
29.88 €
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Piano et Orchestre
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Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
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Bisel Classics - Digital
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SheetMusicPlus
Ballade for Piano and Orchestra No.1
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
$3.99
3.62 €
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Piano et Orchestre
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Joseph Hull
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Ballade for Piano and Orchestra No.1
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Genesis
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.01 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
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