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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Traditional |German Melody
Non classifié
3 463
Piano & claviers
Piano seul
1 700
Piano Facile
1 308
Piano, Voix
696
Accompagnement Piano
402
Instruments en Do
341
Piano, Voix et Guitare
189
Orgue
155
1 Piano, 4 mains
119
Piano Trio: piano, violon, violoncelle
74
Accordéon
25
2 Pianos, 4 mains
24
Piano grosses notes
17
1 Piano, 6 mains
8
Piano Quatuor: piano, 2 violons, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano (partie séparée)
4
Clavecin
3
Accordéon, Voix
2
Orgue, Piano (duo)
2
Orgue, Trompette (duo)
2
+ 16 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
3 123
Guitare notes et tablatures
274
Guitare
179
Ukulele
125
2 Guitares (duo)
31
Dulcimer
16
Piano, Guitare (duo)
15
Mandoline
13
4 Guitares (Quatuor)
12
Paroles et Accords
10
Basse electrique
9
Banjo
8
Guitare (partie séparée)
6
Ensemble de guitares
5
Guitare, Violon, Violoncelle (trio)
3
3 Guitares (trio)
2
2 Ukuleles
2
Guitare, Orchestre
1
Mandoline, Guitare (duo)
1
3 Dulcimers (trio)
1
+ 15 instrumentations
Retracter
Voix
Chorale SATB
617
Chorale 3 parties
364
Chorale 2 parties
323
Chorale TTBB
160
Chorale Unison
140
Voix Soprano, Piano
109
Voix Alto, Piano
92
Voix Tenor, Piano
92
Chorale SSAA
89
Voix duo, Piano
76
Voix duo
61
Voix Baryton, Piano
44
Pack Instrumental pour Chorale
20
Voix seule
10
Voix haute
9
Voix moyenne, Piano
8
Chorale
7
Voix Tenor
5
Voix basse, Piano
3
Voix Soprano
1
Chorale SSAATTBB
1
+ 16 instrumentations
Retracter
Vents
Flûte traversière et Piano
335
2 Saxophones (duo)
321
Clarinette et Piano
287
Hautbois, Piano (duo)
229
Saxophone Alto et Piano
199
Flûte traversière
197
Quatuor de Saxophones: 4 saxophones
189
2 Clarinettes (duo)
183
2 Flûtes traversières (duo)
169
Flûte, Hautbois, Clarinette, Basson
168
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
150
Clarinette
138
Saxophone Tenor et Piano
129
Quatuor de Clarinettes: 4 clarinettes
125
Saxophone (partie séparée)
114
Saxophone Alto
109
3 Saxophones (trio)
87
Quintette de Saxophone: 5 saxophones
85
Flûte, Clarinette (duo)
84
Hautbois (partie séparée)
82
Saxophone Tenor
73
Saxophone, Clarinette (duo)
70
Hautbois, Basson (duo)
69
Saxophone Soprano et Piano
69
2 Hautbois (duo)
66
Quatuor de Flûtes : 4 flûtes
64
Clarinette, Violon (duo)
62
Hautbois
53
3 Clarinettes (trio)
52
Saxophone Baryton, Piano
51
Clarinette, Trompette (duo)
48
Hautbois, Clarinette (duo)
43
Trio de Flûtes: 3 flûtes
41
Clarinette, Basson (duo)
36
2 Flûtes traversières, Piano
34
Hautbois, Flûte
32
Flûte, Violoncelle
32
Clarinette et Alto
31
2 Flûte à bec (duo)
30
Hautbois, Violoncelle
30
Flûte, Alto (duo)
29
Flûte, Violon
29
Clarinette (partie séparée)
27
Clarinette, Violoncelle (duo)
27
Flûte et Guitare
27
Ensemble de Clarinettes
27
Quintette de Clarinettes: 5 clarinettes
26
Flûte, Saxophone (duo)
25
Clarinette, Harpe (duo)
24
Flute (partie séparée)
23
Flûte, Trompette (duo)
22
Cor anglais, Piano
22
Flûte, Clarinette, Piano (trio)
22
Flûte, Hautbois, Clarinette (trio)
21
Clarinette Basse, Piano
21
Flûte, Violon, Piano
20
Saxophone Soprano
20
Ensemble De Flûte à bec
19
Ensemble de saxophones
18
Hautbois, Clarinette, Basson (trio d'anches)
17
Flûte à bec Alto
17
Flûte, Hautbois (duo)
16
Ensemble de Flûtes
16
Flûte à bec Soprano
16
Quintette de Flûte : 5 flûtes
16
Flûte, Clarinette et Basson
15
Flûte à Bec
14
Harmonica
14
Saxophone Baryton
13
Quatuor de Flûtes à bec
13
Ocarina
13
Saxophone et Harpe
12
Hautbois, Harpe
10
Flûte à bec Tenor
10
Flûte, Hautbois, Piano (trio)
10
Flûte, Trombone (duo)
9
Flûte, Violoncelle, Piano (trio)
9
Flûte, Hautbois, Basson
8
Hautbois, violon (duo)
8
Hautbois et alto (duo)
7
Flûte, Alto et Piano
7
5 Flûtes à bec
7
Clarinette, Violoncelle, Piano (trio)
7
Saxophone et Piano
6
Flûte, Violon et Violoncelle
6
3 Flûtes à bec (trio)
6
2 Clarinettes, Piano
5
Clarinette Basse
5
Flûte, Basson et Piano
5
Hautbois, Violoncelle et Piano
5
Cor Anglais
5
Flûte, trombone et piano
4
Saxophone et Guitare
4
Clarinette, Guitare (duo)
4
Flûte à bec Alto, Piano
3
Clarinette, Contrebasse (duo)
3
Cornemuse
3
Hautbois, Clarinette et Piano (Trio)
3
Flûte, Guitare, Piano
3
Clarinette, Basson, Piano (trio)
3
Flute, harpe et violon
3
Clarinette, Trombone (duo)
3
Piccolo
3
Cor anglais, Guitare (duo)
3
2 Saxophones, Piano
2
3 Hautbois
2
Hautbois, Basson et Piano
2
Clarinette, Tuba
2
Flûte, Violoncelle, Guitare
2
Flûte et Trio à cordes
2
Saxophone et violoncelle
2
Flûte irlandaise
2
Piccolo, Piano
1
Flûte, Violon, Violoncelle et Piano
1
Saxophone, Basson (duo)
1
Hautbois, trombone (duo)
1
4 Hautbois
1
Hautbois, Guitare (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Tuba (duo)
1
Flûte de Pan
1
Flûte à bec Soprano, Piano
1
2 Clarinettes, Basson
1
Flûte à Bec, Piano
1
Ensemble de Hautbois
1
Saxophone
1
Clarinette, trompette et piano
1
2 Hautbois, Piano
1
Hautbois, Trompette (duo)
1
+ 124 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
185
Trompette, Piano
178
Trompette
175
Trombone et Piano
174
Cor et Piano
147
Trombone
113
Cor
99
2 Trombones (duo)
94
2 Trompettes (duo)
92
Quatuor de Cuivres : 2 trompettes, trombone, tuba
92
Tuba et Piano
81
Tuba
80
Trompette, Trombone (duo)
69
Quatuor de Cuivres: 2 trompettes, Cor, trombone
53
Trompette, Saxophone (duo)
52
2 Cors (duo)
50
Quatuor de Cuivres
31
Trompette (partie séparée)
27
Trompette, Cor (duo)
25
Quatuor de cuivres: 4 trombones
23
Quatuor de cuivres: 4 cors
22
Cor anglais, Piano
22
Euphonium, Piano (duo)
22
Cor, Violoncelle (duo)
20
Trombone (partie séparée)
19
2 Tubas (duo)
18
Ensemble de Trombones
15
Cor et Harpe
13
Trompette, Harpe
13
Ensemble de Cors
11
2 Euphoniums et 2 Tubas
9
Trombone, Cor (duo)
8
Quatuor de cuivres: 4 trompettes
8
3 Trombones (trio)
8
Euphonium
8
Trio de Cuivres
8
Ensemble de Trompettes
8
3 Trompettes (trio)
8
Tuba et Orgue
8
Euphonium, Tuba (duo)
7
Trompette, Tuba (duo)
6
Cor, Tuba (duo)
5
Cor et Basson (duo)
5
4 Tubas
5
Cor Anglais
5
Cor (partie séparée)
4
Tuba (partie séparée)
4
Trompette, Violoncelle (duo)
4
2 Trompettes, Clavier (piano ou orgue)
3
Trombone basse
3
Cor anglais, Guitare (duo)
3
3 Cors (trio)
3
Trompette, violon (duo)
2
Trombone, Violon (duo)
2
Trombone, Tuba (duo)
2
Trompette, Violoncelle et Piano
2
Trombone, Orgue
2
Trombone basse et Piano
2
Trombone, violoncelle (duo)
1
Trombone, Alto (duo)
1
3 Tubas (trio)
1
Instruments en Sib
1
Bass Clef Instruments
1
Trompette, Basson (duo)
1
Cor, Violoncelle et Piano
1
+ 60 instrumentations
Retracter
Cordes
Violon et Piano
536
Quatuor à cordes: 2 violons, alto, violoncelle
418
Violon
306
Violoncelle, Piano
282
Alto, Piano
254
Violoncelle
243
Violon, Violoncelle (duo)
191
2 Violons (duo)
171
2 Harpes (duo)
160
Alto seul
153
Harpe
151
2 Violoncelles (duo)
135
Violon, Alto (duo)
99
Trio à Cordes: violon, alto, violoncelle
97
2 Altos (duo)
97
Contre Basse
92
Alto, Violoncelle (duo)
76
Contrebasse, Piano (duo)
68
Quintette à cordes: 2 violons, alto, violoncelle, basse
63
Trio à Cordes: 2 violons, violoncelle
56
Harpe, Flûte (duo)
44
Alto (partie séparée)
41
Violon, Basson (duo)
27
Harpe, Violon (duo)
24
Trio à cordes: 3 violins
22
Violon (partie séparée)
21
Alto et Basson
21
Violon, Guitare (duo)
20
Piano Trio: Violon, Alto, Piano
19
4 Violoncelles
17
Trio à Cordes: 3 violoncelles
16
2 Contrebasses (duo)
15
Harpe, Violoncelle (duo)
15
Quatuor à cordes: 4 violons
14
Alto et Harpe
11
Trio à cordes: 3 altos
9
Violoncelle, Contrebasse (duo)
8
Violoncelle (partie séparée)
8
Quatuor à cordes : 4 altos
7
Contrebasse (partie séparée)
6
Trio à Cordes: 2 violons, alto
6
Violoncelle , Guitare (duo)
4
Ensemble de Violons
4
Flûte, Contrebasse (duo)
3
Violon, Clarinette, Piano (trio)
3
Violon, Trompette et Piano
3
Violon, Tuba (duo)
3
2 Violons, Piano
3
Violoncelle, Orgue
2
Harpe et mandoline
2
4 Harpes
2
2 Violoncelles, Piano
2
Ensemble d'Altos
2
2 Altos, Piano
2
Harpe, Voix
1
Harpe, Trombone (duo)
1
Autoharp
1
+ 52 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
444
Orchestre à Cordes
150
Cloches
117
Ensemble de cuivres
98
Orchestre
77
Ensemble Jazz
34
Orchestre de chambre
29
Marimba
13
Ensemble de Percussions
12
Xylophone
11
Jazz combo
10
2 Xylophones
6
Xylophone, Piano
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
5
Batterie
4
Vibraphone
4
Percussion (partie séparée)
4
Batterie (partie séparée)
3
Fanfare
2
Quintette à Vent
1
Xylophone ou Marimba ou Vibraphone
1
Percussion
1
Piano et Orchestre
1
Vibraphone et Marimba
1
Quintette de Cuivres: autres combinaisons
1
Quatuor à Vent : 4 instruments à vents
1
+ 21 instrumentations
Retracter
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ACCORDEON
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AUTRES INST…
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BASSE
BASSON
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COR ANGLAIS
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FLUTE A DIX…
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HAUTBOIS
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LUTH, THEOR…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
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LIVRES
LUTH
MANDOLINE
MARIMBA
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Traditional |German Melody
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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