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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
Trio
Non classifié
15 559
Piano & claviers
Piano seul
2 909
Piano, Voix
2 301
Piano Trio: piano, violon, violoncelle
2 181
Piano Facile
919
Piano, Voix et Guitare
637
Accompagnement Piano
610
Orgue
348
Instruments en Do
212
1 Piano, 4 mains
141
1 Piano, 6 mains
138
Piano grosses notes
109
Accordéon
104
Piano Quatuor: piano, violon, alto, violoncelle
66
Piano Quatuor: piano, 2 violons, violoncelle
42
2 Pianos, 4 mains
25
Piano (partie séparée)
20
Orgue, Piano (duo)
14
Orgue, Trompette (duo)
9
Instrument seul et Orgue
9
2 Pianos, 8 mains
8
Ligne De Mélodie, Piano
7
2 Accordéons
5
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Ensemble d'Accordéons
3
Clavecin
2
Fake Book
2
Accordéon, Voix
2
Piano Trio: Instruments de chambre mixtes
2
3 Pianos
2
2 Orgues (duo)
2
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
+ 26 instrumentations
Retracter
Guitares
3 Guitares (trio)
521
Guitare notes et tablatures
332
Guitare
250
Ligne De Mélodie, (Paroles) et Accords
179
Ukulele
139
2 Guitares (duo)
59
Paroles et Accords
38
Guitare, Violon, Violoncelle (trio)
32
Basse electrique
26
3 Dulcimers (trio)
21
Banjo
21
Dulcimer
15
Piano, Guitare (duo)
13
Mandoline
12
Guitare (partie séparée)
6
4 Guitares (Quatuor)
5
Ensemble de guitares
5
Basse électrique (partie séparée)
4
Ensemble de Ukulélés
3
2 Ukuleles
3
Guitare, Flûte, Clarinette
2
Dobro
2
Ukulele Baryton
2
Guitare Pedal Steel
2
Bouzouki
1
Mandoline, Guitare (duo)
1
2 Guitares, Clarinette (trio)
1
2 Mandolines (duo)
1
2 Dulcimers (duo)
1
+ 24 instrumentations
Retracter
Voix
Chorale SATB
937
Chorale 3 parties
828
Pack Instrumental pour Chorale
400
Chorale 2 parties
287
Chorale TTBB
224
Chorale Unison
100
Chorale SSAA
87
Voix duo, Piano
70
Chorale
67
Voix seule
65
Voix duo
51
Voix Soprano, Piano
22
Voix Baryton, Piano
10
Voix Tenor, Piano
8
Voix Alto, Piano
7
Voix basse, Piano
6
Voix haute
6
Chorale SSATB
3
Voix moyenne, Piano
2
Voix Soprano
1
Chorale SSAATTBB
1
Soli, choeur mixte et accompagnement
1
Chorale SSATTB
1
Voix basse
1
Chorale SSAB, Piano
1
+ 20 instrumentations
Retracter
Vents
3 Saxophones (trio)
2 554
3 Clarinettes (trio)
2 452
Trio de Flûtes: 3 flûtes
1 926
Flûte, Hautbois, Clarinette (trio)
694
Flûte, Clarinette et Basson
671
Hautbois, Clarinette, Basson (trio d'anches)
502
3 Flûtes à bec (trio)
501
Flûte, Hautbois, Basson
490
Flûte traversière et Piano
411
Hautbois, Piano (duo)
387
Flûte traversière
386
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
384
Quatuor de Saxophones: 4 saxophones
336
Saxophone (partie séparée)
306
Flûte, Violoncelle, Piano (trio)
294
2 Flûtes traversières (duo)
289
Flûte, Clarinette, Piano (trio)
288
Saxophone Alto et Piano
278
Flûte, Hautbois, Clarinette, Basson
274
Clarinette
257
Clarinette et Piano
232
3 Hautbois
232
Clarinette (partie séparée)
226
2 Clarinettes (duo)
218
2 Saxophones (duo)
217
Flûte, Violon, Piano
210
Saxophone Tenor et Piano
201
Quatuor de Clarinettes: 4 clarinettes
190
Quintette de Saxophone: 5 saxophones
139
Clarinette, Violoncelle, Piano (trio)
132
Flute (partie séparée)
131
Flûte, Hautbois, Piano (trio)
130
Saxophone Alto
129
Saxophone Soprano et Piano
120
Hautbois (partie séparée)
119
Flûte, Clarinette, Violon (trio)
113
Flûte, Clarinette (duo)
112
2 Flûtes traversières, Piano
107
Saxophone Tenor
104
Flûte, Violon et Violoncelle
99
Quatuor de Flûtes : 4 flûtes
97
2 Clarinettes, Basson
96
Flûte, Basson et Piano
84
Ensemble de Clarinettes
76
Clarinette, Basson, Piano (trio)
76
Flûte, Alto et Piano
51
2 Hautbois (duo)
50
2 Clarinettes, Piano
48
Clarinette, Alto et Piano (trio)
45
Quintette de Clarinettes: 5 clarinettes
44
Hautbois
38
Ensemble de Flûtes
38
Ensemble de saxophones
36
Flûte, Violon
35
Flûte, trombone et piano
33
Ensemble De Flûte à bec
29
Clarinette, Violon (duo)
28
Hautbois, Basson (duo)
27
2 Flûte à bec (duo)
25
Flûte et Guitare
25
Flûte, alto et harpe
25
Clarinette, trompette et piano
25
Clarinette, Basson (duo)
23
Ocarina
22
Saxophone Baryton, Piano
22
Flûte à Bec
21
Flûte et Trio à cordes
21
Hautbois, Clarinette (duo)
20
Flûte, Violoncelle
18
Clarinette Basse, Piano
16
Hautbois, Clarinette et Piano (Trio)
16
Saxophone Soprano
15
Hautbois, Violoncelle et Piano
14
Saxophone
13
Instruments en Mib
12
Clarinette, Guitare (duo)
12
Cor anglais, Piano
12
Quintette de Flûte : 5 flûtes
12
Hautbois, Flûte
12
Hautbois, Basson et Piano
11
Cor Anglais
11
Flûte à bec Soprano
11
Flûte, Trombone (duo)
10
Hautbois, Violon, Piano
10
Flûte, Alto et Violoncelle
10
Flûte, Violoncelle, Guitare
9
Quatuor de Flûtes à bec
9
Flûte à bec Tenor
9
2 Saxophones, Piano
9
Flûte, Hautbois, Violon
9
Flûte, Hautbois (duo)
9
Harmonica
9
2 Hautbois et Basson
8
Flûte, Violon, Guitare
8
Clarinette Basse
7
Clarinette, Violoncelle (duo)
7
4 Hautbois
7
Saxophone et Guitare
6
Flute, harpe et violon
6
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
6
Flûte, Violon, Violoncelle et Piano
5
2 Hautbois et Cor anglais
5
Flûte à bec Soprano, Piano
5
Hautbois, Violoncelle
5
2 Flûtes, Basse continue
5
Saxophone, Clarinette (duo)
4
Flûte irlandaise
4
Saxophone Baryton
4
Clarinette, Harpe (duo)
4
2 Flûtes à bec, Piano
4
5 Flûtes à bec
4
Flûte, Clarinette, Cor, Basson (Quartet)
3
Hautbois, Trompette (duo)
3
Hautbois et alto (duo)
3
Flûte, Trompette (duo)
3
Hautbois, violon (duo)
3
Clarinette, Trombone (duo)
3
Saxophone et Harpe
3
Piccolo, Piano
2
2 Hautbois, Piano
2
Saxophone, Violon (duo)
2
Hautbois, Harpe
2
Flûte, Alto (duo)
2
Flûte à bec Alto
2
Flûte traversière, Basse continue
2
Flûte, Saxophone (duo)
2
Clarinette, Trompette (duo)
2
Piccolo
2
Clarinette et Alto
2
Flute, Cor (duo)
1
Flûte de Pan
1
Clarinette, Contrebasse (duo)
1
Hautbois, trombone (duo)
1
Hautbois, Guitare (duo)
1
Flûte, Tuba (duo)
1
Flûte, Harpe et Violoncelle
1
Flûte à bec Alto, Piano
1
Cor anglais, Guitare (duo)
1
Harmonica, Piano
1
Ensemble de Hautbois
1
Flûte à Bec, Piano
1
Clarinette, Tuba
1
Clarinette, Orgue
1
Cornemuse
1
Clarinette, Saxophone, Piano
1
2 Cors Anglais Et Pianoforte
1
Flûte à bec Alto, Basse continue
1
+ 142 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
898
Trio de Cuivres
628
3 Trombones (trio)
486
3 Trompettes (trio)
401
Quatuor de Cuivres: 2 trompettes, Cor, trombone
358
Trompette
346
Quatuor de Cuivres : 2 trompettes, trombone, tuba
292
Trombone et Piano
281
Trompette, Piano
276
Trompette (partie séparée)
214
Trombone (partie séparée)
163
Trombone
128
Cor
113
3 Cors (trio)
107
Cor et Piano
102
Trompette, Trombone (duo)
97
Cor (partie séparée)
95
2 Trompettes (duo)
82
Quatuor de Cuivres
68
Quatuor de cuivres: 4 trombones
53
2 Trombones (duo)
52
Tuba (partie séparée)
47
Quatuor de cuivres: 4 cors
41
Trompette, Violoncelle et Piano
41
Ensemble de Trompettes
40
2 Cors (duo)
35
Tuba
34
3 Tubas (trio)
31
2 Trompettes, Clavier (piano ou orgue)
30
Bass Clef Instruments
28
Tuba et Piano
26
Trombone basse
22
Cor, Trompette, Trombone (trio)
20
Ensemble de Trombones
19
Trompette, Cor (duo)
18
2 Euphoniums et 2 Tubas
17
Instruments en Sib
16
Trompette, Trombone, Piano
13
Euphonium
13
Euphonium, Tuba (duo)
13
Cor anglais, Piano
12
Cor Anglais
11
Euphonium, Piano (duo)
11
Quatuor de cuivres: 4 trompettes
11
Ensemble de Cors
10
4 Tubas
10
Cornet A Pistons
9
3 Euphoniums
8
Tuba ou Euphonium ou Saxhorn
8
2 Tubas (duo)
8
Trompette, Saxophone (duo)
7
Instruments en Fa
7
Cor, Violoncelle et Piano
5
Trombone, Cor (duo)
5
Tuba et Orgue
4
Trombone, violoncelle (duo)
4
Cor, Violoncelle (duo)
3
Ensemble de Tubas
3
Quatuor de cuivres: 2 trompettes, 2 trombones
3
Trompette, Tuba (duo)
3
2 Euphoniums (duo)
2
Trompette, violon (duo)
2
Cor et Orgue
2
Trombone, Violon (duo)
2
Trombone basse et Piano
2
Bugle
2
2 Trombones, Piano
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Cor et Harpe
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Cor anglais, Guitare (duo)
1
Trombone, Tuba (duo)
1
2 Cors Anglais Et Pianoforte
1
+ 68 instrumentations
Retracter
Cordes
Trio à Cordes: violon, alto, violoncelle
4 559
Trio à Cordes: 2 violons, violoncelle
1 777
Quatuor à cordes: 2 violons, alto, violoncelle
1 282
Trio à cordes: 3 violins
1 014
Piano Trio: Violon, Alto, Piano
799
Trio à cordes
772
Trio à Cordes: 3 violoncelles
709
Violon et Piano
617
Violon
444
Trio à Cordes: 2 violons, alto
367
Trio à cordes: 3 altos
356
Violoncelle
334
Alto, Piano
333
Violoncelle, Piano
308
Violon, Violoncelle (duo)
199
Alto seul
190
2 Violons, Piano
188
2 Violons (duo)
181
Violon (partie séparée)
149
Harpe
127
2 Violoncelles (duo)
107
Violon, Clarinette, Piano (trio)
101
Violon, Alto (duo)
77
Alto (partie séparée)
77
2 Violoncelles, Piano
69
2 Altos (duo)
65
Quintette à cordes: 2 violons, alto, violoncelle, basse
65
Violoncelle (partie séparée)
56
Contre Basse
52
Contrebasse (partie séparée)
49
2 Altos, Piano
48
Harpe, Flûte (duo)
42
3 Contrebasses
40
Contrebasse, Piano (duo)
34
Alto, Violoncelle (duo)
32
4 Violoncelles
31
2 Violons et Basse continue
27
2 Harpes (duo)
25
3 Harpes
17
Harpe, Violon, Violoncelle
13
Violon, Trompette et Piano
12
Violon, Guitare (duo)
11
Violon, Violoncelle, Clarinette
9
Quatuor à cordes: 4 violons
9
Alto, Guitare (duo)
8
Harpe, Violon (duo)
7
Violoncelle , Guitare (duo)
7
Alto et Basson
6
Violoncelle, Contrebasse (duo)
5
Ensemble de Violons
4
Ensemble d'Altos
4
Violon, Basson (duo)
4
2 Contrebasses (duo)
4
Harpe (partie séparée)
3
Quatuor à cordes : 4 altos
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Ensemble de Violoncelles
3
Violoncelle, Basse continue
2
Harpe, Violoncelle (duo)
1
Flûte, Contrebasse (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Harpe, Voix
1
Harpe, Trombone (duo)
1
+ 58 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 680
Orchestre
719
Ensemble de cuivres
580
Orchestre à Cordes
475
Ensemble Jazz
169
Fanfare
167
Cloches
124
Percussion (partie séparée)
113
Orchestre de chambre
104
Jazz combo
95
Percussion
64
Ensemble de Percussions
58
Vibraphone (partie séparée)
48
Timbales (partie séparée)
27
Batterie
19
Trio à Vent: 3 instruments à vents
15
Xylophone
11
3 Percussions
11
Timbales
10
Marimba
6
Batterie (partie séparée)
5
Quintette à Vent
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Quatuor à Vent : 4 instruments à vents
3
Quintette de Cuivres: autres combinaisons
3
Piano et Orchestre
3
Caisse Claire
2
Instrumentation Flexible
2
Vibraphone et Marimba
1
3 Marimbas
1
Vibraphone
1
Ensemble d'École
1
+ 27 instrumentations
Retracter
Autres
Formation musicale - Solfège
4
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Instruments
ACCORDEON
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BANJO
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CLAIRON
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CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
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FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
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LUTH, THEOR…
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PIANO
SAXOPHONE
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TROMPETTE
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VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
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VIOLONCELLE
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
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JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
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Trio
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1
God Bless America ®
Piano et Orchestre
By Celine Dion. By Irving Berlin. Arranged by Alex Nunes Rodrigues. Patriotic. Score …
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By Celine Dion. By Irving Berlin. Arranged by Alex Nunes Rodrigues. Patriotic. Score (Chords/Lyrics). 2 pages. Alex Rodrigues #835237. Published by Alex Rodrigues
$1.99
1.83 €
#
Piano et Orchestre
#
Celine Dion
#
Alex Nunes Rodrigues
#
God Bless America ®
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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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Gyorgy Ligeti (1923-2006)
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