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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
Various
Non classifié
5 151
Piano & claviers
Piano seul
2 009
Piano Facile
696
Piano, Voix
621
Instruments en Do
384
Piano, Voix et Guitare
359
Orgue
257
1 Piano, 4 mains
74
Accompagnement Piano
67
Piano Trio: piano, violon, violoncelle
58
2 Pianos, 4 mains
17
Accordéon
15
Piano Quintette: piano, 2 violons, alto, violoncelle
7
Piano Quatuor: piano, 2 violons, violoncelle
7
Piano Quatuor: piano, violon, alto, violoncelle
7
Piano grosses notes
6
Orgue, Piano (duo)
6
Piano (partie séparée)
5
Orgue, Trompette (duo)
4
Clavecin
3
1 Piano, 6 mains
2
Instrument seul et Orgue
1
+ 16 instrumentations
Retracter
Guitares
Basse electrique
313
Guitare
277
Guitare notes et tablatures
166
Ukulele
90
4 Guitares (Quatuor)
57
Ligne De Mélodie, (Paroles) et Accords
44
2 Guitares (duo)
32
3 Guitares (trio)
23
Dulcimer
22
Mandoline
15
Guitare (partie séparée)
12
Paroles et Accords
10
Ukulele Baryton
8
Banjo
8
Piano, Guitare (duo)
6
Ensemble de guitares
3
2 Ukuleles
3
Mandoline, Guitare (duo)
1
2 Dulcimers (duo)
1
Guitare Pedal Steel
1
Mandoline, Piano (duo)
1
+ 16 instrumentations
Retracter
Voix
Chorale SATB
485
Chorale 2 parties
295
Chorale 3 parties
200
Voix duo, Piano
146
Chorale Unison
121
Chorale TTBB
100
Chorale
52
Chorale SSAA
51
Voix duo
45
Voix Soprano, Piano
35
Voix Tenor, Piano
32
Voix Baryton, Piano
31
Voix Alto, Piano
28
Voix, Guitare
10
Voix haute
9
Voix seule
8
Pack Instrumental pour Chorale
8
Voix moyenne, Piano
5
Chorale SSAATTBB
5
Voix basse
4
Voix Mezzo-Soprano, Piano
2
Chorale SSATTB
1
+ 17 instrumentations
Retracter
Vents
2 Saxophones (duo)
389
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
340
Quatuor de Saxophones: 4 saxophones
306
Flûte traversière et Piano
283
Clarinette et Piano
260
Quintette de Saxophone: 5 saxophones
228
Flûte, Hautbois, Clarinette, Basson
228
Hautbois, Piano (duo)
224
2 Flûtes traversières (duo)
194
Saxophone Alto et Piano
186
2 Clarinettes (duo)
179
Flûte traversière
175
Clarinette
164
Quatuor de Clarinettes: 4 clarinettes
154
Saxophone Tenor et Piano
128
Saxophone Alto
105
Saxophone Soprano et Piano
98
Quatuor de Flûtes : 4 flûtes
85
Flûte, Clarinette (duo)
83
3 Saxophones (trio)
77
Ensemble de saxophones
76
Saxophone Baryton, Piano
75
Saxophone (partie séparée)
73
Hautbois
72
2 Hautbois (duo)
70
Saxophone Tenor
66
3 Clarinettes (trio)
60
Ensemble de Clarinettes
59
Hautbois, Basson (duo)
58
Saxophone, Clarinette (duo)
50
Clarinette, Violon (duo)
49
Hautbois (partie séparée)
47
2 Flûtes traversières, Piano
42
Ensemble de Flûtes
41
Trio de Flûtes: 3 flûtes
41
Flûte et Guitare
39
Hautbois, Clarinette (duo)
38
2 Flûte à bec (duo)
37
Quintette de Clarinettes: 5 clarinettes
36
Clarinette, Basson (duo)
36
Cor anglais, Piano
33
Flûte, Hautbois, Clarinette (trio)
30
Flûte, Trompette (duo)
30
Saxophone Soprano
30
Ensemble De Flûte à bec
29
Saxophone Baryton
27
Flûte, Violon
22
Clarinette, Trompette (duo)
22
Quatuor de Flûtes à bec
22
Hautbois, Clarinette, Basson (trio d'anches)
21
Clarinette et Alto
20
Flûte à Bec
20
Clarinette Basse, Piano
19
Flûte à bec Soprano
19
Flûte, Violoncelle
18
Quintette de Flûte : 5 flûtes
17
2 Saxophones, Piano
16
Hautbois, Flûte
15
Clarinette, Harpe (duo)
14
Flûte, Alto (duo)
14
Flûte, Clarinette et Basson
12
Flûte, Saxophone (duo)
11
Flûte, Hautbois (duo)
10
Clarinette, Violoncelle (duo)
9
Flûte, Clarinette, Piano (trio)
9
3 Flûtes à bec (trio)
9
Clarinette, Guitare (duo)
9
Flûte à bec Tenor
8
Flûte, Violoncelle, Piano (trio)
8
Flûte à bec Alto
8
Instruments en Mib
8
Hautbois, Violoncelle
7
5 Flûtes à bec
7
Flûte à bec Soprano, Piano
6
Ensemble de Hautbois
6
Flûte, Violon, Piano
6
2 Clarinettes, Piano
6
Flûte, Harpe et Violoncelle
6
Flûte, Trombone (duo)
5
Flûte à bec Alto, Piano
5
Flute (partie séparée)
5
4 Hautbois
5
Clarinette, Violoncelle, Piano (trio)
4
Flûte, Basson et Piano
4
Clarinette (partie séparée)
4
Ocarina
4
Flûte, Hautbois, Violon
4
Cor anglais, Guitare (duo)
4
Saxophone et Guitare
4
Flute, harpe et violon
3
Saxophone et Harpe
3
Flute, Cor (duo)
3
Cor Anglais
3
Flûte, Violon et Violoncelle
3
Saxophone et Orgue
3
Flûte, Clarinette, Violon (trio)
3
Clarinette, Alto et Piano (trio)
2
Clarinette, Trombone (duo)
2
Harmonica
2
Flûte, Violon, Violoncelle et Piano
2
2 Flûtes traversières, Harpe
2
Piccolo, Piano
2
Clarinette, Basson, Piano (trio)
2
Ensemble à vent
2
Hautbois, Harpe
2
Saxophone et Piano
2
2 Cors Anglais Et Pianoforte
2
Flûte, Violoncelle, Guitare
2
Clarinette Basse
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Piccolo
1
Saxophone, Violon (duo)
1
Flûte, Hautbois, Basson
1
2 Hautbois et Cor anglais
1
Flûte à bec, Guitare (duo)
1
Hautbois, Basson et Piano
1
Flûte, Hautbois, Piano (trio)
1
Hautbois, Guitare (duo)
1
Flûte, Tuba (duo)
1
3 Hautbois
1
Flûte à bec, Harpe
1
Saxophone, Basson (duo)
1
Cornemuse
1
Saxophone
1
Hautbois, Violon, Piano
1
2 Hautbois et Basson
1
Hautbois, Trompette (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois, trombone (duo)
1
Saxophone et violoncelle
1
Flûte irlandaise
1
Hautbois, Violoncelle et Piano
1
+ 127 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
434
Trompette, Piano
213
Trompette
173
Trombone et Piano
173
Quatuor de Cuivres : 2 trompettes, trombone, tuba
153
Quatuor de Cuivres: 2 trompettes, Cor, trombone
147
Cor et Piano
123
Trombone
112
2 Trompettes (duo)
109
Cor
99
2 Trombones (duo)
98
Tuba et Piano
98
Tuba
86
2 Cors (duo)
84
Trompette, Trombone (duo)
68
Quatuor de Cuivres
50
Ensemble de Trompettes
44
Quatuor de cuivres: 4 trombones
43
Trio de Cuivres
37
Trompette, Saxophone (duo)
35
Quatuor de cuivres: 4 cors
34
4 Tubas
34
Cor anglais, Piano
33
2 Tubas (duo)
32
2 Euphoniums et 2 Tubas
31
Trombone (partie séparée)
30
Euphonium, Piano (duo)
27
Ensemble de Trombones
25
Trompette (partie séparée)
22
3 Trompettes (trio)
20
3 Trombones (trio)
20
Quatuor de cuivres: 4 trompettes
19
Trompette, Cor (duo)
18
3 Cors (trio)
17
2 Trompettes, Clavier (piano ou orgue)
16
Trompette, Trombone, Piano
12
Ensemble de Cors
11
Instruments en Sib
9
Instruments en Fa
7
Bass Clef Instruments
7
Euphonium, Tuba (duo)
6
2 Euphoniums (duo)
6
Cor, Violoncelle (duo)
5
Trombone, Cor (duo)
5
Cor (partie séparée)
5
Tuba (partie séparée)
5
3 Tubas (trio)
4
Cor anglais, Guitare (duo)
4
Euphonium
4
Trompette et Guitare
4
Trompette, violon (duo)
3
Tuba et Orgue
3
Cor Anglais
3
Cor et Harpe
3
Cor, Tuba (duo)
3
Trombone basse
3
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trompette, Violoncelle et Piano
2
Clarinette, Cor (duo)
2
2 Trombones, Piano
2
Cor et Basson (duo)
2
Trombone, Tuba (duo)
2
2 Cors Anglais Et Pianoforte
2
Trompette, Violoncelle (duo)
2
Trompette, Basson (duo)
2
3 Euphoniums
2
Trombone, Orgue
2
Cor et Orgue
1
Trombone basse et Piano
1
Cor, Trompette, Trombone (trio)
1
Trompette, Harpe
1
Trombone, Violon (duo)
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Trombone, Alto (duo)
1
+ 69 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
609
Violon et Piano
350
Violon
269
Violoncelle, Piano
243
Violoncelle
187
Alto, Piano
178
Violon, Violoncelle (duo)
140
Alto seul
138
2 Violons (duo)
130
Quintette à cordes: 2 violons, alto, violoncelle, basse
123
2 Violoncelles (duo)
104
Harpe
99
Violon, Alto (duo)
97
Trio à Cordes: violon, alto, violoncelle
93
Contrebasse, Piano (duo)
92
Contre Basse
83
2 Altos (duo)
79
2 Harpes (duo)
49
Trio à Cordes: 2 violons, violoncelle
39
Alto, Violoncelle (duo)
33
Violon, Guitare (duo)
27
Trio à cordes: 3 violins
24
2 Contrebasses (duo)
22
Alto (partie séparée)
21
Quatuor à cordes: 4 violons
19
2 Violons, Piano
16
Harpe, Violon (duo)
16
Piano Trio: Violon, Alto, Piano
14
Violon (partie séparée)
13
Violoncelle , Guitare (duo)
11
2 Violoncelles, Piano
11
Harpe, Flûte (duo)
10
Alto, Guitare (duo)
9
Trio à Cordes: 3 violoncelles
8
Trio à cordes: 3 altos
7
Contrebasse (partie séparée)
7
4 Violoncelles
7
Trio à cordes
6
Violon, Basson (duo)
6
Quatuor à cordes : 4 altos
5
Trio à Cordes: 2 violons, alto
5
Ensemble d'Altos
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Ensemble de Violons
5
4 Contrebasses
4
Alto et Basson
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
2 Altos, Piano
3
Alto et Harpe
2
Violoncelle (partie séparée)
2
Harpe, Violoncelle (duo)
2
Alto et orchestre
1
Harpe et Piano
1
Violoncelle, Orgue
1
Ensemble de Violoncelles
1
Autoharp
1
Violon, Orgue
1
Violoncelle, Contrebasse (duo)
1
Flûte, Contrebasse (duo)
1
Violon, Clarinette, Piano (trio)
1
+ 55 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
629
Orchestre
263
Orchestre à Cordes
185
Cloches
179
Ensemble Jazz
125
Ensemble de cuivres
119
Orchestre de chambre
94
Jazz combo
76
Ensemble de Percussions
25
Batterie
24
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
20
Fanfare
19
Marimba
11
Big band
8
2 Xylophones
6
Batterie (partie séparée)
5
Percussion
4
Vibraphone
4
Xylophone
3
Percussion (partie séparée)
3
Orchestre, Violon
3
Instrumentation Flexible
3
Quintette à Vent
3
Xylophone, Piano
2
Caisse Claire
1
Bodhran
1
Quintette de Cuivres: autres combinaisons
1
Voix et Orchestre
1
Quatuor à Vent : 4 instruments à vents
1
Piano et Orchestre
1
Ensemble d'École
1
Timbales (partie séparée)
1
+ 27 instrumentations
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Autres
Formation musicale - Solfège
8
Théorie de la musique
1
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Instruments
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CLARINETTE
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CONTREBASSE
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COR ANGLAIS
CORNEMUSE
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FLUTE
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FLUTE A DIX…
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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…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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SAXOPHONE
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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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