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40040
PIANO & CLAVIERS
Piano, Voix
584
Piano seul
558
Piano Trio: piano, violon, violoncelle
342
Accompagnement Piano
266
1 Piano, 4 mains
255
Piano, Voix et Guitare
218
Piano Facile
147
Orgue
117
Piano Quatuor: piano, violon, alto, violoncelle
112
2 Pianos, 4 mains
86
Instruments en Do
58
Piano (partie séparée)
58
Orgue, Trompette (duo)
58
Piano Quintette: piano, 2 violons, alto, violoncelle
56
Orgue, Piano (duo)
53
Piano Quatuor: piano, 2 violons, violoncelle
52
1 Piano, 6 mains
16
Clavier
10
2 Pianos, 8 mains
9
Ensemble d'Accordéons
8
Accordéon
6
Tous Les Instruments
3
Clavecin
2
Orgue, Voix
1
2 Accordéons
1
Accordéon et Orchestre
1
Ensemble de Pianos
1
Accordéon, Corde(s)
1
Instrumentations suivantes
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GUITARES
Guitare
119
4 Guitares (Quatuor)
119
Guitare (partie séparée)
115
2 Guitares (duo)
111
Guitare notes et tablatures
106
Basse electrique
67
3 Guitares (trio)
62
Ensemble de guitares
41
Ukulele
41
Guitare, Violon, Violoncelle (trio)
26
Mandoline
19
Ligne De Mélodie, (Paroles) et Accords
16
3 Dulcimers (trio)
16
Piano, Guitare (duo)
13
2 Dulcimers (duo)
10
Mandoline, Guitare (duo)
10
2 Ukuleles
3
Guitare, Orchestre
3
Dulcimer
3
Guitare, Flûte, Clarinette
3
Ensemble de Ukulélés
2
2 Mandolines (duo)
2
Banjo
2
Guitare, Quatuor à cordes
1
Orchestre à Plectres
1
Guitare Pedal Steel
1
Cithare
1
Paroles et Accords
1
Mandoline, Piano (duo)
1
Instrumentations suivantes
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VOIX
Chorale SATB
1695
Chorale 3 parties
685
Chorale TTBB
449
Chorale 2 parties
278
Chorale SSAA
219
Chorale Unison
170
Voix duo
42
Voix duo, Piano
35
Chorale
11
Voix d'Enfants
7
Voix Soprano, Piano
6
Voix Tenor, Piano
5
Voix haute
5
Voix seule
4
Chorale SSAATTBB
4
Chorale SSATTB
4
Voix moyenne, Piano
3
Soli, choeur mixte et accompagnement
3
Voix Tenor
2
Chorale SSATB
2
Chorale SSAB, Piano
2
Voix, Guitare
1
Voix Soprano, Orchestre
1
Voix Soprano
1
Male Voice
1
Chorale SSAB a cappella
1
Voix Mezzo-Soprano, Piano
1
Instrumentations suivantes
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VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1377
2 Saxophones (duo)
813
Quatuor de Clarinettes: 4 clarinettes
769
Quatuor de Saxophones: 4 saxophones
749
Flûte traversière et Piano
616
Flûte, Hautbois, Clarinette, Basson
608
2 Clarinettes (duo)
506
2 Flûtes traversières (duo)
500
Hautbois, Piano (duo)
493
Clarinette et Piano
427
Quintette de Saxophone: 5 saxophones
398
Flûte, Clarinette (duo)
365
Saxophone Tenor et Piano
341
Quatuor de Flûtes : 4 flûtes
333
Saxophone (partie séparée)
328
Saxophone, Clarinette (duo)
325
Saxophone Alto et Piano
324
Clarinette, Violon (duo)
273
Flûte, Violon et Violoncelle
271
3 Clarinettes (trio)
266
Saxophone Soprano et Piano
229
Hautbois, Basson (duo)
218
Ensemble de Clarinettes
210
Quintette de Clarinettes: 5 clarinettes
208
Ensemble de Flûtes
192
Flûte et Guitare
186
Flûte, Violon
184
Clarinette, Trompette (duo)
177
Trio de Flûtes: 3 flûtes
171
Hautbois, Clarinette (duo)
170
Ensemble de saxophones
167
3 Saxophones (trio)
159
Quatuor de Flûtes à bec
148
Clarinette et Alto
141
Hautbois, Flûte
126
Flûte, Saxophone (duo)
124
Flûte, Alto (duo)
108
Quintette de Flûte : 5 flûtes
99
2 Flûte à bec (duo)
98
Clarinette
97
Flûte, Trompette (duo)
92
Flûte, Clarinette, Piano (trio)
69
2 Hautbois (duo)
68
Clarinette, Guitare (duo)
67
Clarinette, Basson (duo)
66
Flûte, Clarinette et Basson
64
Flûte, Violoncelle
60
3 Flûtes à bec (trio)
59
Flute (partie séparée)
58
Clarinette (partie séparée)
58
Flûte, Violoncelle, Piano (trio)
57
Flûte, Violon, Violoncelle et Piano
52
Saxophone Baryton, Piano
52
Flûte, Hautbois, Basson
51
Flûte, Clarinette, Violon (trio)
50
Flûte, Violon, Piano
48
2 Saxophones, Piano
46
Flûte traversière
42
Flûte, Hautbois (duo)
42
Flûte, Hautbois, Piano (trio)
41
Flute, harpe et violon
38
Flûte, Hautbois, Clarinette (trio)
37
Clarinette, Violoncelle (duo)
36
Flûte, alto et harpe
35
2 Flûtes traversières, Piano
34
Clarinette, Violoncelle, Piano (trio)
34
Hautbois, Clarinette, Basson (trio d'anches)
34
Clarinette Basse, Piano
33
Flûte, Basson et Piano
32
Flûte, trombone et piano
30
Cor anglais, Piano
30
Flûte à Bec
28
Flûte, Alto et Piano
27
2 Clarinettes, Piano
27
Hautbois, Guitare (duo)
24
Flûte à Bec, Piano
24
Clarinette, Harpe (duo)
23
Ensemble De Flûte à bec
22
2 Cors Anglais Et Pianoforte
20
Flûte à bec Alto, Piano
19
Hautbois (partie séparée)
18
Clarinette, Trombone (duo)
18
Cor anglais, Guitare (duo)
18
5 Flûtes à bec
18
Saxophone Alto
18
Saxophone et Guitare
15
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
14
Flûte à bec Tenor
13
Flûte à bec Soprano, Piano
13
Piccolo, Piano
13
Saxophone et Orgue
13
Clarinette, trompette et piano
13
Clarinette, Basson, Piano (trio)
12
Hautbois, violon (duo)
12
Flûte, Violoncelle, Guitare
12
Clarinette, Alto et Piano (trio)
11
Flûte, Trombone (duo)
11
Flûte à bec Soprano
10
Quintette de Clarinette: Clarinette, Quatuor à Cordes
10
Ensemble à vent
9
3 Hautbois
8
4 Hautbois
8
Saxophone et Piano
8
Hautbois, Harpe
8
Flûte, Harpe et Violoncelle
8
Saxophone et Harpe
7
Hautbois et alto (duo)
7
Hautbois, Violoncelle et Piano
7
Flûte traversière, Orgue (duo)
7
Flûte à bec Alto
7
Saxophone Tenor
6
Hautbois, Violon, Piano
6
Hautbois
6
Flûte traversière, Orchestre
5
Cor Anglais
5
Hautbois, Violoncelle
5
Flûte et Trio à cordes
4
Flûte, Violon, Guitare
4
2 Clarinettes, Basson
4
Hautbois, Clarinette et Piano (Trio)
4
Flûte, Clarinette, Cor, Basson (Quartet)
4
Hautbois, Basson et Piano
3
Clarinette, Tuba
3
Hautbois, trombone (duo)
2
Saxophone Soprano
2
2 Flûtes traversières, Harpe
2
Saxophone Baryton
2
Clarinette, Orgue
2
2 Flûtes à bec, Piano
2
Flûte, Hautbois, Violon
2
Flûte à bec, Guitare (duo)
2
Flûte, Tuba (duo)
2
Saxophone
2
Ensemble de Hautbois
2
Saxophone, Violon (duo)
2
Ocarina
1
Clarinette, Orchestre
1
Saxophone, Tuba (duo)
1
3 Flûtes à bec, Piano
1
Harmonica, Piano
1
Clarinette, Contrebasse (duo)
1
Flûte, Alto et Violoncelle
1
Flûte de Pan
1
Harmonica
1
Cor anglais et Harpe (duo)
1
Hautbois et Orchestre
1
Flûte irlandaise
1
Saxophone, Basson (duo)
1
Flûte à bec Soprano, Basse continue
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Piccolo
1
Flûte et Quatuor à Cordes
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1365
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1344
Quatuor de Cuivres: 2 trompettes, Cor, trombone
393
Trombone et Piano
393
Trompette, Piano
385
Trombone (partie séparée)
290
Quatuor de cuivres: 4 trombones
268
Trompette, Trombone (duo)
255
Trompette (partie séparée)
244
Trompette, Saxophone (duo)
241
Ensemble de Trombones
182
Quatuor de Cuivres
176
Cor et Piano
166
2 Trombones (duo)
150
Quatuor de cuivres: 4 cors
126
2 Trompettes (duo)
121
2 Cors (duo)
119
Ensemble de Trompettes
108
Trompette
95
Tuba et Piano
87
3 Trombones (trio)
74
Cor (partie séparée)
69
2 Tubas (duo)
65
Euphonium, Piano (duo)
58
4 Tubas
57
Trompette, Cor (duo)
52
Tuba et Orgue
51
2 Euphoniums et 2 Tubas
51
Tuba (partie séparée)
49
2 Euphoniums (duo)
46
Trio de Cuivres
45
3 Trompettes (trio)
45
Trombone
38
Trombone, Tuba (duo)
32
Cor anglais, Piano
30
Euphonium, Tuba (duo)
28
Ensemble de Cors
26
Cor
24
Quatuor de cuivres: 4 trompettes
23
2 Cors Anglais Et Pianoforte
20
Trompette, Tuba (duo)
19
Cor anglais, Guitare (duo)
18
Trombone, Orgue
16
Tuba
15
Trompette, Harpe
13
Trompette, Trombone, Piano
12
Cor, Tuba (duo)
12
Cor et Harpe
11
2 Trompettes, Clavier (piano ou orgue)
11
Trombone basse et Piano
11
3 Cors (trio)
10
Trombone, Violon (duo)
10
Quatuor de cuivres: 2 trompettes, 2 trombones
10
Euphonium
8
Trompette, Violoncelle et Piano
6
Trombone basse
6
Clarinette, Cor (duo)
6
Trombone, Cor (duo)
6
Trompette, violon (duo)
6
Cor Anglais
5
Bass Clef Instruments
5
Cor et Orgue
4
Instruments en Sib
4
3 Tubas (trio)
4
Cor, Violoncelle (duo)
4
2 Trombones, Piano
4
Trombone et orchestre
3
Trompette, Violoncelle (duo)
3
Cor, Violoncelle et Piano
3
3 Euphoniums
2
2 Cors, Piano
2
Ensemble de Tubas
2
Cor, Trompette, Trombone (trio)
2
Cornet et orchestre
2
Euphonium Ou Saxhorn Et Piano
1
Trompette, Orchestre
1
Cor anglais et Harpe (duo)
1
Cornet et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Bugle
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
5349
Violon, Violoncelle (duo)
1109
Trio à Cordes: violon, alto, violoncelle
1072
Violon et Piano
971
Violoncelle, Piano
575
Alto, Piano
543
Violon, Alto (duo)
470
Quintette à cordes: 2 violons, alto, violoncelle, basse
370
Violon
365
2 Violons (duo)
360
Harpe
256
Trio à Cordes: 2 violons, violoncelle
252
4 Violoncelles
220
2 Violoncelles (duo)
214
2 Harpes (duo)
187
2 Altos (duo)
160
Alto, Violoncelle (duo)
154
Piano Trio: Violon, Alto, Piano
114
Trio à Cordes: 3 violoncelles
106
Contrebasse (partie séparée)
101
Violon, Guitare (duo)
95
Contrebasse, Piano (duo)
84
Trio à cordes: 3 violins
82
Quatuor à cordes: 4 violons
80
Violoncelle (partie séparée)
76
Violon (partie séparée)
74
Harpe, Flûte (duo)
67
Violoncelle , Guitare (duo)
61
Trio à cordes
59
Quatuor à cordes : 4 altos
58
Violoncelle, Contrebasse (duo)
57
2 Contrebasses (duo)
56
Alto seul
54
Violoncelle
49
Harpe, Violon (duo)
48
Trio à Cordes: 2 violons, alto
43
4 Contrebasses
33
Ensemble de Violons
31
Alto (partie séparée)
31
2 Violons, Piano
29
Trio à cordes: 3 altos
27
Alto, Guitare (duo)
27
Ensemble d'Altos
23
Contre Basse
21
Harpe, Violoncelle (duo)
21
Quintette à cordes: 2 violons, 2 altos, violoncelle
19
Violon, Clarinette, Piano (trio)
18
Harpe, Voix
16
2 Violoncelles, Piano
16
Alto et Harpe
16
Ensemble de Violoncelles
16
Harpe, Violon, Violoncelle
14
Violon, Basson (duo)
14
3 Contrebasses
12
Flûte, Contrebasse (duo)
10
Violon, Orgue
8
Alto et Basson
8
3 Harpes
7
Violoncelle, Orgue
6
2 Altos, Piano
6
5 Harpes
5
Harpe et Piano
5
Violon, Trompette et Piano
5
Violon, Violoncelle, Clarinette
4
Harpe, Trombone (duo)
4
Ensemble de Contre basses
3
Alto, Orgue
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Violon, Contrebasse (duo)
1
4 Harpes
1
Violon, Tuba (duo)
1
Harpe, Quatuor à cordes
1
Violoncelle, Orchestre
1
Alto et orchestre
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2924
Orchestre à Cordes
2539
Orchestre
2214
Ensemble Jazz
1652
Ensemble de cuivres
1538
Orchestre de chambre
949
Fanfare
469
Jazz combo
466
Ensemble de Percussions
413
Batterie
142
Cloches
122
Batterie (partie séparée)
61
Percussion (partie séparée)
48
Marimba
23
Vibraphone
20
Quintette à Vent
16
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
13
Instrumentation Flexible
10
Ensemble d'École
8
Vibraphone et Marimba
7
Big band
6
3 Marimbas
5
Percussion
4
Xylophone, Piano
4
Piano et Orchestre
3
Vibraphone (partie séparée)
2
Xylophone
2
Orchestre, Violon
2
2 Marimbas
2
Trio à Vent: 3 instruments à vents
2
Batterie-Fanfare
1
3 Percussions
1
Quintette de Cuivres: autres combinaisons
1
Vibraphone, Piano
1
Timbales
1
2 Caisses Claires (duo)
1
Marimba ou Xylophone et Piano
1
Marimba, Piano (duo)
1
Instrumentations suivantes
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AUTRES
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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)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano et Orchestre
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Helios D'Andrea
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
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D'Andrea Helios
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SheetMusicPlus
Tribute to Chopin (Omaggio a Chopin) for piano and orchestra
Piano et Orchestre
Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508…
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Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508 Composed by Helios D'Andrea. 20th Century,Contemporary. Score and parts. 5 pages. D'Andrea Helios #4846343. Published by D'Andrea Helios (A0.981508). Nice music composed for piano and orchestra
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13.74 €
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Piano et Orchestre
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Helios D'Andrea
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Tribute to Chopin
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D'Andrea Helios
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