English version
Parcourir Free-scores.com
--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
harm
Sheetmusicplus
Non classifié
8 698
Piano & claviers
Piano seul
4 671
Piano, Voix
1 864
Piano Facile
1 454
Orgue
988
Piano, Voix et Guitare
316
Instruments en Do
279
Accompagnement Piano
198
1 Piano, 4 mains
135
Piano Trio: piano, violon, violoncelle
100
Orgue, Trompette (duo)
98
2 Pianos, 4 mains
53
Piano Quatuor: piano, violon, alto, violoncelle
50
Accordéon
31
Piano (partie séparée)
28
Clavecin
24
Piano Quintette: piano, 2 violons, alto, violoncelle
15
Orgue, Piano (duo)
13
2 Accordéons
11
Piano Quatuor: piano, 2 violons, violoncelle
10
Piano grosses notes
3
1 Piano, 6 mains
2
2 Pianos, 8 mains
1
2 Orgues (duo)
1
Fake Book
1
Clavier
1
Accordéon, Corde(s)
1
+ 21 instrumentations
Retracter
Guitares
Guitare notes et tablatures
813
Guitare
477
Basse electrique
256
Piano, Guitare (duo)
87
Ligne De Mélodie, (Paroles) et Accords
55
2 Guitares (duo)
54
Guitare (partie séparée)
51
Ukulele
41
Paroles et Accords
23
Mandoline
20
4 Guitares (Quatuor)
18
3 Guitares (trio)
10
Dulcimer
10
Banjo
8
2 Dulcimers (duo)
4
2 Ukuleles
3
Guitare Pedal Steel
2
Ensemble de guitares
2
Ukulele Baryton
1
Guitare, Violon, Violoncelle (trio)
1
Guitare, Orchestre
1
+ 16 instrumentations
Retracter
Voix
Chorale SATB
4 150
Chorale 3 parties
1 454
Chorale TTBB
1 114
Chorale 2 parties
1 105
Chorale SSAA
798
Chorale Unison
356
Voix duo, Piano
186
Voix duo
108
Voix Soprano, Piano
90
Voix Alto, Piano
62
Voix Tenor, Piano
59
Voix Baryton, Piano
33
Voix seule
32
Voix haute
31
Chorale SSAATTBB
20
Voix basse, Piano
17
Voix moyenne, Piano
15
Chorale
14
Chorale SSATB
14
Pack Instrumental pour Chorale
8
Voix Mezzo-Soprano, Piano
6
Voix Soprano
5
Chorale SSAB, Piano
4
Voix Tenor
3
Soli, choeur mixte et accompagnement
3
Chorale SATBB
3
Chorale SSATTB
2
Chorale SAATB A Cappella
2
Voix, Guitare
1
Chorale SSAATB
1
Chorale SSAB a cappella
1
+ 26 instrumentations
Retracter
Vents
Flûte traversière et Piano
716
Harmonica
712
Clarinette et Piano
644
Quatuor de Saxophones: 4 saxophones
581
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
541
Flûte, Hautbois, Clarinette, Basson
495
Hautbois, Piano (duo)
463
2 Saxophones (duo)
386
Saxophone Alto et Piano
330
2 Flûtes traversières (duo)
325
Quintette de Saxophone: 5 saxophones
301
Quatuor de Clarinettes: 4 clarinettes
269
Clarinette
267
Flûte traversière
264
Saxophone Tenor et Piano
245
Saxophone (partie séparée)
232
Quatuor de Flûtes : 4 flûtes
222
2 Clarinettes (duo)
205
Saxophone Soprano et Piano
196
Saxophone Alto
172
3 Clarinettes (trio)
133
3 Saxophones (trio)
129
Saxophone Tenor
127
Saxophone Baryton, Piano
126
Hautbois
109
2 Hautbois (duo)
107
Trio de Flûtes: 3 flûtes
106
Hautbois (partie séparée)
104
Clarinette, Harpe (duo)
100
Flûte, Clarinette (duo)
97
Ensemble de Clarinettes
95
Hautbois, Basson (duo)
88
2 Flûte à bec (duo)
88
Quintette de Clarinettes: 5 clarinettes
75
Hautbois, Clarinette (duo)
70
Flûte, Violoncelle
62
Flûte, Clarinette et Basson
59
Quintette de Flûte : 5 flûtes
58
Saxophone Soprano
58
Clarinette, Basson (duo)
54
Hautbois, Violoncelle
53
Ensemble de Flûtes
51
Flûte et Guitare
51
Cor anglais, Piano
51
Ensemble de saxophones
51
Clarinette, Violon (duo)
47
Clarinette, Violoncelle (duo)
46
Harmonica, Piano
45
Flûte, Violon
44
Saxophone Baryton
43
Flûte, Hautbois, Basson
39
Flûte, Hautbois, Clarinette (trio)
38
Flûte, Alto (duo)
34
Clarinette (partie séparée)
34
Flûte, Hautbois (duo)
34
Flûte, Violon, Piano
31
Hautbois, Clarinette, Basson (trio d'anches)
27
Flûte à Bec
27
Clarinette Basse, Piano
27
Quatuor de Flûtes à bec
27
Clarinette et Alto
27
Flute (partie séparée)
26
Hautbois et alto (duo)
25
Flûte à bec Soprano
24
Hautbois, violon (duo)
24
Flûte, Trombone (duo)
21
Clarinette, Guitare (duo)
20
Saxophone, Clarinette (duo)
19
Flûte, Clarinette, Piano (trio)
17
Flûte, Hautbois, Piano (trio)
15
Flûte à bec Alto
14
Clarinette, Trompette (duo)
13
Hautbois, Flûte
12
Cor Anglais
12
Flûte, Trompette (duo)
11
5 Flûtes à bec
11
Flûte, Violoncelle, Piano (trio)
11
2 Flûtes traversières, Piano
10
Flûte, Basson et Piano
10
Flûte, Alto et Piano
10
2 Clarinettes, Piano
9
Flûte traversière, Orgue (duo)
9
Flûte à bec Tenor
9
Clarinette, Trombone (duo)
9
Clarinette, Violoncelle, Piano (trio)
8
2 Saxophones, Piano
8
3 Flûtes à bec (trio)
8
Ensemble De Flûte à bec
8
Ensemble à vent
7
Flûte, Saxophone (duo)
7
Hautbois, Violon, Piano
7
Clarinette, Basson, Piano (trio)
7
Cor anglais, Guitare (duo)
7
Flûte et Trio à cordes
6
Flute, harpe et violon
6
Flûte à bec Alto, Piano
6
Clarinette, Contrebasse (duo)
5
Saxophone
5
Saxophone et Guitare
5
Flûte, Tuba (duo)
5
Piccolo, Piano
5
Clarinette, Tuba
5
Hautbois, trombone (duo)
5
Hautbois, Clarinette et Piano (Trio)
5
Flûte, Violon et Violoncelle
4
Flûte, Clarinette, Cor, Basson (Quartet)
4
Ocarina
4
Clarinette, Alto et Piano (trio)
4
Hautbois, Violoncelle et Piano
4
2 Clarinettes, Basson
4
Clarinette Basse
4
Hautbois, Basson et Piano
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
4
Hautbois, Guitare (duo)
3
Flûte, Harpe et Violoncelle
2
Flute, Cor (duo)
2
2 Hautbois, Piano
2
2 Flûtes, 2 Clarinettes (Quatuor)
2
Flûte à Bec, Piano
2
Flûte, trombone et piano
2
3 Hautbois
2
4 Hautbois
2
Flûte à bec Soprano, Piano
2
Saxophone et Harpe
2
Melodica
1
Hautbois, Trompette (duo)
1
Cor anglais et Harpe (duo)
1
Flûte, Clarinette, Violon (trio)
1
Clarinette, Saxophone, Piano
1
Piccolo
1
2 Cors Anglais Et Pianoforte
1
Saxophone et Orgue
1
Flûte irlandaise
1
2 Flûtes à bec, Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, Harpe
1
Flûte traversière, Basse continue
1
Flûte, Violon, Violoncelle et Piano
1
Saxophone et Piano
1
Saxophone, Tuba (duo)
1
Flûte à bec Alto, Basse continue
1
Clarinette, Orgue
1
+ 137 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
566
Trombone et Piano
370
Trompette, Piano
368
Cor et Piano
311
Trompette
272
Quatuor de Cuivres : 2 trompettes, trombone, tuba
265
Trombone
214
Tuba et Piano
193
Cor
182
Tuba
173
Trombone (partie séparée)
163
2 Trompettes (duo)
133
Quatuor de Cuivres: 2 trompettes, Cor, trombone
132
2 Trombones (duo)
130
Trompette (partie séparée)
125
2 Cors (duo)
98
Quatuor de Cuivres
98
Trompette, Trombone (duo)
88
Euphonium, Piano (duo)
80
Quatuor de cuivres: 4 trombones
59
2 Tubas (duo)
52
Cor anglais, Piano
51
Trompette, Cor (duo)
39
Cor (partie séparée)
33
Tuba (partie séparée)
29
Quatuor de cuivres: 4 cors
28
Ensemble de Trombones
25
Ensemble de Trompettes
22
3 Trompettes (trio)
21
Trio de Cuivres
21
Euphonium
16
Quatuor de cuivres: 4 trompettes
16
Cor, Violoncelle (duo)
15
2 Trompettes, Clavier (piano ou orgue)
15
3 Trombones (trio)
15
Trompette, Violoncelle (duo)
15
Trompette, Basson (duo)
14
2 Euphoniums et 2 Tubas
14
Ensemble de Cors
13
Trompette, Saxophone (duo)
12
Cor Anglais
12
Tuba et Orgue
10
Trompette, Tuba (duo)
9
Cor et Basson (duo)
9
2 Euphoniums (duo)
7
4 Tubas
7
Trombone basse
7
Cor anglais, Guitare (duo)
7
Trombone, Cor (duo)
6
Trompette, Trombone, Piano
5
Trombone, Violon (duo)
5
Cor, Tuba (duo)
5
Trombone, Tuba (duo)
4
Trombone basse et Piano
4
Trompette, violon (duo)
3
Trompette et Guitare
3
Quatuor de cuivres: 2 trompettes, 2 trombones
3
Euphonium, Tuba (duo)
3
Cor et Orgue
2
2 Trombones, Piano
2
Trompette, Harpe
2
Cor et Harpe
2
2 Cors, Piano
2
Instruments en Sib
2
Clarinette, Cor (duo)
2
3 Cors (trio)
2
Trombone et orchestre
2
Trombone, Orgue
2
3 Euphoniums
1
Cor anglais et Harpe (duo)
1
4 Euphoniums
1
2 Cors Anglais Et Pianoforte
1
3 Tubas (trio)
1
Trombone, Alto (duo)
1
Cor, Violoncelle et Piano
1
Trompette, Violoncelle et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
+ 72 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1 612
Violon et Piano
855
Violoncelle, Piano
530
Alto, Piano
485
Violon
387
Violon, Violoncelle (duo)
361
Harpe
351
Violoncelle
325
Trio à Cordes: violon, alto, violoncelle
304
2 Violons (duo)
300
Alto seul
208
Harpe, Flûte (duo)
204
Quintette à cordes: 2 violons, alto, violoncelle, basse
196
Contrebasse, Piano (duo)
188
Violon, Alto (duo)
179
2 Violoncelles (duo)
173
Contre Basse
157
2 Altos (duo)
157
Trio à Cordes: 2 violons, violoncelle
144
Violon (partie séparée)
119
Alto (partie séparée)
91
Harpe, Violon (duo)
89
Alto, Violoncelle (duo)
84
2 Harpes (duo)
67
Violon, Basson (duo)
62
Contrebasse (partie séparée)
60
Trio à cordes: 3 violins
45
2 Contrebasses (duo)
41
Violon, Guitare (duo)
41
4 Violoncelles
37
Piano Trio: Violon, Alto, Piano
32
Trio à Cordes: 3 violoncelles
27
Violoncelle, Contrebasse (duo)
24
Alto et Basson
23
Quintette à cordes : 2 violons, alto et 2 violoncelles
21
Quatuor à cordes : 4 altos
19
Quatuor à cordes: 4 violons
19
Trio à cordes: 3 altos
18
Violon, Orgue
17
Trio à Cordes: 2 violons, alto
15
Violoncelle (partie séparée)
15
Violoncelle , Guitare (duo)
12
Violoncelle, Orgue
11
Alto, Guitare (duo)
11
Ensemble de Violons
10
Ensemble d'Altos
9
Flûte, Contrebasse (duo)
9
Violon, Clarinette, Piano (trio)
9
Quintette à cordes: 2 violons, 2 altos, violoncelle
8
Harpe, Violoncelle (duo)
6
Harpe, Voix
5
4 Contrebasses
5
Violon, Tuba (duo)
5
Harpe, Violon, Violoncelle
4
Violon, Violoncelle, Clarinette
3
2 Altos, Piano
3
2 Violoncelles, Piano
3
Alto, Orgue
2
2 Violons, Piano
2
3 Harpes
2
Alto et Harpe
2
4 Harpes
2
Harpe, Trombone (duo)
1
Violon, Basse continue
1
3 Contrebasses
1
Autoharp
1
+ 61 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
61 830
Orchestre à Cordes
811
Orchestre
376
Cloches
312
Ensemble Jazz
311
Ensemble de cuivres
278
Orchestre de chambre
155
Fanfare
87
Jazz combo
84
Ensemble de Percussions
47
Batterie (partie séparée)
29
Marimba
24
Percussion (partie séparée)
20
Xylophone, Piano
18
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
17
Batterie
17
Vibraphone
16
Xylophone
13
Instrumentation Flexible
3
Quintette à Vent
3
Piano et Orchestre
2
Percussion
2
2 Xylophones
2
2 Marimbas
1
Orchestre, Violon
1
Marimba, Saxophone (duo)
1
Big band
1
Vibraphone et Marimba
1
+ 23 instrumentations
Retracter
Autres
Formation musicale - Solfège
7
Théorie de la musique
4
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions Gratuites
6
Partitions Numériques
2
Librairie Musicale
0
Matériel de Musique
21
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
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
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
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
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
harm
SheetMusicPlus
Partitions à imprimer
2 partitions trouvées
<
1
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)
$23.99
22.12 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Concerto No. 25 C major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus …
(+)
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21383. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21383). Key: C major.His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works. Piano Concerto No. 25 is Mozart’s longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.
$12.99
11.98 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Concerto No. 25 C major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale