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
the composition
Non classifié
6 339
Piano & claviers
Piano seul
8 568
Piano, Voix
3 109
Piano Facile
699
Orgue
635
Piano, Voix et Guitare
153
Instruments en Do
136
Accompagnement Piano
127
1 Piano, 4 mains
101
Piano Trio: piano, violon, violoncelle
76
2 Pianos, 4 mains
64
Accordéon
60
Clavecin
26
Piano Quatuor: piano, violon, alto, violoncelle
21
Orgue, Piano (duo)
14
Piano Quintette: piano, 2 violons, alto, violoncelle
8
Piano (partie séparée)
7
Clavier
7
Orgue, Trompette (duo)
6
1 Piano, 6 mains
5
Piano Quatuor: piano, 2 violons, violoncelle
5
2 Pianos, 8 mains
4
2 Accordéons
2
Fake Book
1
+ 18 instrumentations
Retracter
Guitares
Guitare
496
Guitare notes et tablatures
419
Piano, Guitare (duo)
126
Basse electrique
80
2 Guitares (duo)
59
Ukulele
55
Ligne De Mélodie, (Paroles) et Accords
27
Mandoline
17
Guitare (partie séparée)
14
4 Guitares (Quatuor)
13
Banjo
6
Ensemble de guitares
6
Mandoline, Guitare (duo)
6
Dulcimer
6
Ukulele Baryton
5
3 Guitares (trio)
2
2 Ukuleles
2
Guitare, Violon, Violoncelle (trio)
2
2 Mandolines (duo)
2
Guitare, Quatuor à cordes
1
Mandoline, Piano (duo)
1
Cithare
1
2 Dulcimers (duo)
1
Luth
1
+ 19 instrumentations
Retracter
Voix
Chorale SATB
1 797
Chorale Unison
594
Chorale 3 parties
198
Chorale 2 parties
112
Chorale TTBB
111
Voix Alto, Piano
84
Voix Tenor, Piano
78
Voix Baryton, Piano
71
Voix Soprano, Piano
69
Chorale SSAA
66
Voix duo, Piano
37
Voix haute
36
Voix Tenor
32
Voix Soprano
27
Chorale SSAATTBB
22
Voix duo
13
Voix moyenne, Piano
9
Chorale
8
Voix seule
7
Voix basse, Piano
3
Voix basse
2
Voix Mezzo-Soprano, Piano
2
Chorale SAATB A Cappella
1
Chorale SSAB, Piano
1
Chorale SSATTB
1
Chorale SSAATB
1
Chorale SSATB
1
+ 22 instrumentations
Retracter
Vents
2 Saxophones (duo)
1 196
Flûte traversière et Piano
1 068
Hautbois, Piano (duo)
789
Clarinette et Piano
761
Quatuor de Saxophones: 4 saxophones
558
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
516
Saxophone Alto et Piano
513
2 Clarinettes (duo)
509
2 Flûtes traversières (duo)
460
Saxophone, Clarinette (duo)
419
Flûte, Hautbois, Clarinette, Basson
352
Saxophone Tenor et Piano
340
Flûte traversière
326
Clarinette
302
Quintette de Saxophone: 5 saxophones
296
Clarinette, Violon (duo)
292
2 Hautbois (duo)
251
Clarinette, Trompette (duo)
237
Flûte, Clarinette (duo)
220
Quatuor de Clarinettes: 4 clarinettes
197
Saxophone Soprano et Piano
190
Hautbois, Basson (duo)
177
Hautbois, Clarinette (duo)
165
Flûte, Violon
155
Clarinette et Alto
148
Saxophone Alto
147
Cor anglais, Piano
142
Quatuor de Flûtes : 4 flûtes
142
Flûte, Saxophone (duo)
140
Saxophone Baryton, Piano
131
Hautbois, Flûte
125
Ensemble de saxophones
119
Flûte, Alto (duo)
118
Flûte, Trompette (duo)
114
Saxophone Tenor
109
Saxophone (partie séparée)
108
3 Saxophones (trio)
108
2 Flûte à bec (duo)
105
Hautbois (partie séparée)
105
Ensemble de Clarinettes
90
Quintette de Clarinettes: 5 clarinettes
82
Hautbois
82
Flûte, Violon, Piano
80
Clarinette Basse, Piano
72
3 Clarinettes (trio)
71
Quintette de Flûte : 5 flûtes
70
Trio de Flûtes: 3 flûtes
57
Ensemble de Flûtes
54
Flûte, Violoncelle
38
Clarinette, Violoncelle (duo)
38
Flûte à bec Soprano
38
Clarinette, Basson (duo)
37
Saxophone Baryton
36
Saxophone Soprano
36
Quatuor de Flûtes à bec
32
Hautbois, Violoncelle
30
Flûte, Hautbois (duo)
25
Flûte et Guitare
24
Hautbois, Clarinette, Basson (trio d'anches)
22
Ensemble De Flûte à bec
22
Clarinette (partie séparée)
21
Flûte, Hautbois, Clarinette (trio)
19
3 Flûtes à bec (trio)
19
Flûte, Hautbois, Basson
18
Cor Anglais
17
Flute (partie séparée)
16
Flûte à Bec
15
Flûte à bec Alto
15
Flûte, Clarinette et Basson
13
2 Flûtes traversières, Piano
13
Clarinette, Trombone (duo)
12
Flûte à bec Tenor
11
3 Hautbois
11
5 Flûtes à bec
11
Hautbois, violon (duo)
10
Flûte, Hautbois, Piano (trio)
9
Clarinette, Guitare (duo)
8
4 Hautbois
7
Clarinette, Violoncelle, Piano (trio)
7
Flûte, Basson et Piano
7
Hautbois et alto (duo)
7
Flûte à bec Soprano, Piano
6
Flûte, Violoncelle, Piano (trio)
6
Saxophone
5
Clarinette Basse
5
Flûte, Alto et Piano
5
Piccolo, Piano
5
2 Saxophones, Piano
4
Clarinette, Basson, Piano (trio)
4
Flute, harpe et violon
4
2 Clarinettes, Piano
4
Flûte, Clarinette, Piano (trio)
4
Ensemble à vent
4
Flûte traversière, Orgue (duo)
4
Flûte à bec Alto, Piano
3
Hautbois, Clarinette et Piano (Trio)
3
2 Hautbois, Piano
3
2 Cors Anglais Et Pianoforte
3
Flûte à bec Alto, Basse continue
3
Piccolo
3
Flûte, Clarinette, Cor, Basson (Quartet)
2
Saxophone et Orgue
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Flûte, Trombone (duo)
2
Flûte à Bec, Piano
2
Harmonica
2
Clarinette, Contrebasse (duo)
2
Clarinette, Alto et Piano (trio)
2
Flûte, Violon et Violoncelle
2
Flûte, Violon, Violoncelle et Piano
1
2 Flûtes traversières, Harpe
1
Cornemuse
1
Flûte et Trio à cordes
1
Clarinette, Harpe (duo)
1
Flûte, Harpe et Violoncelle
1
Flûte traversière, Basse continue
1
Flûte traversière, Orchestre
1
Hautbois, Violoncelle et Piano
1
Flûte, Violon, Guitare
1
Saxophone et Guitare
1
Hautbois, trombone (duo)
1
Hautbois, Guitare (duo)
1
Flûte irlandaise
1
Saxophone et Harpe
1
Flûte et Quatuor à Cordes
1
2 Clarinettes, Basson
1
Flûte, Alto et Violoncelle
1
Hautbois, Violon, Piano
1
Hautbois, Basson et Piano
1
Clarinette, Tuba
1
Cor anglais et Harpe (duo)
1
Flûte, Violoncelle, Guitare
1
+ 127 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
585
Trombone et Piano
463
Trompette, Piano
433
Trompette
326
Trompette, Saxophone (duo)
290
Quatuor de Cuivres : 2 trompettes, trombone, tuba
286
Cor et Piano
283
2 Trombones (duo)
266
2 Trompettes (duo)
264
Trombone
187
Tuba et Piano
178
Trompette, Trombone (duo)
169
Cor anglais, Piano
142
Cor
138
Quatuor de Cuivres
137
Quatuor de Cuivres: 2 trompettes, Cor, trombone
134
Tuba
122
Euphonium, Piano (duo)
101
2 Cors (duo)
99
Ensemble de Trombones
82
Ensemble de Trompettes
67
Trompette (partie séparée)
64
Trombone (partie séparée)
60
2 Tubas (duo)
58
Quatuor de cuivres: 4 trombones
50
Quatuor de cuivres: 4 cors
23
Cor (partie séparée)
22
Quatuor de cuivres: 4 trompettes
18
Cor Anglais
17
Trompette, Cor (duo)
17
Ensemble de Cors
15
Trompette, Basson (duo)
15
Trio de Cuivres
14
2 Euphoniums (duo)
13
3 Trompettes (trio)
13
Cor, Violoncelle (duo)
13
Tuba (partie séparée)
13
Trompette, Violoncelle (duo)
12
4 Tubas
10
Euphonium
10
Tuba et Orgue
9
Cor et Basson (duo)
7
3 Trombones (trio)
6
Euphonium, Tuba (duo)
6
Quatuor de cuivres: 2 trompettes, 2 trombones
5
Cor, Tuba (duo)
5
Trompette et Guitare
4
2 Euphoniums et 2 Tubas
4
Cor et Orgue
4
Trombone basse et Piano
4
Trompette, Trombone, Piano
3
2 Cors Anglais Et Pianoforte
3
Trombone basse
3
Trombone, Cor (duo)
3
2 Cors, Piano
3
Trombone, Orgue
2
Trombone et orchestre
2
2 Trompettes, Clavier (piano ou orgue)
2
3 Cors (trio)
2
3 Euphoniums
2
Cor et Harpe
2
Trompette, Tuba (duo)
1
Trompette, violon (duo)
1
3 Tubas (trio)
1
Trombone, Tuba (duo)
1
Trompette, Harpe
1
Clarinette, Cor (duo)
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
+ 65 instrumentations
Retracter
Cordes
Violon et Piano
1 200
Quatuor à cordes: 2 violons, alto, violoncelle
1 045
Violoncelle, Piano
703
Alto, Piano
702
2 Violons (duo)
345
Violon
344
Violon, Violoncelle (duo)
320
2 Altos (duo)
314
2 Violoncelles (duo)
309
Violoncelle
262
Violon, Alto (duo)
256
Alto seul
198
Trio à Cordes: violon, alto, violoncelle
174
Contrebasse, Piano (duo)
149
Harpe
147
Quintette à cordes: 2 violons, alto, violoncelle, basse
134
Contre Basse
116
Trio à cordes
65
Alto (partie séparée)
59
Alto, Violoncelle (duo)
59
2 Contrebasses (duo)
53
Violon (partie séparée)
40
Trio à cordes: 3 violins
37
Violon, Guitare (duo)
33
Trio à Cordes: 2 violons, violoncelle
30
4 Violoncelles
26
Violon, Basson (duo)
26
Trio à Cordes: 3 violoncelles
25
Contrebasse (partie séparée)
25
Piano Trio: Violon, Alto, Piano
22
Trio à cordes: 3 altos
20
Ensemble de Violons
20
Quintette à cordes: 2 violons, 2 altos, violoncelle
20
Ensemble d'Altos
19
Quatuor à cordes : 4 altos
17
Quatuor à cordes: 4 violons
17
Alto et Basson
17
Violoncelle , Guitare (duo)
10
Violoncelle, Contrebasse (duo)
9
Flûte, Contrebasse (duo)
8
Violoncelle, Orgue
8
Ensemble de Violoncelles
7
2 Violoncelles, Piano
7
Harpe, Flûte (duo)
7
Harpe, Violoncelle (duo)
6
2 Harpes (duo)
6
Violon, Clarinette, Piano (trio)
6
Alto, Guitare (duo)
6
Harpe, Voix
5
Trio à Cordes: 2 violons, alto
5
2 Violons, Piano
4
3 Contrebasses
3
2 Altos, Piano
3
3 Harpes
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Violoncelle (partie séparée)
2
Violoncelle, Basse continue
2
Harpe (partie séparée)
2
Alto, Orgue
2
Harpe et Piano
2
Violoncelle, Orchestre
1
Violon, Orgue
1
Alto et Harpe
1
Harpe, Trombone (duo)
1
Violon, Basse continue
1
Violon, Violoncelle, Clarinette
1
4 Contrebasses
1
Harpe, Violon (duo)
1
4 Harpes
1
+ 64 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
2 824
Orchestre à Cordes
713
Orchestre
473
Cloches
372
Ensemble Jazz
313
Orchestre de chambre
161
Ensemble de cuivres
152
Ensemble de Percussions
69
Jazz combo
68
Fanfare
31
Marimba
22
Xylophone, Piano
20
Percussion (partie séparée)
15
Vibraphone
13
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
10
Batterie
10
Batterie (partie séparée)
8
2 Xylophones
8
Xylophone
7
Piano et Orchestre
2
Bodhran
1
2 Marimbas
1
Ensemble d'École
1
+ 18 instrumentations
Retracter
Autres
Formation musicale - Solfège
8
Théorie de la musique
1
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
2
Partitions Numériques
2
Librairie Musicale
46
Matériel de Musique
780
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:
the composition
Piano et Orchestre
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 in C-Moll, Opus 12
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
(+)
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
24.85 €
#
Piano et Orchestre
#
Gabriel Pierne
#
Concerto in C-Moll, Opus 12
#
Bisel Classics - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale