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ACCORDEON
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CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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
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SAXOPHONE
SYNTHETISEUR
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PIANO & CLAVIERS
Piano seul
1720
Piano Facile
165
Orgue
151
2 Pianos, 4 mains
70
1 Piano, 4 mains
69
Piano, Voix et Guitare
31
Clavecin
30
Accompagnement Piano
27
Piano, Voix
22
Piano Trio: piano, violon, violoncelle
20
Piano Quatuor: piano, violon, alto, violoncelle
12
Instruments en Do
10
Piano Quintette: piano, 2 violons, alto, violoncelle
10
Orgue, Trompette (duo)
8
Orgue, Piano (duo)
5
2 Orgues (duo)
4
Piano (partie séparée)
3
Accordéon
3
Orgue et Orchestre
3
1 Piano, 6 mains
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano grosses notes
2
Ligne De Mélodie, Piano
2
Ensemble d'Accordéons
1
2 Accordéons
1
2 Pianos, 8 mains
1
Accordéon et Orchestre
1
Instrumentations suivantes
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GUITARES
Guitare
72
Guitare notes et tablatures
35
4 Guitares (Quatuor)
21
2 Guitares (duo)
18
Ligne De Mélodie, (Paroles) et Accords
14
3 Guitares (trio)
13
Piano, Guitare (duo)
7
Guitare, Orchestre
6
Ukulele
5
Ensemble de guitares
4
Guitare, Quatuor à cordes
4
Mandoline, Piano (duo)
3
Mandoline
3
Luth
3
2 Guitares et Orchestre
3
Banjo
3
Ensemble de Ukulélés
1
Mandoline, Guitare (duo)
1
Guitare, Violon, Violoncelle (trio)
1
2 Mandolines (duo)
1
2 Dulcimers (duo)
1
Paroles et Accords
1
Guitare (partie séparée)
1
Basse electrique
1
Instrumentations suivantes
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VOIX
Chorale SATB
31
Chorale 3 parties
8
Soli, choeur mixte et accompagnement
6
Chorale 2 parties
4
Chorale Unison
3
Chorale SSAATTBB
2
Voix Soprano, Piano
2
Chorale
2
Chorale TTBB
2
Voix duo
1
Voix Soprano
1
Chorale SSATB
1
Chorale SSAA
1
Voix haute
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
237
Flûte traversière
200
Clarinette
172
Clarinette et Piano
149
Hautbois, Piano (duo)
124
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
89
Saxophone Alto et Piano
85
Saxophone (partie séparée)
61
Saxophone Soprano et Piano
57
Quatuor de Saxophones: 4 saxophones
55
Ensemble de Clarinettes
49
Flûte, Hautbois, Clarinette, Basson
47
Hautbois (partie séparée)
43
Clarinette (partie séparée)
42
Flûte à Bec
41
Quatuor de Clarinettes: 4 clarinettes
41
Saxophone Tenor et Piano
40
2 Flûtes traversières (duo)
40
2 Clarinettes (duo)
38
Quatuor de Flûtes à bec
35
Quintette de Saxophone: 5 saxophones
32
2 Saxophones (duo)
32
Hautbois
29
Saxophone Baryton, Piano
29
Clarinette Basse, Piano
28
Quatuor de Flûtes : 4 flûtes
27
Cor anglais, Piano
27
5 Flûtes à bec
26
Saxophone Alto
25
Ensemble de saxophones
19
Ensemble à vent
18
3 Saxophones (trio)
18
Saxophone
18
Quintette de Clarinettes: 5 clarinettes
18
Flûte traversière, Orchestre
17
Ensemble de Flûtes
17
Piccolo, Piano
16
2 Flûte à bec (duo)
16
2 Hautbois (duo)
15
Flûte et Guitare
13
3 Clarinettes (trio)
13
Flute (partie séparée)
13
Saxophone Tenor
12
Trio de Flûtes: 3 flûtes
11
Quintette de Flûte : 5 flûtes
9
Clarinette, Orchestre
9
Ensemble De Flûte à bec
9
Flûte et Quatuor à Cordes
7
Clarinette, Basson (duo)
7
Flûte, Clarinette (duo)
7
Cor Anglais
6
Flûte, Violoncelle, Piano (trio)
6
2 Cors Anglais Et Pianoforte
6
Flûte, Hautbois, Clarinette (trio)
6
Clarinette, Violon (duo)
5
Clarinette, Harpe (duo)
4
2 Flûtes traversières, Piano
4
Hautbois et Orchestre
4
Saxophone Soprano
3
Flûte à bec Alto, Piano
3
Flûte à bec Alto
3
Flûte, Clarinette et Basson
3
2 Flûtes, Basse continue
2
Saxophone et Harpe
2
Hautbois, Violon, Piano
2
Flûte, Violoncelle
2
Flûte et Trio à cordes
2
Flûte, Violon, Violoncelle et Piano
2
Flûte à bec Soprano
2
Flûte, Clarinette, Piano (trio)
2
Flûte à Bec, Piano
2
Flûte à bec, Guitare (duo)
2
Ensemble de Hautbois
2
Clarinette, Violoncelle (duo)
2
Flûte, Hautbois, Basson
2
3 Flûtes à bec (trio)
2
Harmonica
2
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Alto, Basse continue
1
Flûte, Violon, Piano
1
Saxophone et Piano
1
Harmonica, Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Hautbois, Guitare (duo)
1
Saxophone Baryton
1
Clarinette, Alto et Piano (trio)
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
4 Hautbois
1
Clarinette, Guitare (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Clarinette Basse
1
Flûte, Saxophone (duo)
1
Hautbois, Basson (duo)
1
Flûte à bec Soprano, Basse continue
1
3 Hautbois
1
Hautbois, Clarinette (duo)
1
Clarinette et Alto
1
Flûte traversière, Basse continue
1
Hautbois, Harpe
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Instrumentations suivantes
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CUIVRES
Trombone et Piano
104
Trompette, Piano
103
Trompette
95
Cor et Piano
90
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
73
Euphonium, Piano (duo)
70
Cor
61
Tuba et Piano
60
Trombone
46
Quatuor de Cuivres : 2 trompettes, trombone, tuba
41
Trombone (partie séparée)
39
Trompette (partie séparée)
38
Cor (partie séparée)
37
Cor anglais, Piano
27
2 Trompettes (duo)
22
Trombone basse et Piano
14
Tuba (partie séparée)
13
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
2 Cors (duo)
10
2 Trombones (duo)
8
Tuba
7
Quatuor de cuivres: 4 trombones
7
Cor, Orchestre
7
Ensemble de Trompettes
7
Quatuor de Cuivres
7
Cor Anglais
6
Trio de Cuivres
6
2 Cors Anglais Et Pianoforte
6
Quatuor de cuivres: 4 cors
6
Ensemble de Cors
4
2 Euphoniums (duo)
4
Ensemble de Trombones
4
4 Tubas
4
Trompette, Orchestre
4
Cornet A Pistons
3
2 Tubas (duo)
3
Quatuor de cuivres: 4 trompettes
3
2 Euphoniums et 2 Tubas
3
3 Trombones (trio)
3
Euphonium
2
3 Tubas (trio)
2
Cor et Harpe
2
Trombone basse
2
Trompette, Trombone (duo)
2
Trompette, Cor (duo)
1
Euphonium, Tuba (duo)
1
Tuba et Orgue
1
Trompette, Violoncelle (duo)
1
3 Cors (trio)
1
Ensemble de Tubas
1
Trombone, Orgue
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette, Harpe
1
Cornet et Piano
1
Instrumentations suivantes
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CORDES
Violon et Piano
466
Violon
421
Quatuor à cordes: 2 violons, alto, violoncelle
363
Violon (partie séparée)
360
Violoncelle, Piano
211
Alto, Piano
157
Alto (partie séparée)
123
Violoncelle
118
Alto seul
111
Violoncelle (partie séparée)
95
2 Violons (duo)
66
Trio à Cordes: violon, alto, violoncelle
66
Violon, Violoncelle (duo)
57
Contre Basse
35
Harpe
34
Contrebasse (partie séparée)
33
2 Violoncelles (duo)
27
Contrebasse, Piano (duo)
27
Violoncelle, Orchestre
20
Trio à Cordes: 2 violons, violoncelle
18
Violon, Alto (duo)
17
2 Altos (duo)
15
2 Violons, Piano
14
4 Violoncelles
13
Violon, Guitare (duo)
12
Quatuor à cordes: 4 violons
12
Harpe, Flûte (duo)
11
Alto, Guitare (duo)
8
Trio à cordes: 3 violins
8
Alto et orchestre
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Violoncelle , Guitare (duo)
6
Alto, Violoncelle (duo)
6
Trio à Cordes: 3 violoncelles
6
2 Harpes (duo)
5
Harpe, Violon (duo)
4
Ensemble de Violoncelles
4
Harpe, Violoncelle (duo)
3
Trio à cordes
3
Violoncelle, Basse continue
3
Ensemble d'Altos
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Ensemble de Violons
3
2 Violoncelles, Piano
3
Violoncelle, Orgue
2
Trio à cordes: 3 altos
2
Harpe, Violon, Violoncelle
2
Quatuor à cordes : 4 altos
2
Piano Trio: Violon, Alto, Piano
2
2 Contrebasses (duo)
2
Alto et Harpe
1
2 Altos, Piano
1
Harpe et Piano
1
Trio à Cordes: 2 violons, alto
1
Violoncelle, Contrebasse (duo)
1
2 Violons et Basse continue
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
598
Orchestre de chambre
442
Orchestre
367
Orchestre d'harmonie
278
Piano et Orchestre
69
Ensemble de cuivres
37
Orchestre, Violon
32
Ensemble de Percussions
14
Percussion (partie séparée)
10
Timbales (partie séparée)
9
Ensemble Jazz
7
Cloches
7
Fanfare
6
Jazz combo
5
Batterie (partie séparée)
3
Percussion
2
Batterie
2
Quintette de Cuivres: autres combinaisons
1
Marimba et Orgue
1
Quatuor à Vent : 4 instruments à vents
1
Vibraphone et Marimba
1
Vibraphone (partie séparée)
1
Marimba
1
Instrumentation Flexible
1
Trio à Vent: 3 instruments à vents
1
Marimba, Piano (duo)
1
Instrumentations suivantes
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AUTRES
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Concerto
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Peter Tchaikovsky: Concerto in Bb minor Op.23 No.1 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Pyotr Ilyich Tchaikovsky for piano & orchestra o…
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Instantly downloadable sheet music by Pyotr Ilyich Tchaikovsky for piano & orchestra of HIGH skill level. Contents: opus 23, op. 23, no. 1, piano concerto / classical,concert
$6.75
6.32 €
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Piano et Orchestre
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Peter Tchaikovsky
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Virtualsheetmusic
Wolfgang Amadeus Mozart: Concerto in D minor No.20 K466 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of…
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Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of MEDIUM skill level. Contents: K 466, number 20, n.20, piano concerto / classical,concert
$5.75
5.38 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Virtualsheetmusic
Wolfgang Amadeus Mozart: Concerto in C major No.21 K467 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of…
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Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of MEDIUM skill level. Contents: K 467, number 21, n.21, piano concerto / classical,concert
$5.75
5.38 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Virtualsheetmusic
Wolfgang Amadeus Mozart: Concerto in A major No.23 K488 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of…
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Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of MEDIUM skill level. Contents: K 488, number 23, n.23, piano concerto / classical,concert
$5.75
5.38 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Virtualsheetmusic
Concerto No. 25 C major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus …
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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 Mozartâs 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
12.16 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 25 C major
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
Piano et Orchestre
String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang A…
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String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score and parts. 271 pages. Santino Cara #5197099. Published by Santino Cara (A0.517429). Complete score and parts of the Piano Concerto No.20 in D minor K.466 for Piano solo and Orchestra. Composed in 1785 in Vienna by Wolfgang Amadeus Mozart. Rewritten and elaborated in Rome in 2019 by Santino Cara.
$26.20
24.53 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
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Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
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Santino Cara
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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…
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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
25.24 €
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Piano et Orchestre
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Gabriel Pierne
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Concerto in C-Moll, Opus 12
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Bisel Classics - Digital
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SheetMusicPlus
Concerto No. 23 A major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21388. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21388). Key: A major. German ⢠English.Mozartâs Piano Concerto in A major is one of his most popular and frequently performed works. The four movements are characterised by contrast: simple and clear, melancholy and insistent, powerful and playful, and a grand finale.
$12.99
12.16 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 23 A major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 26 D major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q12525 Coronation - Concerto II
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Piano and orchestra - Digital Download SKU: S9.Q12525 Coronation - Concerto II. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst eulenburg - orchestra - score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q12525. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12525). Key: D major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
13.1 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 26 D major
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
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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Gyorgy Ligeti (1923-2006)
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Klavierkonzert in C-Dur, Opus 7
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Piano et Orchestre
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Piano et Orchestre
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Edvard Grieg
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Piano Concerto A minor
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Ernst Eulenburg & Co. GmbH - Digital
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Wolfgang Amadeus Mozart
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Concerto No. 22 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
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