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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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FORMATION MUSI…
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Vous avez sélectionné:
Deserto
Partitions à imprimer
19 partitions trouvées
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1
Sandro Montalto : Invocazione al deserto (ES-24-010)
Cor
French Horn Solo - Level 5 - Digital Download SKU: A0.1449628 Composed by Sandro Mo…
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French Horn Solo - Level 5 - Digital Download SKU: A0.1449628 Composed by Sandro Montalto. 21st Century,Classical,Contemporary. Individual part. 9 pages. Sconfinarte #1029385. Published by Sconfinarte (A0.1449628). Sandro Montalto: Invocazione al deserto (ES-24-010)per corno naturale in fawww.edizionisconfinarte.com.
$20.00
18.07 €
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Cor
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Sandro Montalto
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Sandro Montalto : Invocazione al deserto
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Sconfinarte
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SheetMusicPlus
Caminho no Deserto
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.1427924 By Soraya Moraes. By Marc…
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Concert Band - Level 2 - Digital Download SKU: A0.1427924 By Soraya Moraes. By Marco Moraes. Arranged by Jhonatan Lucio Viana. 21st Century,Disco,Religious,Sacred,Spiritual. 33 pages. JLVPartitura #1008666. Published by JLVPartitura (A0.1427924). Caminho no Deserto Soraya Moraes for Concert Banda.Get ready to embark on a soulful journey through the desert sands with Caminho no Deserto by Soraya Moraes, now expertly arranged for concert band! This captivating adaptation captures the essence of the original song, blending heartfelt melodies, stirring harmonies, and vivid imagery that will transport you to a world of faith and resilience. Each note resonates with the spiritual atmosphere of Soraya Moraes' iconic composition, creating an immersive ambiance that will inspire audiences of all ages. Ideal for fans of Christian music and concert band enthusiasts alike, this arrangement is a celebration of musical devotion and the enduring power of Soraya Moraes' music. Don't miss the opportunity to experience the beauty of Caminho no Deserto with your concert band! Click now to immerse yourself in the uplifting sounds brought to life by this symphonic adaptation.I am thrilled to present this arrangement to you. I invite you to explore my diverse collection of concert band arrangements and music scores on my website. Simply search for 'Jhonatan Lucio Viana' to discover a wide variety of sheet music options awaiting you.Caminho no Deserto, Soraya Moraes, concert band arrangement, Christian music, heartfelt melodies, stirring harmonies, vivid imagery, concert band performance, dynamic adaptation, musical celebration, spiritual journey, Soraya Moraes' music, symphonic adaptation.
$59.99
54.19 €
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Orchestre d'harmonie
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Soraya Moraes
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Jhonatan Lucio Viana
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Caminho no Deserto
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JLVPartitura
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SheetMusicPlus
Verdi-Deserto sulla terra,in E flat Major
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1394696 Composed by Giuseppe…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1394696 Composed by Giuseppe Verdi. Arranged by OSM Press. Classical. Score. 4 pages. Open Cloud #978185. Published by Open Cloud (A0.1394696).
$2.99
2.7 €
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Piano, Voix
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Giuseppe Verdi
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OSM Press
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Verdi-Deserto sulla terra,in E flat Major
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Open Cloud
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SheetMusicPlus
IL DESERTO FIORIRA' - Spiritual madrigal in canon
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.724688 Composed by Renato Tagliabue.…
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Choral Choir (SATB) - Digital Download SKU: A0.724688 Composed by Renato Tagliabue. Christian,Sacred,Spiritual. Octavo. 6 pages. Renato Tagliabue #4835751. Published by Renato Tagliabue (A0.724688).
$2.20
1.99 €
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Chorale SATB
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Renato Tagliabue
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IL DESERTO FIORIRA' - Spiritual madrigal in canon
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Renato Tagliabue
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SheetMusicPlus
Tutto è deserto... Il balen del suo sorriso... Per me ora fatale
Voix Baryton, Piano
Baritone voice and piano - intermediate to difficult - Digital Download SKU: S9.Q10854
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Baritone voice and piano - intermediate to difficult - Digital Download SKU: S9.Q10854 From ‘Il trovatore’. Composed by Giuseppe Verdi. Edited by Francesca Licciarda. This edition: Sheet music. Copyright 2014 Schott Music GmbH & Co. KG, Mainz. Downloadable. 11 pages. Schott Music - Digital #Q10854. Published by Schott Music - Digital (S9.Q10854). Key: F major. Italian.Digital publication of the piece found in the following print music collection: Italian Opera Arias.
$3.99
3.6 €
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Voix Baryton, Piano
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Giuseppe Verdi
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Tutto è deserto... Il balen del suo sorriso... Per me ora fatale
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Schott Music - Digital
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SheetMusicPlus
Deserto
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.745377 By Uberto Pier…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.745377 By Uberto Pieroni. By Uberto Pieroni. Arranged by Uberto Pieroni. 20th Century,Multicultural,New Age,Standards,World. Score. 5 pages. Editori vari #353354. Published by Editori vari (A0.745377). Brano strumentale New Age.
$5.00
4.52 €
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Piano, Voix et Guitare
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Uberto Pieroni
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Uberto Pieroni
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Deserto
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Editori vari
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SheetMusicPlus
Deserto è il luogo (Grade 5 List B1 from the ABRSM Clarinet syllabus from 2022)
Clarinette
Clarinet Solo, Clarinet - Digital Download Composed by Vincenzo Bellini (1801-1835). Arr…
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Clarinet Solo, Clarinet - Digital Download Composed by Vincenzo Bellini (1801-1835). Arranged by David Blackwell. This edition: scorch. Classical. Individual part. 4 pages. Published by ABRSM (Associated Board of the Royal Schools of Music)
$2.99
2.7 €
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Clarinette
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Vincenzo Bellini (1801-1835)
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David Blackwell
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Deserto è il luogo
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ABRSM (Associated Board of the Royal Schools of Music)
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SheetMusicPlus
Deserto subtil
Guitare
By Vasco Martins. For solo guitar. Level 3. Published by Les Productions d'OZ - Digital
By Vasco Martins. For solo guitar. Level 3. Published by Les Productions d'OZ - Digital
$8.95
8.08 €
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Guitare
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Vasco Martins
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Deserto subtil
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Les Productions d'OZ - Digital
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SheetMusicPlus
Voc Me Leva Ao Deserto by Welder Dias - Piano Solo
Piano seul
Sheet Music for Voc Me Leva Ao Deserto by Welder Dias arranged for Instrumental Solo in F#…
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Sheet Music for Voc Me Leva Ao Deserto by Welder Dias arranged for Instrumental Solo in F# Minor. Digital sheet music from Musicnotes. --
$9.99
9.02 €
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Piano seul
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Piano Solo
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Musicnotes
[Mitchell] The Winds of Exorcism
Voix Baryton, Piano
Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.952518 Composed by Dar…
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Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.952518 Composed by Darleen Mitchell. Contemporary. 45 pages. American Composers Alliance Inc. #4608079. Published by American Composers Alliance Inc. (A0.952518). Seven songs for baritone and piano on the poetry of Robert Foss. Includes: I. Prelude, II. Antiphon, III. Fugue State, IV. Scriptural Interlude, V. non sic impii, VI. de profundis, VII. vox clamantis in deserto.
$15.95
14.41 €
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Voix Baryton, Piano
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Darleen Mitchell
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[Mitchell] The Winds of Exorcism
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American Composers Alliance Inc.
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SheetMusicPlus
The Desert
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1259371 Composed by E…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1259371 Composed by Ennio Morricone. Arranged by Leah Ginzburg. 20th Century,Film/TV,Multicultural,Soul,World. Score. 3 pages. Leah Ginzburg #852645. Published by Leah Ginzburg (A0.1259371). The Desert (La Casa e La Giovinezza) - beautiful melody. Watched the film Il Deserto Dei Tartari (The Desert of the Tartars, 1976) essentially for the sake of this music. Piano solo version for intermediate pianists in A Minor.
$9.99
9.02 €
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Piano, Voix et Guitare
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Ennio Morricone
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Leah Ginzburg
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The Desert
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Leah Ginzburg
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SheetMusicPlus
Visioni Mistiche per violino e organo o pianoforte
Violon et Piano
Piano,Violin - Level 2 - Digital Download SKU: A0.1037050 Composed by Leonardo Anto…
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Piano,Violin - Level 2 - Digital Download SKU: A0.1037050 Composed by Leonardo Antonio Di Chiara. 20th Century,Classical,Contemporary,Multicultural,Sacred,World. 11 pages. LEONARDO ANTONIO DI CHIARA #642026. Published by LEONARDO ANTONIO DI CHIARA (A0.1037050). In questo travagliato periodo dove la sciagurata guerra innestata da Putin contro l’Ucraina, sta provocando atteggiamenti di sdegno nell’opinione pubblica, spesso mi chiedo se la musica contribuisce davvero alla pace o è solo appagante e un ingannevole gioco di melodie commoventi senza alcun effetto sulla realtà . Nell’eterno duello fra il bene ed il male, la musica pesa o no sulla bilancia? La prima risposta che mi sono dato è che la musica è sempre stata dalla parte della pace; in modo più esplicito la musica è la pace. Ma il mondo che vediamo intorno a noi oggi sembra disperatamente sprovvisto di pace. Sembrerebbe un mondo dove la musica non c’è, un deserto di silenzio interrotto solo dal rumore delle bombe. Pensando a tutto ciò è nato questo brano che vuole essere una preghiera di speranza, una supplica dell’uomo verso la Beata Vergine Maria affinché possa illuminare gli uomini e far tornare la pace nel mondo.
$5.00
4.52 €
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Violon et Piano
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Leonardo Antonio Di Chiara
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Visioni Mistiche per violino e organo o pianoforte
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LEONARDO ANTONIO DI CHIARA
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SheetMusicPlus
The Desert
Piano seul
Piano Solo - Digital Download SKU: A0.850080 Composed by Ennio Morricone. Arranged …
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Piano Solo - Digital Download SKU: A0.850080 Composed by Ennio Morricone. Arranged by Leah Ginzburg. Contemporary. Score. 2 pages. Leah Ginzburg #6103095. Published by Leah Ginzburg (A0.850080). One of my favorite compositions by Ennio Morricone. A beautiful melody returns in the seventies of the last century. Ennio Morricone, was an Italian composer, orchestrator, conductor, and trumpet player who wrote music in a wide range of styles. Morricone composed over 400 scores for cinema and television, as well as over 100 classical works. la Casa e La Giovinezza was written for the film The Desert of the Tartars(Il deserto dei Tartari).
$4.99
4.51 €
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Piano seul
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Ennio Morricone
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Leah Ginzburg
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The Desert
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Leah Ginzburg
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SheetMusicPlus
Desertos
Instrumental Duet Harmonica,Instrumental Duet,Piano - Digital Download SKU: A0.962345
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Instrumental Duet Harmonica,Instrumental Duet,Piano - Digital Download SKU: A0.962345 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score and parts. 26 pages. Sergio Roberto de Oliveira #4764623. Published by Sergio Roberto de Oliveira (A0.962345). Falls House Press has published his works Faces and Mot pour Laura in the United States. Various articles in specialized journals and sites have cited the composer, such as the Flutist Quarterly (Circus Brasilis - The flute music of Sergio Roberto de Oliveira), Early Music America (Something New for Early Music), Andante.com (The heirs of Villa-Lobos), 21st Century Music, Musicabrasileira.org, etc. Sergio Roberto de Oliveira has frequently been invited to lecture at American universities, and has spoken at more than a dozen institutions including Princeton and Duke. In 2009 he was Artist-in-Residence at Duke University. In addition the USA and the UK, Oliveira's music has also been played in many countries, with invitations for concerts exclusively with his music in México, Italy and Holland (Amsterdam). The Spanish Magazine Sonograma has published 2 interviews with Sergio.Sergio is the founder and a member of the group of composers Prelúdio 21. The group is one of the most active worldwide. It holds a distinguished place in Brazilian contemporary music, having been active for 15 consecutive seasons, with a permanent series of monthly concerts since 2008. In 2011 the group released the CD String Quartets, with performances by the Quarteto Radamés Gnattali. Oliveira is also a member of the group of composers Vox Novus, based in New York.To commemorate 15 years of activity as a composer, Oliveira released a box set with 4 CDs, as well as a CD with composer Mark Hagerty, and produced the series QUINZE, with 13 concerts including his works, between July and October of 2012. More than 130 musicians, including 28 composers, participated of QUINZE (CDs and series).His discography includes 14 CDs as producer, 14 as composer, 22 as general producer, 2 as arranger and 2 as pianist. His catalog of compositions includes approximately 115 works for various ensembles, including Symphony Orchestra. Sergio Roberto de Oliveira is a member of the Latin Academy of the Arts and Science of Recording.He died from pancreatic cancer in 2017.
$17.90
16.17 €
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Sergio Roberto de Oliveira
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Desertos
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Sergio Roberto de Oliveira
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SheetMusicPlus
La Casa e la giovinezza by Tony Rowden - Guitar Tab
Guitare notes et tablatures
Sheet Music for La Casa e la giovinezza from Il Deserto dei Tartari (The Desert of the Tar…
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Sheet Music for La Casa e la giovinezza from Il Deserto dei Tartari (The Desert of the Tartars) arranged for Guitar TAB;Instrumental Solo in A Minor. Digital sheet music from Musicnotes. --
$3.99
3.6 €
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Guitare notes et tablatures
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Guitar Tab
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Musicnotes
La casa e la giovinezza by Silvio Caroli - Piano Solo
Piano seul
Sheet Music for La casa e la giovinezza from Il Deserto dei Tartari (The Desert of the Tar…
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Sheet Music for La casa e la giovinezza from Il Deserto dei Tartari (The Desert of the Tartars) arranged for Instrumental Solo in B Minor. Digital sheet music from Musicnotes. --
$3.99
3.6 €
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Piano seul
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Piano Solo
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Musicnotes
Giuseppe Verdi: Tutto e deserto... Il balen del suo sorriso... Per me ora fatale, From ‘Il trovatore’ - baritone & piano
Voix Baryton, Piano
Instantly printable sheet music by Giuseppe Verdi for baritone & piano of MEDIUM/HIGH …
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Instantly printable sheet music by Giuseppe Verdi for baritone & piano of MEDIUM/HIGH skill level. Contents: Italian Opera Arias / classical,opera
$4.99
4.51 €
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Voix Baryton, Piano
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Giuseppe Verdi
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Virtualsheetmusic
Vincenzo Bellini: Deserto e il luogo (Grade 5 List B1 from the ABRSM Clarinet syllabus from 2022) - clarinet solo
Clarinette
Instantly printable sheet music by Vincenzo Bellini for clarinet solo of MEDIUM skill leve…
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Instantly printable sheet music by Vincenzo Bellini for clarinet solo of MEDIUM skill level. / classical,opera
$4.97
4.49 €
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Clarinette
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Vincenzo Bellini
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Virtualsheetmusic
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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