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AUTRES INST…
BALALAIKA
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BASSE
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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
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OUD
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PAS DE PART…
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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
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
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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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
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METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
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PUNK
RAGTIME
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14414
PIANO & CLAVIERS
Piano seul
346
Accompagnement Piano
336
Orgue
72
Piano, Voix
71
Instruments en Do
69
Piano, Voix et Guitare
54
Piano Facile
40
2 Pianos, 4 mains
30
Piano Trio: piano, violon, violoncelle
19
Piano Quatuor: piano, violon, alto, violoncelle
8
Accordéon
4
Orgue, Trompette (duo)
3
Clavecin
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavier
1
1 Piano, 4 mains
1
Piano (partie séparée)
1
2 Pianos, 8 mains
1
Instrumentations suivantes
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
19
Guitare notes et tablatures
10
2 Guitares (duo)
5
Guitare
3
Ukulele
1
VOIX
Chorale SATB
499
Chorale 3 parties
99
Chorale 2 parties
54
Chorale Unison
41
Chorale TTBB
19
Voix duo
17
Voix Soprano, Piano
13
Chorale SSAA
12
Chorale
10
Voix duo, Piano
9
Voix moyenne, Piano
3
Voix d'Enfants
3
Voix Tenor, Piano
3
Voix seule
3
Soli, choeur mixte et accompagnement
3
Voix haute
2
Chorale SSATB
2
Chorale SSAATTBB
1
Chorale SSATTB
1
Voix Alto, Piano
1
Instrumentations suivantes
Retracter
VENTS
Hautbois, Piano (duo)
6900
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6782
Flûte, Hautbois, Clarinette, Basson
6194
Hautbois (partie séparée)
6164
Hautbois
1986
2 Hautbois (duo)
1083
Hautbois, Basson (duo)
946
Flûte, Hautbois, Clarinette (trio)
595
Hautbois, Clarinette (duo)
536
Flûte, Hautbois, Basson
497
Hautbois, Clarinette, Basson (trio d'anches)
425
Flûte, Hautbois (duo)
332
Hautbois, Flûte
327
3 Hautbois
220
Hautbois, Violoncelle
160
Flûte traversière et Piano
147
Flûte, Hautbois, Violon
124
Saxophone Alto et Piano
109
4 Hautbois
86
Clarinette
81
2 Saxophones (duo)
78
Clarinette et Piano
76
Saxophone Tenor et Piano
75
Flûte, Hautbois, Piano (trio)
73
2 Flûtes traversières (duo)
72
Saxophone (partie séparée)
71
Hautbois, Guitare (duo)
69
Hautbois et alto (duo)
68
Hautbois, violon (duo)
63
Flûte traversière
61
2 Clarinettes (duo)
60
Flûte, Clarinette, Cor, Basson (Quartet)
53
Quatuor de Saxophones: 4 saxophones
52
Hautbois, trombone (duo)
48
Hautbois, Harpe
45
Quatuor de Clarinettes: 4 clarinettes
44
3 Clarinettes (trio)
42
2 Flûte à bec (duo)
32
Hautbois, Basson et Piano
32
3 Flûtes à bec (trio)
31
Flûte, Clarinette et Basson
31
Flute (partie séparée)
30
Saxophone Soprano et Piano
29
Hautbois, Violoncelle et Piano
28
Hautbois, Violin, Alto et Violoncelle (Quatuor)
27
Quatuor de Flûtes à bec
23
Clarinette (partie séparée)
22
2 Hautbois, Piano
22
Flûte et Guitare
21
Quatuor de Flûtes : 4 flûtes
19
Cor anglais, Piano
19
Hautbois, Violon, Piano
18
Trio de Flûtes: 3 flûtes
16
Quintette de Saxophone: 5 saxophones
16
Clarinette Basse, Piano
15
3 Saxophones (trio)
15
Saxophone Alto
15
Saxophone Baryton, Piano
15
Flûte, Violon
15
Saxophone
14
Ensemble à vent
14
Ensemble de Hautbois
14
Ensemble De Flûte à bec
12
5 Flûtes à bec
11
Hautbois, Orgue
10
2 Hautbois et Cor anglais
10
Flûte, Clarinette (duo)
10
2 Hautbois et Basson
9
Flûte à Bec
9
Cor Anglais
9
Flûte à bec Tenor
8
Flûte à bec Soprano
7
Hautbois et Orchestre
7
Ensemble de Flûtes
6
Ensemble de Clarinettes
5
2 Cors Anglais Et Pianoforte
5
Quintette de Clarinette: Clarinette, Quatuor à Cordes
5
Clarinette, Guitare (duo)
5
Saxophone Soprano
5
Clarinette, Violon (duo)
4
Clarinette, Harpe (duo)
4
Ensemble de saxophones
4
Quintette de Clarinettes: 5 clarinettes
4
Flute, harpe et violon
4
Quintette de Flûte : 5 flûtes
4
Cor anglais, Guitare (duo)
3
Flûte, Violoncelle, Piano (trio)
3
Hautbois, Clarinette, Basson et Piano
3
Saxophone Tenor
3
Hautbois, Quatuor à cordes
3
Clarinette, Basson (duo)
3
Flûte, Clarinette, Piano (trio)
2
2 Clarinettes, Basson
2
Flûte traversière, Orchestre
2
Piccolo
2
Flûte traversière, Orgue (duo)
1
Flûte, Violoncelle, Guitare
1
Flûte, Violon et Violoncelle
1
Clarinette, Basson, Piano (trio)
1
Cor anglais et Harpe (duo)
1
2 Hautbois, 2 Cors et 2 Bassons
1
Flûte de Pan
1
2 Flûtes traversières, Piano
1
2 Saxophones, Piano
1
2 Flûtes, Basse continue
1
Clarinette, Violoncelle, Piano (trio)
1
Piccolo, Piano
1
Saxophone et Orchestre
1
Saxophone et Guitare
1
Flûte à bec Soprano, Piano
1
Saxophone et Harpe
1
Flûte, Violon, Violoncelle et Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte à bec Alto, Piano
1
Flûte irlandaise
1
Harmonica
1
Clarinette et Alto
1
Flûte, Basson et Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone et Piano
79
Trompette, Piano
57
Cor et Piano
55
Trompette
46
Cor
38
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
35
Trombone
34
2 Trompettes (duo)
27
Trompette (partie séparée)
23
2 Cors (duo)
22
2 Trombones (duo)
22
2 Tubas (duo)
19
Cor anglais, Piano
19
Tuba et Piano
13
Tuba
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Cor Anglais
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Euphonium
6
Trombone (partie séparée)
6
Euphonium, Piano (duo)
6
2 Cors Anglais Et Pianoforte
5
Cor et Harpe
4
Quatuor de cuivres: 4 trombones
4
Tuba et Orgue
3
Cor (partie séparée)
3
Cor anglais, Guitare (duo)
3
Trombone, Violon (duo)
3
Tuba (partie séparée)
3
Ensemble de Cors
3
Trombone et orchestre
2
Quatuor de cuivres: 4 cors
2
Trompette, Harpe
2
3 Cors (trio)
2
Trompette, Cor (duo)
1
3 Trompettes (trio)
1
Cor anglais et Harpe (duo)
1
Trompette, Trombone (duo)
1
3 Tubas (trio)
1
Trombone, Cor (duo)
1
3 Trombones (trio)
1
Quatuor de cuivres: 4 trompettes
1
Ensemble de Trompettes
1
2 Euphoniums et 2 Tubas
1
4 Tubas
1
Instrumentations suivantes
Retracter
CORDES
Violon et Piano
232
Quatuor à cordes: 2 violons, alto, violoncelle
189
Violon
121
Alto, Piano
114
Violoncelle, Piano
85
Violon (partie séparée)
83
2 Violons (duo)
41
Trio à Cordes: violon, alto, violoncelle
41
Alto (partie séparée)
39
Violoncelle (partie séparée)
34
Harpe
30
Alto seul
30
2 Altos (duo)
24
Harpe, Flûte (duo)
23
Contre Basse
21
2 Violoncelles (duo)
21
Violoncelle
20
Violon, Alto (duo)
19
Alto et Harpe
18
Harpe, Violon (duo)
18
Contrebasse, Piano (duo)
17
Violon, Violoncelle (duo)
17
2 Contrebasses (duo)
16
Harpe, Violoncelle (duo)
14
Quintette à cordes: 2 violons, alto, violoncelle, basse
10
4 Violoncelles
9
Harpe, Violon, Violoncelle
9
Trio à Cordes: 2 violons, violoncelle
9
Trio à cordes: 3 violins
7
2 Harpes (duo)
6
Violon, Guitare (duo)
6
Trio à Cordes: 2 violons, alto
6
Trio à Cordes: 3 violoncelles
6
Violoncelle, Orchestre
5
Flûte, Contrebasse (duo)
4
Piano Trio: Violon, Alto, Piano
4
Contrebasse (partie séparée)
3
Alto, Violoncelle (duo)
3
Harpe, Voix
2
Alto, Guitare (duo)
1
Violoncelle, Orgue
1
Quatuor à cordes: 4 violons
1
Violoncelle , Guitare (duo)
1
2 Violons, Piano
1
Trio à cordes: 3 altos
1
2 Violoncelles, Piano
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3361
Orchestre
1069
Orchestre de chambre
496
Orchestre à Cordes
109
Ensemble de cuivres
37
Ensemble Jazz
37
Cloches
23
Ensemble de Percussions
22
Vibraphone
17
Marimba
15
Piano et Orchestre
14
Xylophone, Piano
10
Percussion (partie séparée)
6
Quintette à Vent
5
Batterie
4
Fanfare
4
Ensemble d'École
2
Trio à Vent: 3 instruments à vents
2
Xylophone
2
Jazz combo
2
Instrumentation Flexible
1
Instrumentations suivantes
Retracter
AUTRES
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Partitions à imprimer
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1
Piano Concerto ... Mozartiana (2007) for piano solo and chamber orchestra
Piano et Orchestre
By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Perio…
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Period, 20th Century, 21st Century. Advanced Intermediate. Score. 2 Flute (2. also piccolo) 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French horns 2 Trumpets in Bb 2 Tromb
$9.99
9.35 €
#
Piano et Orchestre
#
Thomas Oboe Lee
#
Piano Concerto ... Mozartiana
#
SheetMusicPlus
Piano Concerto ... Mozartiana (2007) for piano solo and orchestra
Piano et Orchestre
By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Perio…
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Period, 20th Century, 21st Century. Advanced Intermediate. Score. Published by Thomas Oboe Lee
$9.99
9.35 €
#
Piano et Orchestre
#
Thomas Oboe Lee
#
Piano Concerto ... Mozartiana
#
Thomas Oboe Lee
#
SheetMusicPlus
VARIANTS (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057960 Composed by Jordan Grigg. Contemporary,Standards. Full Performance. Duration 413. Jordan Grigg #3628987. Published by Jordan Grigg (A0.1057960).
$1.99
1.86 €
#
Piano et Orchestre
#
Jordan Grigg
#
VARIANTS
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Jordan Grigg
#
SheetMusicPlus
Fantasia for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069115 Composed by Joseph Hull. Contemporary. Full Performance. Duration 318. Genesis #3514027. Published by Genesis (A0.1069115). This is the third movement from Fantasia for Piano and Orchestra. The full work contains four movements. .
$1.99
1.86 €
#
Piano et Orchestre
#
Joseph Hull
#
Fantasia for Piano and Orchestra
#
Genesis
#
SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057446 Composed by Jordan Grigg. 20th Century,Concert,Instructional,Standards. Full Performance. Duration 222. Jordan Grigg #3464809. Published by Jordan Grigg (A0.1057446).
$2.99
2.8 €
#
Piano et Orchestre
#
Jordan Grigg
#
Passions
#
Jordan Grigg
#
SheetMusicPlus
Fantasy for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
(+)
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058105 Composed by Jordan Grigg. Concert,Contemporary,Instructional,Standards. Full Performance. Duration 376. Jordan Grigg #5360293. Published by Jordan Grigg (A0.1058105).
$2.99
2.8 €
#
Piano et Orchestre
#
Jordan Grigg
#
Fantasy for Piano and Orchestra
#
Jordan Grigg
#
SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Trombone,Trumpet,Tuba,Viola,Vio…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069110 Composed by Joseph Hull. Contemporary. Full Performance. Duration 234. Genesis #3017735. Published by Genesis (A0.1069110).
$3.99
3.74 €
#
Piano et Orchestre
#
Joseph Hull
#
Spanish Dance for Piano and Orchestra
#
Genesis
#
SheetMusicPlus
Elegy for Piano and Orchestra MP3
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violi…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1056809 Composed by Jordan Grigg. Concert,Contemporary,Standards. Full Performance. Duration 389. Jordan Grigg #3093137. Published by Jordan Grigg (A0.1056809).
$3.99
3.74 €
#
Piano et Orchestre
#
Jordan Grigg
#
Elegy for Piano and Orchestra MP3
#
Jordan Grigg
#
SheetMusicPlus
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano et Orchestre
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
$5.00
4.68 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Helios D'Andrea
#
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
#
D'Andrea Helios
#
SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.24 €
#
Piano et Orchestre
#
Joseph Hull
#
Spanish Dance for Piano and Orchestra
#
Genesis
#
SheetMusicPlus
Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Vi…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.981544 Composed by Helios D'Andrea. Classical. Score and parts. 12 pages. D'Andrea Helios #6574203. Published by D'Andrea Helios (A0.981544).
$10.00
9.36 €
#
Piano et Orchestre
#
Helios D'Andrea
#
Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
#
D'Andrea Helios
#
SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Tr…
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Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.863537 Composed by Jordan Grigg. 20th Century,Concert,Standards. Score and parts. 52 pages. Jordan Grigg #3388747. Published by Jordan Grigg (A0.863537).
$15.95
14.94 €
#
Piano et Orchestre
#
Jordan Grigg
#
Passions
#
Jordan Grigg
#
SheetMusicPlus
Ballade for Piano and Orchestra No.1
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
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Piano et Orchestre
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Joseph Hull
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Ballade for Piano and Orchestra No.1
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Genesis
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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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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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