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Vous avez sélectionné:
Poeme I
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Poeme
Violon et Piano
Instrumental Duet Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.8…
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Instrumental Duet Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.874495 By Secret Garden. By Rolf Loevland. Arranged by Gavin Koh. Film/TV. Score and parts. 11 pages. Gavin Koh #5214979. Published by Gavin Koh (A0.874495). Here is the duet version of Secret Garden's relaxing Poéme, scored for Piano and Violin. This version stays true to the original as much as possible. I hope you will love it as much as I enjoyed arranging it.You can listen to Poéme on my Soundcloud channel at https://soundcloud.com/gavinkoh/secret-garden-poeme-duetListen to the composer's works and other arrangements at https://soundcloud.com/gavinkoh.
$5.95
5.48 €
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Violon et Piano
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Secret Garden
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Gavin Koh
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Poeme
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Gavin Koh
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SheetMusicPlus
Quatre Poemes De Guillaume Apollinaire
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis …
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 20th Century,Classical. Score. 11 pages. Nicole Elyse DiPaolo #904195. Published by Nicole Elyse DiPaolo (A0.1315461). The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists. This collectionâ??s reductions boast several unique features: 1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ? with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what Iâ??ve provided.2. Iâ??ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a â??sink or swimâ? accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composerâ??s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected, when possible, so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ??ve included the next downbeatâ??s notes in cue-size stemless noteheads at the end of the preceding measure.5. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â? with â??ssâ? in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.
$8.95
8.24 €
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Piano, Voix
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Francis Poulenc and Guillaume Apollinaire
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Nicole Elyse DiPaolo
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Quatre Poemes De Guillaume Apollinaire
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Nicole Elyse DiPaolo
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SheetMusicPlus
Poeme I
Piano seul
Piano - Digital Download SKU: S9.Q40366 Composed by Markus Lehmann. This edition: S…
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Piano - Digital Download SKU: S9.Q40366 Composed by Markus Lehmann. This edition: Sheet music. Downloadable. Duration 5 minutes. Schott Music - Digital #Q40366. Published by Schott Music - Digital (S9.Q40366).
$11.99
11.04 €
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Piano seul
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Markus Lehmann
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Poeme I
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Schott Music - Digital
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SheetMusicPlus
Chausson Poème OP. 25 for Violin and String Orchestra
Orchestre à Cordes
String Orchestra - Level 5 - Digital Download SKU: A0.736796 Composed by Ernest Cha…
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String Orchestra - Level 5 - Digital Download SKU: A0.736796 Composed by Ernest Chausson. Arranged by Paul Wood. 20th Century,Romantic Period. Score and parts. 72 pages. MyMusicScores.com #6295579. Published by MyMusicScores.com (A0.736796). Poème was written in response to a request from Eugène Ysaÿe for a violin concerto. Chausson felt unequal to the task of a concerto, writing to Ysaÿe I hardly know where to begin with a concerto, which is a huge undertaking, the devil's own task. But I can cope with a shorter work.
$35.00
32.23 €
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Orchestre à Cordes
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Ernest Chausson
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Paul Wood
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Chausson Poème OP. 25 for Violin and String Orchestra
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MyMusicScores.com
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SheetMusicPlus
Crépuscule, Poème Symphonique, Op. 39a
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.895627 By Various. By Zdenek…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.895627 By Various. By Zdenek Fibich. Arranged by Dico. Romantic Period,Wedding. Score and Parts. 18 pages. Dico Ferreira #501926. Published by Dico Ferreira (A0.895627). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.CRÉPUSCULE, POÈME SYMPHONIQUE in D-flat Major, Op. 39a for chamber orchestra.Score | Flute | Oboe | Trumpet | Percussion | Piano | Strings (-Viola)
$22.00
20.26 €
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Orchestre de chambre
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Various
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Dico
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Crépuscule, Poème Symphonique, Op. 39a
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Dico Ferreira
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SheetMusicPlus
Poème funèbre
Orgue
Organ - advanced - Digital Download SKU: S9.Q11271 En mémoire d'un jeune homm…
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Organ - advanced - Digital Download SKU: S9.Q11271 En mémoire d'un jeune homme. Composed by Harald Feller. This edition: Sheet music. Dieses Orgelstück eignet sich liturgisch insbesondere für die Passionszeit und Allerheiligen/Totensonntag, aber auch für Orgelkonzerte zum Thema Tod und Vergänglichkeit. Downloadable. Duration 10 minutes. Schott Music - Digital #Q11271. Published by Schott Music - Digital (S9.Q11271). This organ piece is ideal as liturgical piece for Lent and All Saints' Day/Sunday before Advent commemorating the dead but also for organ concerts on the topic of death and transitoriness. 'Poème funèbre is a very personal piece which, like an epitaph, shall bring to mind the death of a person who died young. I think such a remembrance is important, for it connects people with the dead. The first part is a musical expression of lament and grief: Within its symmetrical structure, the composition rises toward a dramatic climax and, diminishing, returns back to its starting point. This part is followed by a second quiet part in which the Gregorian antiphon 'In paradisum' is paraphrased in soft colours, as an expression of consolation and trusting to the sense of the yet incomprehensible.' (Harald Feller).
$15.99
14.72 €
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Orgue
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Harald Feller
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Poème funèbre
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Schott Music - Digital
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SheetMusicPlus
Poème (for woodwind quintet)
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1202620 Composed by Brandon Nelson. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. 11 pages. Brandon Nelson #801379. Published by Brandon Nelson (A0.1202620). A petite morsel portraying both a simple pathos and a burst of energy. Composed and performed while I was in residence at Northern Michigan University.
$10.99
10.12 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Brandon Nelson
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Poème
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Brandon Nelson
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SheetMusicPlus
Trois Chansons de Guerre (miniatures sur des poèmes de Guillaume Apollinaire) (Downloadable)
Chorale SATB
SATB choir unaccompanied - Medium - Digital Download SKU: MQ.8080-E Composed by Fra…
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SATB choir unaccompanied - Medium - Digital Download SKU: MQ.8080-E Composed by Frank Ferko. Funeral. 9 pages. Duration 3 minutes, 36 seconds. E. C. Schirmer Music Company - Digital #8080-E. Published by E. C. Schirmer Music Company - Digital (MQ.8080-E). French.Composed at the request of the choral ensemble Sospiri, the work is in three short movements:I. La Grace ExiléeII. Les Feux du BivouacIII. L'Adieu du CavalierThe 1915 texts are by the French poet Guillaume Apollinaire. Since he served in the French military, his poetry on the aspects of life in time of war is from first-hand experience. Graceful, charming, and varied, the music paints the text with elegance. A memorable concert piece for an a cappella SATB ensemble. Duration: 3:36.
$2.25
2.07 €
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Chorale SATB
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Frank Ferko
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Trois Chansons de Guerre
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Thérèse Brenet: Six Poèmes for orchestra with principal piano, score and solo part
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.533513 Composed by Therese Bren…
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Full Orchestra - Level 4 - Digital Download SKU: A0.533513 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 66 pages. Musik Fabrik Music Publishing #3006617. Published by Musik Fabrik Music Publishing (A0.533513). I. Dans l’harmonie de la force et de l’amour 3’30â€II. Scintillement 1’35â€III. Un immense chant d’espérance 3’10â€IV. Andante 2’05â€V. Un élan de violence 1’00â€VI. Les cycles infinis de la beauté et de la grâce 3’10â€durée totale/total duration : 14’30â€In this work, the author expresses her aim of mediation, of mysticalthought and sometimes even cosmic thought, through a her searchfor contrasting orchestral couleurs, which offer to a composer aseemingly infinite and boundless choice.orchestration: 2(pic)222/4330/timp/2perc/glock/cel/hp/stringsparts on rental from the publisher
$25.95
23.9 €
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Orchestre
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Therese Brenet
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Thérèse Brenet: Six Poèmes for orchestra with principal piano, score and solo part
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Musik Fabrik Music Publishing
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SheetMusicPlus
Selected Duets for Violin - Volume 2
Violin; Violin Duet - Grade 4 SKU: HL.4472670 Advanced First Position. Arran…
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Violin; Violin Duet - Grade 4 SKU: HL.4472670 Advanced First Position. Arranged by Harvey S. Whistler. Ensemble Collection. Concert, Contest, Instruction. 40 pages. Rubank Publications #RUBL168. Published by Rubank Publications (HL.4472670). ISBN 9781540001757. UPC: 073999726701. 9.0x12.0x0.11 inches.This classic series of duets is recognizable to nearly everyone who has ever studied an instrument. Duet playing is often a student's first form of ensemble experience - technique, tone quality, intonation and balance are introduced as students do one of the things they enjoy most - making music with a friend. And duet playing leads easily and naturally to competent performance in larger ensembles. These volumes written specifically for violin duet are carefully edited and bowed. (Vol. I – First Position [Medium]; Vol. II – First Position [Advanced]).
Song List: Dramatic Episode Abendlied (Tours) Allegro (Sym.Duo) Kalliwoda A Mirage (Mazas) Bal Masque (Dancla) Beau Soir (Dancla) Caprice-Elegante (Henning) Dialogue No. 1 (Eichberg) Dialogue No. 2 (Eichberg) Duo Chromatic (Eichberg) Duo De Concours (Wohlfahrt) Duo Processional (Wohlfahrt) Etude De Concert (Spohr) Eudoxa (Mazas) Finale (Concert.E Flat) Spohr Grand Duo De Salon (Kalliwoda) Guitare (Dancla) Intro & Scherzo-Capricc. (Weiss) La Capricieuse (Mazas) La Fileuse (Alard) Le Papillon (Mazas) Marche Melisande (Dancla) Menuet(2nd Duettino) Pleyel Poeme D'amour (De Beriot) Polka De Concert (Dancla) Promenade (Eichberg) Reveuse (De Beriot) Rondo (Duo In D) Mazas Scene De Danse (Kalliwoda) Theme & Var. (4th Duo) Pleyel Wellenspiel (L.Schubert)
$9.99
9.2 €
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Harvey S
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Selected Duets for Violin - Volume 2
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Rubank Publications
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SheetMusicPlus
Poemes enigmatiques I-V
Guitare
By Jean-David Lupien. For solo guitar. Level 4. Published by Les Productions d'OZ - Digita…
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By Jean-David Lupien. For solo guitar. Level 4. Published by Les Productions d'OZ - Digital
$8.95
8.24 €
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Guitare
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Jean-David Lupien
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Poemes enigmatiques I-V
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Les Productions d'OZ - Digital
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SheetMusicPlus
The Bagpipers (I Zampognari) by Gian Carlo Menotti - Piano Solo
Piano seul
Gian Carlo Menotti - The Bagpipers (I Zampognari) - from "Poemetti" Digital Shee…
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Gian Carlo Menotti - The Bagpipers (I Zampognari) - from "Poemetti" Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo, instruments: Piano; 2 pages -- Classical~~20th-Century
$5.50
5.06 €
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Piano seul
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Piano Solo
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Musicnotes
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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