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Vous avez sélectionné:
The Seven Days of Creation
Partitions à imprimer
13 partitions trouvées
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1
Let There Be Light
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961642 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961642 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 6 pages. Kim S. Bean #5871355. Published by Kim S. Bean (A0.961642). Piano Solo, with optional short narration. 6 pages. Day 1 from a suite called The Seven Days of Creation. This piece begins with a mysterious and eerie atmosphere. The tension created as the piece builds eventually blossoms into a sparkle of intense joy.Other pieces available in this suite are: Sky, Land and Sea, Wind and Water Ballet, Celestial Guides, Parade of Creatures and Sabbath Rest.
$5.99
5.39 €
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Piano seul
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Kim S
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Let There Be Light
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Kim S. Bean
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SheetMusicPlus
Parade of Creatures
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961647 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961647 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 6 pages. Kim S. Bean #5871385. Published by Kim S. Bean (A0.961647). Piano solo, with optional narration. 6 pages. Day 6 from a suite of pieces called The Seven Days of Creation.Very rhythmic and fun, this jaunty and quirky piece brings to the imagination a myriad of creatures marching by in a parade for all to see. Other pieces available in this suite are: Let There Be Light, Sky, Land and Sea, Celestial Guides, Wind and Water Ballet, and Sabbath Rest.
$5.99
5.39 €
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Piano seul
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Kim S
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Parade of Creatures
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Kim S. Bean
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SheetMusicPlus
In the Beginning
Chorale SATB
Choral Choir (Mixed) - Digital Download SKU: A0.969509 Composed by Zachary Damm. Ba…
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Choral Choir (Mixed) - Digital Download SKU: A0.969509 Composed by Zachary Damm. Baroque,Christian,Classical,Renaissance,Sacred. Octavo. 34 pages. Digital Print Publishing #13945. Published by Digital Print Publishing (A0.969509). An orchestral interpretation of Genesis 1 and the first four verses of chapter 2, it combines men and women's vocal parts, piccolo, flute, oboe, clarinet, bassoon, organ, piano, horn, trumpet, trombone, tuba, two violin parts, viola, cello, and contrabass (with optional dulcimer, tubular bell, and timpani percussion). Each of the seven days of creation is treated as a separate movement and is distinguished by three-measure rests preceding each day except the first as a representation of the evening and the morning..
$7.00
6.3 €
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Chorale SATB
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Zachary Damm
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In the Beginning
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Digital Print Publishing
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SheetMusicPlus
IN THE BEGINNING WAS THE WORD (SSATB) – John 1:1-18
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926671 Composed by Michael…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M.A. Morizio (A0.926671). My dear friend, and Pastor Don Colageo and I cut our teeth together with this piece when we decided to dive headlong into this cycle of Seven Anthems to Christ. It was the second song of the (SEVEN ANTHEMS TO CHRIST) cycle that I had composed, but the first using his Greek translation(s). It eventually would become the last piece to grace the cycle of seven in order of my musical presentation sequence. In fact, this known 1st century Hymn to Christ spans 18 verses of the first chapter of the Gospel of John. My setting of the anthem is seven plus minutes long in performance length. The song's length was not on purpose, but the number seven does have Biblical significance (seven days of creation, seven golden lamp stands, etc.) The number seven is also known among Biblical scholars as the number of Holiness and Perfect Creation. Since this rather long, yet theologically complete Hymn to Christ already existed in the 1st century, it is no wonder the Apostle John opted to begin his Gospel with it, probably quoting the entire text. Consequently, he converted this particular Hymn to Christ’s lyrics into what would later become canonized Scripture. The anthem is composed for SSATB with solo SSA trio, and Solo Soprano and Solo Baritone lines, accompanied by Flute and B♠Clarinet. The key signature of the anthem is B♠Major. However, a lot of time is spent weaving and bobbing around the Dominant chord, (F Major). The Flute and Clarinet introduction play seven different motifs, interweaving with counterpoint, musically connoting the dual natures of Christ--fully God, and fully man. An SSA trio opens the piece recounting the creation story. A bass solo shortly follows, introducing John the baptizer's story and purpose. Soon, the anthem breaks out into full SSATB illustrating Christ's life and purpose for our salvation. The final coda is the great Doxology, sung in 5 parts, accompanied by the Flute and Clarinet, and the entire congregation (or audience) is invited to sing along with the familiar tune.
$2.99
2.69 €
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Chorale SATB
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Michael A
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IN THE BEGINNING WAS THE WORD
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M.A. Morizio
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SheetMusicPlus
There's a Snake in the Garden--Children's Musical
Chorale Unison
Choral Choir (Unison) - Digital Download SKU: A0.933965 Composed by S. K. Gandy. Ch…
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Choral Choir (Unison) - Digital Download SKU: A0.933965 Composed by S. K. Gandy. Christian. Octavo. 24 pages. Kay Gandy #3015387. Published by Kay Gandy (A0.933965). Mini-musical for Children's Choir. Includes original words and piano accompaniment: Seven Days of Creation, There's a Snake in the Garden, So God Made Eve, Don't Touch That Tree, and You Shall Die.
$19.99
17.98 €
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Chorale Unison
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S
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There's a Snake in the Garden--Children's Musical
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Kay Gandy
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SheetMusicPlus
'Re-Creation'
Orchestre à Cordes
String Orchestra - Digital Download SKU: A0.1022594 Composed by Craig Michael Davis…
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String Orchestra - Digital Download SKU: A0.1022594 Composed by Craig Michael Davis. 20th Century,Contemporary. Score and parts. 11 pages. Jack Harrison Inc. #50957. Published by Jack Harrison Inc. (A0.1022594). 'Re-Creation' Program Notes What is time, and where did it come from? These two questions consumed my thought process while writing Re-Creation. Upon completing the piece, I was no closer to answering those questions, but what I could answer became clear: could I write a piece in which time ceases to exist? In order to do this, I decided early on to throw out conventional notation that tends to restrict most performers. As my thought process evolved, I began contemplating the idea of juxtaposing the continuum of timelessness against the traditional view of time. Not only did this free me from the confines of a specific time, it opened up the entire spectrum of time, creating the possibility of infinity and the eternal existence of the continuity of time that invariably existed from the earliest sketches of this piece. The early sketches of this piece were written in my coastal Californian studio during the summer months of 2014, and because of this, Re-Creation represents not only a freedom of time, but also a sound world unique to California’s breathtaking coast. However, the impetus for this piece was the opening chapters of the book of Genesis, portraying the creation of the world in seven days. In this respect, the usage of three and seven play and important roll in the overall structure of this piece. Re-Creation was also inspired by a vacation I had taken a year before where I drove up the coast, stopping in small towns periodically, to collect poems from local authors. One collection of poems from Jeanie Greensfelder entitled, Biting the Apple, caught my attention. Reading through the poems, I began to realize that each poem was unique in that it marked a special time and place in the authors life, ultimately providing the reader with an autobiographical time capsule. The arch of the author’s life was thus on display for the world to read inevitably transforming her life, rather than her work, into the work of art. My hope for The Creation is that it portrays a snapshot of the Californian coast in which it was written, so that it can have a life of it’s own, free from the confines of it’s author and any concert hall it is performed in.
$15.00
13.49 €
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Orchestre à Cordes
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Craig Michael Davis
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'Re-Creation'
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Jack Harrison Inc.
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SheetMusicPlus
The Seven Days of Creation
Orgue
Instrumental Solo,Pipe Organ - Level 2 - Digital Download SKU: A0.1277936 Composed …
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Instrumental Solo,Pipe Organ - Level 2 - Digital Download SKU: A0.1277936 Composed by Karen Beaumont. Christian,Classical,Contemporary. Individual part. 20 pages. Karen Beaumont #869640. Published by Karen Beaumont (A0.1277936). Organ Solo.
$20.00
17.99 €
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Orgue
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Karen Beaumont
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The Seven Days of Creation
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Karen Beaumont
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SheetMusicPlus
Land and Sea
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961644 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961644 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 5 pages. Kim S. Bean #5871371. Published by Kim S. Bean (A0.961644). Piano Solo, with optional narration. 5 pages. Day 3 from a suite called The Seven Days of Creation.There is a rollicking seafaring feel to this piece with its 6/8 rhythms and accents. One should feel the salt spray in their faces as they climb every wave, glimpsing land at each crest.Other pieces available in this suite are: Let There Be Light, Sky, Celestial Guides, Wind and Water Ballet, Parade of Creatures and Sabbath Rest.
$5.99
5.39 €
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Piano seul
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Kim S
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Land and Sea
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Kim S. Bean
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SheetMusicPlus
Sabbath Rest
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961648 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961648 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 4 pages. Kim S. Bean #5871389. Published by Kim S. Bean (A0.961648). Solo piano, with optional narration. 4 pages. Day 7 from a suite called The Seven Days of Creation.This dreamy piece recalls snatches from each of the 6 days prior, while adding its own peaceful and restful motif to complete this suite.Other pieces available in this suite are: Let There Be Light, Sky, Land and Sea, Celestial Guides, Wind and Water Ballet and Parade of Creatures.
$5.99
5.39 €
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Piano seul
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Kim S
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Sabbath Rest
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Kim S. Bean
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SheetMusicPlus
Celestial Guides
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961645 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961645 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 6 pages. Kim S. Bean #5871377. Published by Kim S. Bean (A0.961645). Piano solo, with optional narration. 6 pages. This piece is Day 4 from a suite called The Seven Days of Creation.Mystery and a sparkling night sky with a magnificent display of the cosmos is the musical intent of this piece.Other pieces available in this suite are: Let There Be Light, Sky, Land and Sea, Wind and Water Ballet, Parade of Creatures and Sabbath Rest.
$5.99
5.39 €
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Piano seul
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Kim S
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Celestial Guides
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Kim S. Bean
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SheetMusicPlus
Wind and Water Ballet
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961646 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961646 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 9 pages. Kim S. Bean #5871383. Published by Kim S. Bean (A0.961646). Piano Solo, with optional narration. 9 pages. Day 5 from a suite called The Seven Days of Creation. This piece opens under the ocean with dolphins playfully swimming. Later, over land, the dazzling and daring hummingbird displays its acrobatics. A majestic eagle makes its entrance, soaring overhead.Other pieces available in this suite are: Let There Be Light, Sky, Land and Sea, Celestial Guides, Parade of Creatures and Sabbath Rest.
$5.99
5.39 €
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Piano seul
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Kim S
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Wind and Water Ballet
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Kim S. Bean
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SheetMusicPlus
Sky
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.961643 Composed by Kim S. Bean. Con…
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Piano Solo - Level 4 - Digital Download SKU: A0.961643 Composed by Kim S. Bean. Contemporary,Sacred,Spiritual,Standards. Score. 3 pages. Kim S. Bean #5871363. Published by Kim S. Bean (A0.961643). Piano solo, with optional narration. 3 pages. Day 2 from a suite called The Seven Days of Creation. Spacious and filled with open sounding chords and grandeur, making one think of a majestically expansive sky overhead.Other pieces available in this suite are: Let There Be Light, Land and Sea, Wind and Water Ballet, Celestial Guides, Parade of Creatures and Sabbath Rest.
$5.99
5.39 €
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Piano seul
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Kim S
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Sky
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Kim S. Bean
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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)
$23.99
21.58 €
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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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