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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
We Five Kings: Oboe
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Flûte, Hautbois, Clarinette, Basson
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLARINETTE
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GUITARE LAP ST…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
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TUBA
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Vous avez sélectionné:
We Five Kings: Oboe
Partitions à imprimer
13 partitions trouvées
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1
We Three Kings (Persian Style)
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.914556 Composed by Christian Morr…
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Concert Band - Level 3 - Digital Download SKU: A0.914556 Composed by Christian Morris. Arranged by Hoopla Sheet Music. Christmas,Folk,Multicultural,World. 87 pages. Hoopla Sheet Music #5306439. Published by Hoopla Sheet Music (A0.914556). Sick of the same old versions of Christmas classics? Want to stand out from the crowd during holiday season? Here's an arrangement of We Three Kings with a Persian twist. A great showstopper at any Christmas event! A flexible ensemble arrangement in five parts with additional percussion, piano and guitar. This allows many different ensembles, small and large, to play this piece. Full parts list: Part 1: Flute, oboe, violin, trumpet in Bb. Part 2: Flute, clarinet in Bb, alto saxophone in Eb, violin, trumpet in Bb. Part 3: Clarinet in Bb, alto saxophone in Eb, tenor saxophone in Bb, horn in F, violin, viola. Part 4: Tenor saxophone in Bb, horn in F, euphonium (treble clef) in Bb, trombone, cello. Part 5: Baritone saxophone in Eb, bassoon, baritone (treble clef) in Bb, bass clarinet, tuba, cello, string bass. Timpani Percussion (3 players) Electric Guitar Piano Conductor’s score. More Christmas music from Hoopla Sheet Music: Jingle Bells Salsa Emmanuel Rock O Come All Ye Boogie-Woogie Faithful Away in A Country Manger Hark the Funky Angels Sing Bossa Nova Bleak Midwinter God Rest Ye Good King Gospel Mashup Jump Blues Joy to the World We Three Kings (Persian Style) We Wish You a Jazzy Christmas and We Wish You a Jazzy Christmas (complete collection of all the above)
$15.99
14.74 €
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Orchestre d'harmonie
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Christian Morris
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Hoopla Sheet Music
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We Three Kings
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Hoopla Sheet Music
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SheetMusicPlus
We Three Kings (Downloadable Choral Score)
Chorale SATB
SATB choir divisi, baritone voice and bass voice soloists, oboe - Moderately Difficult - D…
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SATB choir divisi, baritone voice and bass voice soloists, oboe - Moderately Difficult - Digital Download SKU: MQ.50-0061-E Composed by Matthew Culloton. Christmas, Epiphany. 19 pages. MorningStar Music Publishers - Digital Sheet Music #50-0061-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-0061-E). This unaccompanied setting of the well-known carol uses three male soloists (one baritone, two bass) as the kings voices. The oboe reinforces the melody, dances around it, and even quotes Greensleeves. The divisi chorus sings backup to the kings and all the refrains, which are set differently. Five full verses are used, but due to the fun and creativity present in the writing, the piece unfolds in a very fulfilling way.
$3.15
2.9 €
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Chorale SATB
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Matthew Culloton
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We Three Kings
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
We Wish You a Jazzy Christmas (We Wish You a Merry Christmas)
Orchestre d'harmonie
Concert Band - Digital Download SKU: A0.914574 Composed by Christian Morris. Arrang…
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Concert Band - Digital Download SKU: A0.914574 Composed by Christian Morris. Arranged by Hoopla Sheet Music. Christmas,Jazz,Standards. Score and parts. 80 pages. Hoopla Sheet Music #5770695. Published by Hoopla Sheet Music (A0.914574). Sick of the same old versions of Christmas classics? Want to stand out from the crowd during holiday season? Here's an arrangement of Wish You a Merry Christmas with a jazzy twist. A great showstopper at any Christmas event! A flexible ensemble arrangement in five parts with additional percussion, harp, piano and guitar. This allows many different ensembles, from small groups to full orchestra or wind-band, to play this piece. Full parts list: Part 1: Flute, oboe, violin, trumpet in Bb. Part 2: Flute, clarinet in Bb, alto saxophone in Eb, violin, trumpet in Bb. Part 3: Clarinet in Bb, alto saxophone in Eb, tenor saxophone in Bb, horn in F, violin, viola. Part 4: Tenor saxophone in Bb, horn in F, euphonium (treble clef) in Bb, trombone, cello. Part 5: Baritone saxophone in Eb, bassoon, baritone (treble clef) in Bb, bass clarinet, tuba, cello, string bass. Timpani Percussion (1 Player) Drum Kit Electric Guitar Piano Conductor’s score. More Christmas music from Hoopla Sheet Music: Jingle Bells Salsa Emmanuel Rock O Come All Ye Boogie-Woogie Faithful Away in A Country Manger Hark the Funky Angels Sing Bossa Nova Bleak Midwinter God Rest Ye Good King Gospel Mashup Jump Blues Joy to the World We Three Kings (Persian Style) We Wish You a Jazzy Christmas and We Wish You a Jazzy Christmas (complete collection of all the above)
$15.99
14.74 €
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Orchestre d'harmonie
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Christian Morris
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Hoopla Sheet Music
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We Wish You a Jazzy Christmas
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Hoopla Sheet Music
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SheetMusicPlus
Five Christmas Songs - two Oboes with Piano accompaniment
2 Hautbois (duo)
Oboe Duet Oboe - Level 2 - Digital Download SKU: A0.1432755 Composed by Traditional…
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Oboe Duet Oboe - Level 2 - Digital Download SKU: A0.1432755 Composed by Traditional. Arranged by Bragi Thor Valsson. 19th Century,Christian,Christmas,Religious,Sacred. Score. 20 pages. Arctic Dragon #1013181. Published by Arctic Dragon (A0.1432755). Arrangements of the following five Christmas songs for two Oboes with Piano Accompaniment:God Rest You, Merry GentlemenHark, The Herald Angels SingIn The Bleak MidwinterIt Came Upon The Midnight ClearWe Three Kings.
$27.99
25.8 €
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2 Hautbois (duo)
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Traditional
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Bragi Thor Valsson
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Five Christmas Songs - two Oboes with Piano accompaniment
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Arctic Dragon
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SheetMusicPlus
Five Christmas Songs - Oboe with Piano accompaniment
Hautbois, Piano (duo)
Oboe,Piano - Level 2 - Digital Download SKU: A0.1432314 Composed by Traditional. Ar…
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Oboe,Piano - Level 2 - Digital Download SKU: A0.1432314 Composed by Traditional. Arranged by Bragi Thor Valsson. 19th Century,Christian,Christmas,Religious,Sacred. Score and part. 16 pages. Arctic Dragon #1012803. Published by Arctic Dragon (A0.1432314). Arrangements of the following five Christmas songs for Oboe with Piano Accompaniment:God Rest You, Merry GentlemenHark, The Herald Angels SingIn The Bleak MidwinterIt Came Upon The Midnight ClearWe Three Kings.
$19.99
18.43 €
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Hautbois, Piano (duo)
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Traditional
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Bragi Thor Valsson
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Five Christmas Songs - Oboe with Piano accompaniment
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Arctic Dragon
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SheetMusicPlus
Five Christmas Songs - Flute and Oboe with Piano accompaniment
Flûte, Hautbois, Piano (trio)
Instrumental Duet,Piano Flute,Instrumental Duet,Oboe,Piano - Level 2 - Digital Download
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Instrumental Duet,Piano Flute,Instrumental Duet,Oboe,Piano - Level 2 - Digital Download SKU: A0.1433560 Composed by Traditional. Arranged by Bragi Thor Valsson. Christian,Christmas,Religious,Sacred. 20 pages. Arctic Dragon #1013790. Published by Arctic Dragon (A0.1433560). Arrangements of the following five Christmas songs for Flute and Oboe with Piano Accompaniment:God Rest You, Merry GentlemenHark, The Herald Angels SingIn The Bleak MidwinterIt Came Upon The Midnight ClearWe Three Kings.
$27.99
25.8 €
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Flûte, Hautbois, Piano (trio)
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Traditional
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Bragi Thor Valsson
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Five Christmas Songs - Flute and Oboe with Piano accompaniment
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Arctic Dragon
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SheetMusicPlus
We Five Kings: Oboe
Hautbois (partie séparée)
Arranged by Mark Williams. For Concert Band. Instructional. Part. 1 pages. Published by Al…
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Arranged by Mark Williams. For Concert Band. Instructional. Part. 1 pages. Published by Alfred Music. Digital Sheet Music
$3.00
2.77 €
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Hautbois (partie séparée)
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Mark Williams
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We Five Kings: Oboe
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Alfred Music. Digital Sheet Music
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SheetMusicPlus
Five Christmas Songs - Clarinet and Oboe with Piano accompaniment
Instrumental Duet,Piano Clarinet,Instrumental Duet,Oboe,Piano - Level 2 - Digital Download…
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Instrumental Duet,Piano Clarinet,Instrumental Duet,Oboe,Piano - Level 2 - Digital Download SKU: A0.1433303 Composed by Traditional. Arranged by Bragi Thor Valsson. 19th Century,Christian,Christmas,Religious,Sacred. 20 pages. Arctic Dragon #1013618. Published by Arctic Dragon (A0.1433303). Arrangements of the following five Christmas songs for Clarinet and Oboe with Piano Accompaniment:God Rest You, Merry GentlemenHark, The Herald Angels SingIn The Bleak MidwinterIt Came Upon The Midnight ClearWe Three Kings.
$27.99
25.8 €
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Traditional
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Bragi Thor Valsson
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Five Christmas Songs - Clarinet and Oboe with Piano accompaniment
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Arctic Dragon
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SheetMusicPlus
O Come All Ye Boogie-Woogie Faithful
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.914567 Composed by Felix Barthold…
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Concert Band - Level 3 - Digital Download SKU: A0.914567 Composed by Felix Bartholdy Mendelssohn. Arranged by Christian Morris. Christmas,Jazz. Score and parts. 86 pages. Hoopla Sheet Music #5724949. Published by Hoopla Sheet Music (A0.914567). Sick of the same old versions of Christmas classics? Want to stand out from the crowd during holiday season? Here's an arrangement of O Come All Ye Faithful with a boogie-woogie twist. A great showstopper at any Christmas event!A flexible ensemble arrangement in five parts with additional percussion, piano and guitar. This allows many different ensembles, small and large, to play this piece.Full parts list:Part 1: Flute, oboe, violin, trumpet in Bb.Part 2: Flute, clarinet in Bb, alto saxophone in Eb, violin, trumpet in Bb.Part 3: Clarinet in Bb, alto saxophone in Eb, tenor saxophone in Bb, horn in F, violin, viola.Part 4: Tenor saxophone in Bb, horn in F, euphonium (treble clef) in Bb, trombone, cello.Part 5: Baritone saxophone in Eb, bassoon, baritone (treble clef) in Bb, bass clarinet, tuba, cello, string bass.TimpaniPercussion (3 players)Electric GuitarPianoConductor’s score.More Christmas music from Hoopla Sheet Music:Jingle Bells SalsaEmmanuel RockO Come All Ye Boogie-Woogie FaithfulAway in A Country MangerHark the Funky Angels SingBossa Nova Bleak MidwinterGod Rest Ye Good King Gospel MashupJump Blues Joy to the WorldWe Three Kings (Persian Style)We Wish You a Jazzy ChristmasandWe Wish You a Jazzy Christmas (complete collection of all the above)
$15.99
14.74 €
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Orchestre d'harmonie
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Felix Bartholdy Mendelssohn
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Christian Morris
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O Come All Ye Boogie-Woogie Faithful
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Hoopla Sheet Music
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SheetMusicPlus
Hark! The Funky Angels Sing (Hark the Herald)
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.914545 Composed by Felix Barthold…
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Concert Band - Level 3 - Digital Download SKU: A0.914545 Composed by Felix Bartholdy Mendelssohn. Arranged by Christian Morris. Blues,Christmas,Pop,Standards. Score and parts. 93 pages. Hoopla Sheet Music #5205329. Published by Hoopla Sheet Music (A0.914545). Sick of the same old versions of Christmas classics? Want to stand out from the crowd during holiday season? Here's an arrangement of Hark! The Herald Angels Sing with a funky twist. A great showstopper at any Christmas event!A flexible ensemble arrangement in five parts with additional percussion, piano and guitar. This allows many different ensembles, small and large, to play this piece. Full parts list:Part 1: Flute, oboe, violin, trumpet in Bb.Part 2: Flute, clarinet in Bb, alto saxophone in Eb, violin, trumpet in Bb.Part 3: Clarinet in Bb, alto saxophone in Eb, tenor saxophone in Bb, horn in F, violin, viola.Part 4: Tenor saxophone in Bb, horn in F, euphonium (treble clef) in Bb, trombone, cello. Part 5: Baritone saxophone in Eb, bassoon, baritone (treble clef) in Bb, bass clarinet, tuba, cello, string bass.TimpaniDrum SetPercussion (2 Players)Electric GuitarPianoConductor’s score.More Christmas music from Hoopla Sheet Music:Jingle Bells SalsaEmmanuel RockO Come All Ye Boogie-Woogie FaithfulAway in A Country MangerHark the Funky Angels SingBossa Nova Bleak MidwinterGod Rest Ye Good King Gospel MashupJump Blues Joy to the WorldWe Three Kings (Persian Style)We Wish You a Jazzy ChristmasandWe Wish You a Jazzy Christmas (complete collection of all the above)
$15.99
14.74 €
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Orchestre d'harmonie
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Felix Bartholdy Mendelssohn
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Christian Morris
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Hark! The Funky Angels Sing
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Hoopla Sheet Music
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SheetMusicPlus
Emmanuel Rock (O Come, O Come Emmanuel)
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.914564 Composed by Christian Morr…
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Concert Band - Level 3 - Digital Download SKU: A0.914564 Composed by Christian Morris. Arranged by Hoopla Sheet Music. Christmas,Rock,Standards. Score and parts. 78 pages. Hoopla Sheet Music #5359773. Published by Hoopla Sheet Music (A0.914564). Sick of the same old versions of Christmas classics? Want to stand out from the crowd during holiday season? Here's an arrangement of O Come, O Come Emmanuel with a Rock twist. A great showstopper at any Christmas event!A flexible ensemble arrangement in five parts with additional percussion, piano and guitar. This allows many different ensembles, from small groups to full orchestra or wind-band, to play this piece.Full parts list:Part 1: Flute, oboe, violin, trumpet in Bb.Part 2: Flute, clarinet in Bb, alto saxophone in Eb, violin, trumpet in Bb.Part 3: Clarinet in Bb, alto saxophone in Eb, tenor saxophone in Bb, horn in F, violin, viola.Part 4: Tenor saxophone in Bb, horn in F, euphonium (treble clef) in Bb, trombone, cello.Part 5: Baritone saxophone in Eb, bassoon, baritone (treble clef) in Bb, bass clarinet, tuba, cello, string bass.TimpaniPercussion (1 Player)Drum KitElectric GuitarPianoConductor’s score.More Christmas music from Hoopla Sheet Music:Jingle Bells SalsaEmmanuel RockO Come All Ye Boogie-Woogie FaithfulAway in A Country MangerHark the Funky Angels SingBossa Nova Bleak MidwinterGod Rest Ye Good King Gospel MashupJump Blues Joy to the WorldWe Three Kings (Persian Style)We Wish You a Jazzy ChristmasandWe Wish You a Jazzy Christmas (complete collection of all the above)
$15.99
14.74 €
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Orchestre d'harmonie
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Christian Morris
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Hoopla Sheet Music
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Emmanuel Rock
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Hoopla Sheet Music
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SheetMusicPlus
Day Tripper
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Downloa…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.769484 By The Beatles. By John Lennon and Paul McCartney. Arranged by Ray Thompson. 20th Century,Pop,Rock. 9 pages. RayThompsonMusic #377115. Published by RayThompsonMusic (A0.769484). Arranged wind quartet: fl, ob, cl and bsn.  Day Tripper is a song by the English rock band the Beatles that was released as a double A-side single with We Can Work It Out on December 3, 1965.Written primarily by John Lennon, it was credited to the Lennon–McCartney partnership. Both songs were recorded during the sessions for the band's Rubber Soul album.The single topped charts in Britain, Ireland, the Netherlands and Norway. In the United States, Day Tripper peaked at number five on the Billboard Hot 100 chart and We Can Work It Out held the top position.Day Tripper is a rock song based around an electric guitar riff and drawing on the influence of American soul music. The Beatles included it in their concert set-list until their retirement from live performances in late August 1966. The single was the first example of a double A-side in Britain Its success popularised the format and, in giving equal treatment to two songs, allowed recording artists to show their versatility. The band's use of promotional films to market the single anticipated the modern music video.In the UK, Day Tripper / We Can Work It Out was the seventh highest selling single of the 1960s. As of December 2018, it was the 54th best-selling single of all time in the UK – one of six Beatles singles included in the top sales rankings published by the Official Charts Company.Video is my brass quartet arrangementCheck out my other Beatles Quartets.
$14.95
13.78 €
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Flûte, Hautbois, Clarinette, Basson
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The Beatles
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Ray Thompson
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Day Tripper
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RayThompsonMusic
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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)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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