| Verdi Arias For Baritone Voice And Piano Bk/cd Cantolopera Series Baritone voice [Sheet music + CD] Ricordi
Cantolopera Collection. By Giuseppe Verdi. This edition: R139599. Cantolopera Se...(+)
Cantolopera Collection. By Giuseppe Verdi. This edition: R139599. Cantolopera Series. Collection and Performance/Accompaniment CD. Published by Ricordi.
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| Fanfare - HAYABUSA Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115085-140 Composed by Satos...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115085-140 Composed by Satoshi Yagisawa. Concert and Contest Collection CBHA. Opening Pieces. Score Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115085-140. Published by De Haske Publications (BT.DHP-1115085-140). 9x12 inches. English-German-French-Dutch. On June 13, 2010 the capsule from the Hayabusa satellite successfully returned to earth after enduring a grueling six billion kilometer, seven year journey to retrieve samples from the Hayabusa meteor. Composer Satoshi Yagisawa was asked to write a piece to commemorate this momentous occasion. Fanfare - HAYABUSA’s premiere was so successful that the piece was performed a second time in response to the audience’s standing ovation. Out of this World!
Op 13 juni 2010 keerde de ruimtecapsule van de ruimtesonde Hayabusa terug op aarde. Dit was na een bijzondere reis waarbij ze onder moeilijke omstandigheden bodemmonsters had genomen van de meteoriet Hayabusa. De reis had zeven jaargeduurd en er was zes miljard kilometer afgelegd! De componist Satoshi Yagisawa kreeg de opdracht een werk te schrijven ter herinnering aan deze succesvolle missie. Na de première werd Fanfare HAYABUSA op wens van het publiek onderstaande ovatie nog een keer gespeeld.
Die Kapsel der Raumsonde Hayabusa kehrte am 13. Juni 2010 zur Erde zurück - nachdem sie unter diversen Schwierigkeiten Bodenproben vom Meteoriten Hayabusa gesammelt und eine siebenjährige Reise von sechs Milliarden Kilometern zurückgelegt hatte! Der Komponist Satoshi Yagisawa wurde gebeten, ein Stück zur Erinnerung an die erfolgreiche Mission, zu schreiben. Nach der Premiere wurde Fanfare - HAYABUSA auf Wunsch des Publikums noch einmal als Zugabe unter stehenden Ovationen wiederholt.
La sonde spatiale Hayabusa a réalisé sa rentrée atmosphérique en juin 2010. Son odyssée interplanétaire, qui aura duré sept années, l’aura amenée parcourir plus de six milliards de kilomètres. Satoshi Yagisawa a été sollicité afin de composer une pièce célébrant le succès de la mission. Fanfare - HAYABUSA provoqua un tel engouement lors de sa création que l’orchestre dut le rejouer une nouvelle fois, sous un tonnerre d’applaudissements.
La sonda spaziale Hayabusa è rientrata nell’atmosfera terrestre il 13 giugno 2010 cadendo nel deserto australiano, dopo un viaggio di circa due miliardi di chilometri. Lanciata nello spazio nel 2003, è atterrata su un asteroide due anni più tardi per raccogliere campioni di roccia. Satoshi Yagisawa è stato incaricato di comporre un brano per celebrare il successo della missione. La prima esecuzione mondiale dell’opera si è rivelata un successo straordinario. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Il trovatore, Cloth, It [Vocal Score] Ricordi
Vocal Score. By Giuseppe Verdi. (score). Vocal Score. Size 8.25x10.75 inches. Pu...(+)
Vocal Score. By Giuseppe Verdi. (score). Vocal Score. Size 8.25x10.75 inches. Published by Ricordi.
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| Camel Ride Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1084643-015 Comp...(+)
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1084643-015 Composed by Jan de Haan. De Haske Easy Band Series. Concert Piece. Set (Score & Parts). Composed 2008. De Haske Publications #DHP 1084643-015. Published by De Haske Publications (BT.DHP-1084643-015). 9x12 inches. English-German-French-Dutch. In Camel Ride you will experience the magic of a colourful Arabic caravan as it slowly passes by. With this short work for a flexible ten part instrumentation, composer Jan de Haan has brilliantly reflected the atmosphere of the parade and carefully capturing the mysticism of the East. Camel Ride will make a great interlude in your concert performances.
In Camel Ride horen we een karavaan voorbijtrekken. In rustige tred schrijdt de kleurige stoet voort. Componist Jan de Haan heeft met dit korte werk deze sfeer voortreffelijk weten te treffen.
Der im Titel dieses Werkes genannte Kamelritt ist durchaus wörtlich zu nehmen: Die Musik beschreibt eine vorüber ziehende Karawane. Ruhig, mit gleichmäßigem Schritt, hört man die Wüstenschiffe inmitten eines bunten Menschengewimmels stetig voranschreiten. Jan de Haan ist es in diesem kurzen Werk für zehn Stimmen ausgezeichnet gelungen, die Atmosphäre dieser exotischen Szenerie in diesem Stück für eine zehnstimmig variable Besetzung einzufangen.
Au rythme de la caravane de chameaux, bercés par le vent, nous effectuons une promenade musicale de petits villages en criques isolées, de dunes en plages du bout du monde, de cascades en marabouts éclatants de blancheur. Camel Ride : une touche insolite !
Una passeggiata musicale nel deserto in groppa ai cammelli: atmosfere esotiche e mozzafiato, accompagnati dal vento tra le dune fermandosi in splendide oasi. Camel Ride: un brano insolito! $91.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| TROVATORE, IL: Il balen del suo sorriso (Baritone) Soli, Mixted choir and accompaniment Lucks Music Library
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SET Composed by Giuseppe Verd...(+)
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SET Composed by Giuseppe Verdi. Set Type: D. Set of parts. Lucks Music Library #A3079. Published by Lucks Music Library (TM.02172SET). Includes recitative: Tutto e deserto. Act II Scene 3 No. 7 Scena ed Aria. Key of Bb. Score pages 179-184. Sung by Count di Luna (contains 1 line sung by Ferrando (Bass)). See #14133 for longer extraction. $35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Il Trovatore Vocal [Vocal Score] Ricordi
Vocal Score. By Giuseppe Verdi. Arranged by Charles Jefferys. (score). Vocal Sc...(+)
Vocal Score. By Giuseppe Verdi. Arranged by Charles Jefferys. (score). Vocal Score. Size 8x10.75 inches. 384 pages. Published by Ricordi.
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| Schulmeister, Der (Comic cantata) (Baritone) Lucks Music Library
(cem,str=4.4.0.2.2,Bar solo,2-pt boys chorus) SKU: TM.02396SET Composed b...(+)
(cem,str=4.4.0.2.2,Bar solo,2-pt boys chorus) SKU: TM.02396SET Composed by Georg Telemann. Edited by Stein. Set Type: M. Set of parts. Lucks Music Library #A7126. Published by Lucks Music Library (TM.02396SET). Includes recitative: Tutto e deserto. Act II Scene 3 No. 7 Scena ed Aria. Key of Bb. Score pages 179-184. Sung by Count di Luna (contains 1 line sung by Ferrando (Bass)). See #14133 for longer extraction. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ricordi Opera Anthology Baritone voice, Piano Ricordi
Baritone, Piano Accompaniment (Baritone/Bass) SKU: HL.50602120 Bariton...(+)
Baritone, Piano Accompaniment (Baritone/Bass) SKU: HL.50602120 Baritone. Composed by Various. Edited by Ilaria Narici. Vocal Collection. Opera. Softcover. 302 pages. Ricordi #NR141592. Published by Ricordi (HL.50602120). ISBN 9781540064479. UPC: 888680966539. 9x12 inches. VINCENZO BELLINI I puritani Or dove fuggo io mai? - Ah! per sempre io ti perdei • GEORGES BIZET Carmen Votre toast, je peux vous le rendre - Toréador, en garde • GAETANO DONIZETTI Don Pasquale Bella siccome un angelo • L'elisir d'amore Come Paride vezzoso • La favorita Sì, de' malvagi invan - Vien, Leonora, a' piedi tuoi • Lucia di Lammermoor Cruda, funesta smania • UMBERTO GIORDANO Andrea Chénier Nemico della patria?! • CHARLES GOUNOD Faust Ô sainte médaille - Avant de quitter ces lieux • Roméo et Juliette Mab, la reine des mensonges • GEORGE FRIDERIC HANDEL Rinaldo Sibilar gli angui d'Aletto • RUGGERO LEONCAVALLO Pagliacci Si può?... o Zazà Zazà, piccola zingara • JULES MASSENET Hérodiade Ce breuvage - Vision fugitive • Thaïs Voilà donc la terrible cité • CLAUDIO MONTEVERDI Orfeo Tu se' morta • WOLFGANG AMADEUS MOZART Così fan tutte Rivolgete a lui lo sguardo • Donne mie, la fate a tanti • Don Giovanni Fin ch'han dal vino • Deh, vieni alla finestra • Le nozze di Figaro Hai già vinta la causa! - Vedrò, mentr'io sospiro • Die Zauberflöte Der Vogelfänger bin ich ja • Ein Mädchen oder Weibchen • GIACOMO PUCCINI Edgar Questo amor, vergogna mia • La fanciulla del West Minnie, dalla mia casa son partito • Gianni Schicchi Si corre dal notaio • Il tabarro Nulla!...Silenzio!... • Le Villi No! possibil non è - Anima santa • GIOACHINO ROSSINI Il barbiere di Siviglia Largo al factotum della città • La Cenerentola Come un'ape ne' giorni d'aprile • PYOTR IL'YICH TCHAIKOVSKY Eugene Onegin Vy mnje pisáli - Kogdá by zhiz'n' • AMBROISE THOMAS Hamlet Ô vin, dissipe la tristesse • GIUSEPPE VERDI Un ballo in maschera Alzati! - Eri tu che macchiavi quell'anima • Don Carlo Son io, mio Carlo - Per me giunto è il dì supremo • I due Foscari Eccomi solo alfin- O vecchio cor, che batti • Falstaff È sogno? o realtà?... Rigoletto Pari siamo! o Cortigiani, vil razza dannata • La traviata Di Provenza il mar, il suol • Il trovatore Tutto è deserto - Il balen del suo sorriso • RICHARD WAGNER Tannhäuser Wie Todesahnung - O! du mein holder Abendstern. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| MESSIAH: O thou that tellest good tidings (Alto) (Prout edition) Soli, Mixted choir and accompaniment Lucks Music Library
(2.0.2.2/2.0.0.0,str,A solo,SATB chorus) SKU: TM.02394SET Composed by Geo...(+)
(2.0.2.2/2.0.0.0,str,A solo,SATB chorus) SKU: TM.02394SET Composed by George Frideric Handel. Set Type: A. Set of parts. Lucks Music Library #A8809. Published by Lucks Music Library (TM.02394SET). Includes recitative: Tutto e deserto. Act II Scene 3 No. 7 Scena ed Aria. Key of Bb. Score pages 179-184. Sung by Count di Luna (contains 1 line sung by Ferrando (Bass)). See #14133 for longer extraction. $30.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sicut Moses serpentem in deserto exaltavit [Score] Carus Verlag
SKU: CA.2006800 Composed by Heinrich Schutz. Edited by Uwe Wolf. This edi...(+)
SKU: CA.2006800 Composed by Heinrich Schutz. Edited by Uwe Wolf. This edition: urtext. Cycles: Schutz: Cantiones sacrae SWV 53-92. Stuttgart Urtext Edition: Schutz. Sicut Moses Serpentem / Turbabor. Sacred vocal music, Motets, Lent and Passiontide. Full score. 8 pages. Carus Verlag #CV 20.068/00. Published by Carus Verlag (CA.2006800). ISBN 9790007143862. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Deserto e Luminoso Violin Piles Editorial de Musica
Violin SKU: PD.PIL1150 Composed by Vicente Roncero. Duration 7:00. Publis...(+)
Violin SKU: PD.PIL1150 Composed by Vicente Roncero. Duration 7:00. Published by Piles Editorial de Musica (PD.PIL1150). ISBN 979-0-3505-0549-2. $10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| OperAria: Bariton Volume 2: lyrisch-dramatisch Breitkopf & Härtel
Repertoire Collection. Edited by Peter Anton Ling. OperAria. Collection (...(+)
Repertoire Collection. Edited by Peter Anton Ling. OperAria. Collection (softbound). 152 pages. Published by Breitkopf and Haertel (BR.EB-8878).
$43.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sicut Moses serpentem in deserto exaltavit - So wie Moses die Schlange Choral [Vocal Score] Barenreiter
Motette (Nr. 16) aus "Cantiones sacrae 1625." Urtext der Neuen Schutz-...(+)
Motette (Nr. 16) aus "Cantiones sacrae 1625." Urtext der Neuen Schutz-Ausgabe (lateinisch/deutsch). By Heinrich Schutz. Edited by Gottfried Grote. For Mixed Choir-SATB, Basso continuo ad lib. Singing Score; Playing Score. SWV 68. Published by Baerenreiter-Ausgaben (German import).
$13.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Il Trovatore Piano, Voice [Vocal Score] Schirmer
Vocal Score. By Giuseppe Verdi. Arranged by Macfarren. (score). Vocal Score. Siz...(+)
Vocal Score. By Giuseppe Verdi. Arranged by Macfarren. (score). Vocal Score. Size 7.5x10.7 inches. 248 pages. Published by Schirmer.
$36.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Schulmeister, Der (Comic cantata) (Baritone) Lucks Music Library
SKU: TM.02396CHS Composed by Georg Telemann. Choral Score. Lucks Music Li...(+)
SKU: TM.02396CHS Composed by Georg Telemann. Choral Score. Lucks Music Library #A7126. Published by Lucks Music Library (TM.02396CHS). Includes recitative: Tutto e deserto. Act II Scene 3 No. 7 Scena ed Aria. Key of Bb. Score pages 179-184. Sung by Count di Luna (contains 1 line sung by Ferrando (Bass)). See #14133 for longer extraction. $1.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| TROVATORE, IL: Il balen del suo sorriso (Baritone) Soli, Mixted choir and accompaniment [Score] Lucks Music Library
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SC Composed by Giuseppe Verdi...(+)
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SC Composed by Giuseppe Verdi. Score. Lucks Music Library #A3079. Published by Lucks Music Library (TM.02172SC). Includes recitative: Tutto e deserto. Act II Scene 3 No. 7 Scena ed Aria. Key of Bb. Score pages 179-184. Sung by Count di Luna (contains 1 line sung by Ferrando (Bass)). See #14133 for longer extraction. $10.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto for Piano and Orchestra Schott
Orchestra; Score SKU: HL.49007495 Score. Composed by Gyorgy Ligeti...(+)
Orchestra; Score SKU: HL.49007495 Score. Composed by Gyorgy Ligeti. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Faksimile-Partitur. Composed 1985-1988. 156 pages. Duration 22'. Schott Music #ED7746. Published by Schott Music (HL.49007495). ISBN 9790001080644. UPC: 073999686463. 10.5x13.0x0.446 inches. Piano and Orchestra. $91.00 - See more - Buy online | | |
| TROVATORE, IL: Tutto e deserto [Score] Lucks Music Library
SKU: TM.14133SC Composed by Giuseppe Verdi. Score. Lucks Music Library #E...(+)
SKU: TM.14133SC Composed by Giuseppe Verdi. Score. Lucks Music Library #E1067. Published by Lucks Music Library (TM.14133SC). Act II, scene 3 #7 (before Finale). Score pages 179-204. See #02172 for shorter version. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| CENERENTOLA, LA: Tutto e Deserto Soli, Mixted choir and accompaniment [Score] Lucks Music Library
(2D1.0.2.2/2.2.0.0,str,vo ices) SKU: TM.14019SC Composed by Gioachino Ros...(+)
(2D1.0.2.2/2.2.0.0,str,voices) SKU: TM.14019SC Composed by Gioachino Rossini. Score. Lucks Music Library #E1679. Published by Lucks Music Library (TM.14019SC). Act I, #3 includes recit before (Sappiate che fra poco) aka Un Soave non so che. Score pages 150-181, reh. 31-39. $35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Alba nel deserto Piano solo Curci
Piano SKU: CU.EC3448 Composed by Enrico Mineo. Published by Edizioni Curc...(+)
Piano SKU: CU.EC3448 Composed by Enrico Mineo. Published by Edizioni Curci (CU.EC3448). $6.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| CENERENTOLA, LA: Tutto e Deserto Soli, Mixted choir and accompaniment Lucks Music Library
(2D1.0.2.2/2.2.0.0,str,vo ices) SKU: TM.14019SET Composed by Gioachino Ro...(+)
(2D1.0.2.2/2.2.0.0,str,voices) SKU: TM.14019SET Composed by Gioachino Rossini. Set Type: D. Set of parts. Lucks Music Library #E1679. Published by Lucks Music Library (TM.14019SET). Act I, #3 includes recit before (Sappiate che fra poco) aka Un Soave non so che. Score pages 150-181, reh. 31-39. $60.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Deserto subtil Guitar Classical guitar - Intermediate Productions OZ
By Vasco Martins. For guitar solo. Level: 3. 20 pages. Published by Les Producti...(+)
By Vasco Martins. For guitar solo. Level: 3. 20 pages. Published by Les Productions d'OZ. (DZ 441)
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Modern Tenor Operatic Album Vocal Ricordi
35 Arias from Famous Operas. By Various. Vocal Collection. Size 9x12 inches. 178...(+)
35 Arias from Famous Operas. By Various. Vocal Collection. Size 9x12 inches. 178 pages. Published by Ricordi.
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. 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). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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