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).
Guitar SKU: FG.55011-899-7 Composed by Paavo Korpijaakko. Classical, cont...(+)
Guitar
SKU:
FG.55011-899-7
Composed by Paavo
Korpijaakko. Classical,
contemporary. Score.
Fennica Gehrman
#55011-899-7. Published
by Fennica Gehrman
(FG.55011-899-7).
ISBN
9790550118997.
Paav
o Korpijaakko's (b. 1977)
guitar sonata Kimberley
was composed in 2006 and
dedicated to Petri
Kumela. It is
Korpijaakko's fist piece
for the guitar, and the
composers gives credit to
the commissioner, who
untiringly and
long-sufferingly solved
the challenges posed by
the musical ideas and
conjured forth timbral
shades. Including a
tribute to Debussy, a
playful scherzo and some
shameless flirting with a
flamenco the four
movement sonata arrives
at a spectacular
conclusion.
Durati
on:
21'
Korpijaakko
studied at the Tampere
Conservatory
1997â2007, majoring
in composition from 2001
onwards. For most of the
time he was a pupil of
Jouni Kaipainen, but he
was also taught by Juhani
Nuorvala and Hannu
Pohjannoro. Korpijaakko
stresses the importance
of harmony, resonant
material and harmonic
hierarchy, by which he
means harmony as a
fundamental progressive
element of the piece. His
aim in handling his
motifs is to use his
material sparingly. In
this respect he
specifically wants to be
a kindred spirit to
Beethoven. Everything
that will later appear in
the work must be derived
from the core thematic
and harmonic elements
â or whatever one
likes to call them. Most
important is, however, to
create a steady stream of
interesting music.
By John Cage (1912-1992). For for any instrument or combination of instruments. ...(+)
By John Cage (1912-1992).
For for any instrument or
combination of
instruments. Modern.
Sheet Music. Composed
1952. Duration 4 minutes
33 seconds. Published by
Edition Peters
Give It One Ensemble Jazz - Intermédiaire Alfred Publishing
Composed by Maynard Ferguson and Alan Downey. Arranged by Alan Baylock. Jazz Ens...(+)
Composed by Maynard
Ferguson and Alan Downey.
Arranged by Alan Baylock.
Jazz Ensemble. Jazz
Ensemble; Part(s); Score;
SmartMusic. Premier Jazz
Series. Jazz. Grade 4.5.
76 pages. Published by
Alfred Music
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Parts supplied with fingerings and bowing marks by Engelbert Rontgen. Compose...(+)
Parts supplied with
fingerings and bowing
marks
by Engelbert Rontgen.
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Engelbert
Rontgen.
The Breitkopf Originals
series opens up a
fascinating view into the
Breitkopf and Hartel
publishing-house
archives.
The focus is on its
rarities
and treasures, together
with
milestones in the history
of
interpretation for works
of
the . Breitkopf and
Haertel
#KM-254. Published by
Breitkopf and Haertel
Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Parts Supplied with Fingerings and Bowing Marks by Engelbert Rontgen. Compose...(+)
Parts Supplied with
Fingerings and Bowing
Marks
by Engelbert Rontgen.
Composed by Ludwig van
Beethoven (1770-1827).
Breitkopf and Haertel #KM
277. Published by
Breitkopf
and Haertel
Parts Supplied with Fingerings and Bowing Marks by Engelbert Rontgen. Compose...(+)
Parts Supplied with
Fingerings and Bowing
Marks
by Engelbert Rontgen.
Composed by Ludwig van
Beethoven (1770-1827).
Breitkopf and Haertel #KM
286. Published by
Breitkopf
and Haertel
Give It One Fanfare [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Maynard Ferguson and Alan Downey. Arranged by Victor López, perc. arr. Ant...(+)
By Maynard Ferguson and
Alan Downey. Arranged by
Victor López, perc.
arr. Anthony M. Falcone.
Marching Band. Marching
Band; Part(s); Score.
Mega Sounds for Marching
Band. Jazz. Grade 3.
Published by Alfred Music
Concert Band (FULL SCORE) - Level 3.5 SKU: HL.4007480 One Village Unit...(+)
Concert Band (FULL SCORE)
- Level 3.5
SKU:
HL.4007480
One
Village United.
Composed by Thomas Doss.
Mitropa Music Concert
Band. Concert. Softcover.
Duration 480 seconds.
Mitropa Music
#2220-21-140M. Published
by Mitropa Music
(HL.4007480).
UPC:
196288058038.
Intro
duction: Like a dark
veil, an ominous sense of
foreboding takes hold
across the world. A
looming danger, one
previously unknown to
mankind, slowly
approaches, bringing our
daily lives to a grinding
halt. A perilous virus
gives us no choice other
than to stay in our
homes, leaving us unable
to work in our offices or
even visit family and
friends. Something that
has only been talked
about in history books is
coming to pass: a
pandemic! Bar 74: Like a
dark veil, an ominous
sense of foreboding takes
hold across the world. A
looming danger, one
previously unknown to
mankind, slowly
approaches, bringing our
daily lives to a grinding
halt. A perilous virus
gives us no choice other
than to stay in our
homes, leaving us unable
to work in our offices or
even visit family and
friends. Something that
has only been talked
about in history books is
coming to pass: a
pandemic! Bar 82: People
help each other out.
Neighbourly assistance
and support within one's
own family becomes more
apparent. We stand by
each other. Suddenly we
have the time for things
that we did not have
before. Time for
reflection... Bar 106: A
new era commences.
Finally, hope reappears.
We leave our houses, but
nothing is quite the same
anymore. With renewed
strength, people begin to
perceive the future in a
positive and optimistic
way once again. With
greater attention and
awareness of the here and
now, we feel that,
despite it all, we can be
happy.
Flexible Ensemble - late intermediate SKU: BT.EMBZ14861 Kammermusikser...(+)
Flexible Ensemble - late
intermediate
SKU:
BT.EMBZ14861
Kammermusikserie mit
variabler Besetzung.
EMB Ad Libitum.
Educational Tool. Set
(Score & Parts). Composed
2013. 60 pages. Editio
Musica Budapest
#EMBZ14861. Published by
Editio Musica Budapest
(BT.EMBZ14861).
Die
Bände der neuen Serie
beinhalten leichte,
mittelschwere oder
fortgeschrittene Duos,
Trios und Quartette.
Bei der
Zusammenstellung lag das
Hauptaugenmerk auf der
höchstmöglichen
Freiheit in der
Kombinierbarkeit der
Instrumente sowie darauf,
dass die Kompositionen
für Musikschuler und
Hobbymusiker musikalisch
interessant und wertvoll
sind. Aus diesemGrund
handelt es sich bei allen
Stücken um
Transkriptionen. Lage und
Tonumfang der Stimmen
sind so gesetzt, dass
sich die Werke allen
denkbaren Umständen
und Anspruchen anpassen
und entsprechend in jeder
Kombination der
angegebenen
Musikinstrumentevorgetrag
en werden
können.
I volumi della
serie Ad Libitum
propongono trascrizioni o
arangiamenti di opere per
trio e quartetto di
livello facile,
intermedio e avanzato.
L´estensione e il
registro delle parti
permettono a questi brani
di adattarsi a tutte le
esigenze edi essere
eseguiti da ogni
combinazione di
strumenti.
By The American Jazz Orchestra. Edited by Jeffrey Sultanof and Rob DuBoff. Arran...(+)
By The American Jazz
Orchestra. Edited by
Jeffrey Sultanof and Rob
DuBoff. Arranged by Benny
Carter. For big band.
Swing. Medium. Score and
parts. Published by Jazz
Lines Publications