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).
(A Graded Collection of Teacher-Student Piano Duets by Master Composers). Edited...(+)
(A Graded Collection of
Teacher-Student Piano
Duets by Master
Composers). Edited by
Gayle Kowalchyk, E. L.
Lancaster, and Jane
Magrath. For Piano. Book;
Duet or Duo; Graded
Standard Repertoire;
Masterworks; Piano Duet
(1 Piano, 4 Hands).
Alfred Masterwork
Edition: Masterwork
Classics Duets.
Masterwork. Elementary;
Late Elementary. 48
pages. Published by
Alfred Music Publishing
Composed by Felix Mendelssohn, edited by Constantin Von Sternberg. For piano. Sc...(+)
Composed by Felix
Mendelssohn, edited by
Constantin Von Sternberg.
For piano. Schirmer
Library, volume 58.
Format: piano solo book.
With fingerings,
introductory text and
thematic index. Romantic
period. 150 pages. 9x12
inches. Published by
Schirmer.
Composed by Jack Harford and Stuart K. Hine (1899-1989). Arranged by Joel Rane...(+)
Composed by Jack Harford
and
Stuart K. Hine
(1899-1989).
Arranged by Joel Raney.
Hymntune, Hymn
Arrangements,
Celebration,
Thanksgiving,
General Worship,
Adoration,
Assurance, Creation, God
-
Creator, God - Father,
God's
Attributes/Character,
Jesus
Christ - Resurrection,
Jesus
Christ - Savior, Joy.
Octavo.
12 pages. Duration 12
minutes. Hope Publishing
Company #C6234. Published
by
Hope Publishing Company
Piano Solo SKU: YM.GTP01101956 Piano Collections FINAL FANTASY. Game Musi...(+)
Piano Solo
SKU:
YM.GTP01101956
Piano
Collections FINAL
FANTASY. Game Music.
Score. Yamaha Music Media
#GTP01101956. Published
by Yamaha Music Media
(YM.GTP01101956).
ISBN
9784636116106. 12 x 9
inches.
The
matching official piano
score of CD PIANO OPERA
FINAL FANTASY
VII/VIII/IX, released on
April 23, 2014. Yoko
Shimomura, who was in
charge of music for FFXV,
selected 10 pieces for
Piano Collections,
transforming the original
orchestral compositions
into stunning solo piano
pieces. The book is fully
supervised by two
arrangers: Natsumi
Kameoka and Sachiko
Miyano. Please fully
enjoy the world of FFXV!
Number of Songs:10.
Composed by
Z. Randall Stroope.
Duration 4 minutes, 48
seconds. Carl Fischer
Music #CM9750. Published
by Carl Fischer Music
(CF.CM9750).
ISBN
9781491162385. UPC:
680160921133. Key: F
major. English. Robert
Frost.
About the
workFew American poems
are as well known as The
Road Not Taken. Robert
Frost, the author, is an
international icon, not
unlike Pablo Picasso,
Winston Churchill or Mark
Twain in their own
disciplines. The poem is
full of contradictions
and quirks of form and
structure. Perhaps that
illusiveness is part of
the poem's intrigue. But
beyond all of the
literary devices that
only a few scholars may
fully appreciate, this
poem has taken on a sort
of fanfare for the common
person credo - a
challenge to
individualism, stepping
out on one's own, and
breaking the mold out of
sheer determination if
nothing else. Frost
connects to the core of
the human spirit in just
a few stanzas using the
analogy of a fork in a
road. The message super
cedes geography, culture,
race or creed. Rather, it
is part of the DNA of
most every person on the
planet - the inner desire
to feel empowered to
create one's own destiny,
to forge a road not
taken, and ultimately in
doing so, to make a
difference.Rehearsal
notesResearch strongly
suggests that there is a
direct connection between
the first rehearsal and
the performance. First
impressions last. I find
it helpful to immediately
lock three concepts into
place - mechanics
(notes/rhythms),
text/phrasing (intent and
motivation) and color
(timbre). Performers need
to think musically from
the first reading forward
(first impression). The
cello is very much a
collaborative instrument
in this work, and should
be located in front of
the ensemble (not to
side). Lastly, let the
text speak. The simplest
melodic lines are often
the most exposed. Keep
the voices clear and
transparent, floating
over the top in softer
passages, and singing
with vibrancy and forward
focus throughout.Z.
Randall Stroope.
Piano SKU: BR.EB-9420 Based upon a Theme by Franz Schubert. Compos...(+)
Piano
SKU:
BR.EB-9420
Based
upon a Theme by Franz
Schubert. Composed by
Helmut Lachenmann. Solo
instruments; stapled.
Edition Breitkopf. World
premiere: Stuttgart,
1957. Variations; Music
post-1945; New music
(post-2000). Score.
Composed 1956. 12 pages.
Duration 7'. Breitkopf
and Haertel #EB 9420.
Published by Breitkopf
and Haertel (BR.EB-9420).
ISBN 9790004188972. 9
x 12 inches.
Obwohl
die Variationen
vorwiegend von rationalen
Kompositionsmitteln in
Anlehnung an
Reihentechniken
Schonbergs und des spaten
Strawinsky gepragt sind,
ist in ihnen das
spielerische
musikantische Element und
der tanzerische
Charakter, wenn auch
immer wieder anders
gebrochen, erhalten
geblieben. (Helmut
Lachenmann, 1985) Das
burgerliche Denken ist
gekennzeichnet durch ein
hochentwickeltes System
von
Verdrangungsmechanismen,
welche die Isolation,
Entfremdung, Angst und
Sprachlosigkeit des
Individuums uberspielen
sollen. Unser
Kulturbetrieb ist ein
wesentlicher Teil dieses
Verdrangungssystems. In
diesem Sinn hat er die
Tradition in Beschlag
genommen: die Illusion
einer in Wirklichkeit
langst verlorenen
gemeinsamen
Verstandigungsbasis
bewahrt er durch die
Konservierung und
Fetischisierung
historischer asthetischer
Kategorien und daran
gebundener
Wertvorstellungen; als
Synonym fur tabuisierte
Konvention bildet
Tradition heute einen
verraterischen Teil
dieser unserer
Wirklichkeit. Die Funf
Variationen uber ein
Thema von Franz Schubert
sind 1956, also noch vor
meinem Studium bei Nono,
entstanden. In ihnen ist
jener oben ausgefuhrte
gesellschafts- und
kulturbetriebskritische
Ansatz noch kaum
erkennbar, eher keimhaft
verborgen. Ich mag das
Stuck so, wie einer
vielleicht Souvenirs aus
seiner Jugend mag. Es ist
vorwiegend von rationalen
Prinzipien in Anlehnung
an Motivtechniken
Schonbergs und des spaten
Strawinsky gepragt, und
doch ist das
musikantische Element und
der tanzerische
Charakter, wenn auch
immer anders gebrochen,
erhalten geblieben. Noch
nicht ausgepragt ist
hierin der Widerstand
gegen Tradition, insofern
deren Kategorien als
herrschende Konventionen
jenen zuvor erwahnten
burgerlichen
Verdrangungsmechanismen
unterstellt sind. Helmut
Lachenmann (aus:
Programmheft Tage der
Neuen Musik, Wurzburg
1989) CDs: Roland Keller
CD col legno 429 356-2
Lars Vogt CD EMI
567-754446-2 Susanne
Kessel (piano) CD Arte
Nova 74321 75498 2
Herbert Schuch (piano)
(Mitschnitt des
Preistragerkonzerts des
Klavier-Festivals Ruhr
vom 27. Mai 2006 in
Dusseldorf)
Intitiativkreis
Ruhrgebiet in
Zusammenarbeit mit der
Zeitschrift FonoForum und
WDR3 (Beilage FonoForum
August 2006) Herbert
Schuch (piano) CD Oehms
Classics, OC 593 CD Oehms
Classics, OC 012 (8
CDs)
Piano SKU: DB.01-00679 Neun Wiener Tanze fur Klavier. Composed by ...(+)
Piano
SKU:
DB.01-00679
Neun
Wiener Tanze fur
Klavier. Composed by
Thomas Daniel Schlee.
Keyboard music. Op. 73.
28 pages pages. Doblinger
Music Publishers
#01-00679. Published by
Doblinger Music
Publishers (DB.01-00679).
ISBN
9790012199373.
Ankl
ange an Tanzmusik, Blicke
auf Gestalten, die im
Laufe des Lebens
vorbeiziehen, auf Statten
und Viertel meines Wiens,
Blicke durch den Schleier
von Tranen des Gedenkens,
der Gegenwart und der
Segenswunsche. Die ersten
vier Stucke dieses sehr
personlichen Zyklus sind
Votivgaben an meine
Jugend. Der ,,Wiedner
Tanz evoziert die
elegante Atmosphare
entlang der Garten des
Belvedere und des Palais
Schwarzenberg, den
taglichen Weg meines
Vaters in die Direktion
der Universal Edition im
Musikvereinsgebaude -
jene gluckliche Zeit, in
der ich den grossten
Komponisten der Epoche
nahe sein durfte. Im
,,Gersthofer ist das
schmerzliche Bild meines
Grossvaters gezeichnet,
der diese idyllische
Vorstadt nach der
Arisierung seiner kleinen
Schokoladefabrik
verlassen musste, seine
Gesundheit nach dem
2.Weltkrieg mit dem
Ziehen eines Mobelkarrens
durch die verwusteten
Strassen Wiens ruinierte,
um erst auf dem Friedhof
wieder in diesen Bezirk
zuruckzukehren.
,,Rossauer beschreibt das
an Hingabe reiche,
judisches und
katholisches Erbe
verbindende Leben meiner
Tante. Zum Kreise unserer
Familienangehorigen zahle
ich auch jene von uns
Kindern ihres Humors und
ihrer Lebensfreude wegen
ins Herz geschlossene
Frau, die unserem
Haushalt uber Jahrzehnte
hilfreich zur Seite
stand. Es folgen Gaben an
drei Freunde: ein
langsamer Tanz uber die
Initialen der Germanistin
und Kunsthistorikerin
Annette Bohm, eine
graziose Volte fur den
rheinlandischen Wiener
Michael Niessen, die
Seele der Bosendorfer
pianoe und eine Hommage
an die
Schubert-Forscherin
Walburga Litschauer. Als
ich 2003 nach 17 Jahren
Abwesenheit wieder nach
Wien zuruckkehrte,
schrieb ich fur meine
Frau einen kleinen Tanz,
die Quelle des
vorliegenden Zyklus. Aber
die Evokation unserer
neuen Verortung blieb
Illusion; so umgibt den
,,Penzinger die leise
Melancholie um ein
unerreichtes Arkadien.
Der meinen Kindern
gewidmete ,,Gumpendorfer
beschliesst die Sammlung
mit einer
zuversichtlichen Geste.
(T.D. Schlee).
By Hine; Hayford. Arranged by Joel Raney. (SATB). Creation, General Worship, Go...(+)
By Hine; Hayford.
Arranged by Joel Raney.
(SATB). Creation, General
Worship, Gods
Attributes/Character,
Hymntune, Praise, Praise
and Worship, Redemption,
Hymntune and Sacred.
Print Music Single (SATB
w/opt. Piano/4-hand). 8
pages. Published by Hope
Publishing Company.