Cello and piano SKU: BO.B.3176 Composed by Manuel Oltra. Bowed Instrument...(+)
Cello and piano
SKU:
BO.B.3176
Composed by
Manuel Oltra. Bowed
Instruments. Duration
9:55. Published by
Editorial de Musica
Boileau (BO.B.3176).
ISBN
9788480202343.
Come
ntarios del
Espanol: Se trata de
una coleccion de dos
piezas breves para
violonchelo y piano de
dificultad media-alta.
Fantasia y fuga es una
obra compuesta en 1953 y
esta dedicada al
violonchelista Joaquim
Guerin. La fantasia
consta de dos fragmentos
diferenciados por el
contraste
melodicorritmico y de
tempo (andante, quasi
lento y doppio mosso). La
fuga, un allegretto
mosso, es de una gran
claridad ritmica. La obra
entera tiene una duracion
aproximada de 5'. Danza
triste fue compuesta en
1945. Presenta un tema
lirico en re menor que se
va desarrollando. Tiene
una duracion aproximada
de 5'05.
Piano SKU: BT.EMBZ13154 9 fantasies. Composed by Laszlo Lajtha. Bo...(+)
Piano
SKU:
BT.EMBZ13154
9
fantasies. Composed
by Laszlo Lajtha. Book
Only. Composed 1986. 54
pages. Editio Musica
Budapest #EMBZ13154.
Published by Editio
Musica Budapest
(BT.EMBZ13154).
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).
Invenzioni Piano seul EMB (Editio Musica Budapest)
Piano (Piano Solo) SKU: HL.50489271 Composed by Laszlo Kalmar. 20th Centu...(+)
Piano (Piano Solo)
SKU: HL.50489271
Composed by Laszlo
Kalmar. 20th Century.
EMB. Book [Softcover].
Editio Musica Budapest
#Z7613. Published by
Editio Musica Budapest
(HL.50489271).
ISBN
9790080076132. K/4
(23,5x31)
inches.
The series
composed between 1972 and
1975 was printed first in
1976. The work consists
of 9 movements: I.
Libero, lento, II. Gigue,
III. Reminiscence de
sarabandes englouties.
Lento sensibile, libero
molto, IV. Liebertraume.
Semplice, V. Quasi una
fantasia.
Delicatissimamente, VI.
Quasi una caccia. Poco
vivo, VII. Intermezzo,
119. Comodo, VIII.
Mittersill, 45. Sereno,
IX. Lento.
Piano (Piano Solo) SKU: HL.50487472 9 fantaisies. Composed by Lasz...(+)
Piano (Piano Solo)
SKU: HL.50487472
9 fantaisies.
Composed by Laszlo
Lajtha. 20th Century.
EMB. Book Only. Op. 1.
Editio Musica Budapest
#Z13154. Published by
Editio Musica Budapest
(HL.50487472).
ISBN
9790080131541. 26,5 x
32,5 cm inches. Laszlo
Lajtha.
I.
Prologue. Moderato quasi
andanteII. ...comme une
lettre sur moi meme.
Moderato III. Maternite.
Andante quasi allegretto
IV. Elegie (en forme d'un
tryptichon). - Poco
rubato - Poco adagio -
Andante V. Serenade en
Carneval. Allegro giocoso
VI. Soupir inquiet dans
la nuit de printemps.
Moderato poco rubato
quasi fantasando VII.
...je m'en vais comme
l'ombre quand elle
decline ; et j'ai ete
emporte de cote et
d'autre, ainsi que les
sauturelles (Ps. 109).
Poco adagio VIII. Chanson
ivre. Allegro commodo
poco capriccioso IX.
Epilogue. Poco lento
molto e.
Flute SKU: M7.AST-6023 Composed by Paul Coenen. This edition: Saddle-wire...(+)
Flute
SKU:
M7.AST-6023
Composed
by Paul Coenen. This
edition: Saddle-wire
stitching. Sheet music.
Op. 72. 8 pages. Duration
10'. MDS (Music
Distribution Services)
#AST 6023. Published by
MDS (Music Distribution
Services) (M7.AST-6023).
By Benjamin Britten (1913-1976). For Cello. Masterworks; Part(s); Solo; String -...(+)
By Benjamin Britten
(1913-1976). For Cello.
Masterworks; Part(s);
Solo; String - Cello
Collection. Faber
Edition. Op. 72, 80 and
87. 20th Century;
Masterwork. Published by
Faber Music
(Transcription of Violin Sonata No. 2 for Viola and Piano). By John Ireland (187...(+)
(Transcription of Violin
Sonata No. 2 for Viola
and Piano). By John
Ireland (1879-1962).
Edited by John White.
Arranged by Lionel
Tertis. For Viola, Piano
Accompaniment. Boosey &
Hawkes Chamber Music.
Softcover. 74 pages.
Boosey & Hawkes
#M060124501. Published by
Boosey & Hawkes
String quartet SKU: M7.AST-7076 Per quartetto d'archi. Composed by...(+)
String quartet
SKU:
M7.AST-7076
Per
quartetto d'archi.
Composed by Wilhelm
Rettich. Sheet music. Op.
25 B. Duration 8'. MDS
(Music Distribution
Services) #AST 7076.
Published by MDS (Music
Distribution Services)
(M7.AST-7076).
Cello and piano SKU: BO.B.3652 Composed by Jordi Cervello. Published by E...(+)
Cello and piano
SKU:
BO.B.3652
Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3652).
Sonata for
cello and piano was
written between September
and October of 2010. It
is made up of three
movements, each of which
has unique
characteristics. The
first, Allegro
appassionato, is
monothematic, although
the theme itself is
presented in several
ways. Following a
vigorous start featuring
cello cadenza, the
movement is developed
with a lively feel,
alternating lyrical
fragments with other
energetic ones. Its
conclusion is
resounding. Meanwhile,
the second movement,
Quasi un lamento, is
introspective and
fragile. A long melody is
sustained by a delicate
and transparent piano
accompaniment, evoking
once again the theme of
the first movement and
concluding with a Lento
of descending piano
harmonies while the cello
follows, in octaves, with
heartfelt
glissando.
The
third movement,
Scherzando-Allegro, is a
light-hearted game
between the piano and the
cello. The main theme is
repeated once again, this
time with a binary time
signature. The cello uses
ricochet (the rebounding
of notes in a bow
stroke), as well as
natural and artificial
harmonies in quick time.
The piano part unfolds
completely naturally,
excluding any gratuitous
artifice.
Flute and violin SKU: M7.AST-7081 Composed by Hans-Klaus Langer. Sheet mu...(+)
Flute and violin
SKU:
M7.AST-7081
Composed
by Hans-Klaus Langer.
Sheet music. Composed
1974. Duration 18'. MDS
(Music Distribution
Services) #AST 7081.
Published by MDS (Music
Distribution Services)
(M7.AST-7081).
Violin and piano SKU: BO.B.3632 Composed by Jordi Cervello. Published by ...(+)
Violin and piano
SKU:
BO.B.3632
Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3632).
Duo-Sonata for
violin and piano was
written between September
and October of 2010. It
is made up of three
movements, each of which
has unique
characteristics. The
first, Allegro
appassionato, is
monothematic, although
the theme itself is
presented in several
ways. Following a
vigorous start featuring
violin cadenza, the
movement is developed
with a lively feel,
alternating lyrical
fragments with other
energetic ones. Its
conclusion is
resounding.
Meanwh
ile, the second movement,
Quasi un lamento, is
introspective and
fragile. A long melody is
sustained by a delicate
and transparent piano
accompaniment, evoking
once again the theme of
the first movement and
concluding with a Lento
of descending piano
harmonies while the
violin follows, in
octaves, with heartfelt
glissando.
The
third movement,
Scherzando-Allegro, is a
light-hearted game
between the piano and the
violin. The main theme is
repeated once again, this
time with a binary time
signature. The violin
uses ricochet (the
rebounding of notes in a
bow stroke), as well as
natural and artificial
harmonies in quick time.
The piano part unfolds
completely naturally,
excluding any gratuitous
artifice.