((Eight People Who Made a Difference in Music, Inventions, Sports, and Science))...(+)
((Eight People Who Made a
Difference in Music,
Inventions, Sports, and
Science)). By Patsy Ford
Simms. REPRO COLLECT UNIS
BOOK/CD. Musicals. 78
pages. Published by
Shawnee Press
(SSATB with Solos a cappella). By Benjamin Britten (1913-1976). For Choral (SSAT...(+)
(SSATB with Solos a
cappella). By Benjamin
Britten (1913-1976). For
Choral (SSATB). BH Large
Choral. 48 pages. Boosey
and Hawkes #M051481666.
Published by Boosey and
Hawkes
(Duets with a Difference for Beginner Cellists). By Mary Cohen. For Cello. Book;...(+)
(Duets with a Difference
for Beginner Cellists).
By Mary Cohen. For Cello.
Book; Duet or Duo; String
- Cello Duo. Faber
Edition. Elementary. 16
pages. Published by Faber
Music
Ensemble; Marimba (Score) SKU: HL.50600901 For Cimbalom or Marimba and...(+)
Ensemble; Marimba (Score)
SKU: HL.50600901
For Cimbalom or
Marimba and Ensemble.
Composed by Peter Eö,
s, and tvö.
Contemporary Music. EMB.
Classical. Softcover. 80
pages. Duration 17'.
Editio Musica Budapest
#Z14897. Published by
Editio Musica Budapest
(HL.50600901).
ISBN
9790080148976. UPC:
888680895532.
10.25x14.25x0.178 inches.
Peter Eotvos.
The
meaning of da capo is to
return to the beginning
and start again. A
musical process, which
reaches somewhere but
does not end, beginning
again and again in a
different way, from
different basic material
throughout nine stages,
evolves from the starting
tune. The initial tunes
come from Mozart's
notebooks. They are
fragments, ideas for
themes, which in their
majority or not in the
outlined form did not
result in finished
compositions. Peter
Eotvos presents these
tunes to listeners in a
clearly recognisable way
but he immediately
develops and transforms
them. Mozart's themes are
almost immediately
remodelled in the chamber
ensemble, the instruments
of which were still
unknown in the 18th
century, and the musical
journey is made
especially adventurous in
that the solo (whether
played on the cimbalom or
the marimba) is presented
by a musical instrument
which cannot have been
used in the 18th
century.
By Gail Smith. For Keyboard (Piano). Technic. Made Easy. Acoustic Music. Book. 5...(+)
By Gail Smith. For
Keyboard (Piano).
Technic. Made Easy.
Acoustic Music. Book. 56
pages. Published by Mel
Bay Publications, Inc.
(20262)
Level: Beginning.
Piano SKU: BR.EB-8031 Piano Lessons by Frederic Chopin. Composed b...(+)
Piano
SKU:
BR.EB-8031
Piano
Lessons by Frederic
Chopin. Composed by
Frederic Chopin. Edited
by Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Romantic period. Score.
24 pages. Breitkopf and
Haertel #EB 8031.
Published by Breitkopf
and Haertel (BR.EB-8031).
ISBN 9790004174340. 9
x 12 inches.
This
series of easy piano
music for teaching
purposes presents pupils
in the lower and lower
middle grades with a
carefully chosen
selection of well-known
and lesserknown
compositions by important
masters. The volumes are
deliberately kept small
in extent, since it is
more stimulating for
children to change the
teaching material
frequently. When the
aspiring pianist has
dealt successfully with
the works of Frederic
Chopin for the first
time, he will have left
the elementary level of
instruction behind. The
following selection of
easy pieces also requires
security of technique and
capability of musical
expression in order to
enable the florid sound
of Chopin's piano music
to unfold. As much as
works like the Prelude in
D flat major or the Walz
in A minor may tempt one
to premature endeavours,
a study of Chopin's music
should not be attempted
too early. In the
following five Preludes,
the two Valses and the
Nocturne in G minor (six
Mazurkas have been
published in a separate
folio), the editor has
made a selection of
pieces, which can be
mastered by the pupil
(with the exception of
opus 28/15 and opus
28/20), even if a limited
facility and finger
stretch is present.
Because of the finger
stretch required for some
chords, a different
distribution of the hands
has been indicated or
simplifications have been
suggested. An
introduction to the Tempo
rubato, taking style into
consideration, is a task
lying within teacher's
responsibility.
Indications for pedal use
were added by the editor.
Heinz Walter, Salzburg,
Fall 1979.
A Halloween Thriller Orchestre [Conducteur et Parties séparées] Alfred Publishing
Featuring: Toccata and Fugue in D Minor / A Night on Bald Mountain / Thriller. C...(+)
Featuring: Toccata and
Fugue in D Minor / A
Night on Bald Mountain /
Thriller. Composed by Rod
Temperton, Johann
Sebastian Bach, and
Modest Mussorgsky.
Arranged by Ralph Ford.
Masterworks; Part(s);
Score; String Orchestra.
Pop Concert String
Orchestra. Form: Medley.
Fall; Halloween;
Masterwork Arrangement;
Pop. 128 pages. Published
by Alfred Music
Featuring: Toccata and Fugue in D Minor / A Night on Bald Mountain / Thriller...(+)
Featuring: Toccata and
Fugue in D Minor / A
Night on Bald Mountain /
Thriller. Composed by
Rod Temperton, Johann
Sebastian Bach, and
Modest Mussorgsky.
Arranged by Ralph Ford.
Masterworks; Score;
String Orchestra. Pop
Concert String Orchestra.
Form: Medley. Fall;
Halloween; Masterwork
Arrangement; Pop. 24
pages. Published by
Alfred Music (AP.45851S).
Counter-tenor voice, clarinet in A & 16-part SATB choir (SATB) - Moderately Diff...(+)
Counter-tenor voice,
clarinet in A & 16-part
SATB choir (SATB) -
Moderately Difficult to
Difficult
SKU:
OU.9780193412545
Composed by Anthony
Powers. Choral Works
(inc. Oratorios).
Clarinet Part. 12 pages.
Duration 23'. Oxford
University Press
#9780193412545. Published
by Oxford University
Press (OU.9780193412545).
ISBN 9780193412545. 12
x 8 inches.
for
counter-tenor, clarinet
in A, and 16-part SATB
choir The piece sets
extracts from the
philosopher Ludwig
Wittgenstein's
Tractatus
Logico-Philosophicus
, and is made up of six
choral movements,
including a substantial
solo role for
countertenor. Between
these movements come five
interludes for solo
clarinet. Wittgenstein
himself played the
instrument, so here is a
different projection of
aspects of the
philosopher. The
countertenor's part may
be sung in English or
German.
Counter-tenor voice, clarinet in A & 16-part SATB choir (SATB) - Moderately Diff...(+)
Counter-tenor voice,
clarinet in A & 16-part
SATB choir (SATB) -
Moderately Difficult to
Difficult
SKU:
OU.9780193378469
Composed by Anthony
Powers. Choral Works
(inc. Oratorios). Vocal
score. 88 pages. Duration
23'. Oxford University
Press #9780193378469.
Published by Oxford
University Press
(OU.9780193378469).
ISBN 9780193378469. 12
x 8 inches.
For
counter-tenor, clarinet
in A, and 16-part SATB
choir. The piece sets
extracts from the
philosopher Ludwig
Wittgenstein's Tractatus
Logico-Philosophicus, and
is made up of six choral
movements, including a
substantial solo role for
countertenor. Between
these movements come five
interludes for solo
clarinet. Wittgenstein
himself played the
instrument, so here is a
different projection of
aspects of the
philosopher. The
countertenor's part may
be sung in English or
German.
(A Choral Medley). By Anthony Drewe, music by George Stiles. Arranged by Andy Be...(+)
(A Choral Medley). By
Anthony Drewe, music by
George Stiles. Arranged
by Andy Beck. Choir
Secular. 3-Part Mixed
Choir (SAB). Choral
Octavo. Pop Choral. Form:
Medley. Broadway. 24
pages. Published by
Alfred Music
(A Choral Medley). By Anthony Drewe, music by George Stiles. Arranged by Andy Be...(+)
(A Choral Medley). By
Anthony Drewe, music by
George Stiles. Arranged
by Andy Beck. Choir
Secular. This edition:
SoundTrax CD. CD; Choral
Octavo. Pop Choral. Form:
Medley. Broadway.
Published by Alfred Music
Choral Cello, Piano, SATB chorus SKU: CF.CM9714 Composed by Z. Randall St...(+)
Choral Cello, Piano, SATB
chorus
SKU:
CF.CM9714
Composed by
Z. Randall Stroope. 16
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #CM9714.
Published by Carl Fischer
Music (CF.CM9714).
ISBN 9781491160329.
UPC: 680160918904. Key: F
major. English. Robert
Frost.
About the
work ... Few 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
notes ... Research
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 A
definitive recording was
made by the New American
Voices, with Randall
conducting. This can be
found on Spotify,
YouTube, his website
(www.zrstroope), and
other social media. About
the composer ... Z.
Randall Stroope is an
American composer and
conductor. His
composition teachers were
Normand Lockwood and
Cecil Effinger, both
students of the Nadia
Boulanger, the famous
French teacher (and
student of Gabriel
Faure). He is the
artistic director of two
international summer
music festivals, is an
Honorary Member of the
National Association of
Italian Choral Directors,
and has conducted in 25
countries. He has
directed over 40 times at
Carnegie Hall, and is a
frequent conductor at
other prestigious concert
venues. Randall has 190
published works, and his
music can be heard on
Spotify, YouTube and
other platforms,
including his website
(www.zrstroope.com). A
bout the work ...Few
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
notes ...Research
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 StroopeA
definitive recording was
made by the New American
Voices, with Randall
conducting. This can be
found on Spotify,
YouTube, his website
(www.zrstroope), and
other social media.About
the composer ...Z.
Randall Stroope is an
American composer and
conductor. His
composition teachers were
Normand Lockwood and
Cecil Effinger, both
students of the Nadia
Boulanger, the famous
French teacher (and
student of Gabriel
FaureÌ). He is the
artistic director of two
international summer
music festivals, is an
Honorary Member of the
National Association of
Italian Choral Directors,
and has conducted in 25
countries. He has
directed over 40 times at
Carnegie Hall, and is a
frequent conductor at
other prestigious concert
venues. Randall has 190
published works, and his
music can be heard on
Spotify, YouTube and
other platforms,
including his website
(www.zrstroope.com).
(Piano Solo Revised Edition). Composed by Wolfgang Amadeus Mozart (1756-1791). E...(+)
(Piano Solo Revised
Edition). Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Wolf-Dieter Seiffert. For
Piano Solo (Piano). Henle
Music Folios. Softcover.
26 pages. G. Henle
#HN1300. Published by G.
Henle
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperba...(+)
(82 balanced lessons). By
Harold E. Mitchell. For
trumpet. This edition:
Paperback. Instructional.
Method. Method book and
DVD. Text Language:
English. 96 pages.
Published by Santorella
Publications
Performed by Bill Gaither, Gloria Gaither. For voice and keyboard. Format: easy ...(+)
Performed by Bill
Gaither, Gloria Gaither.
For voice and keyboard.
Format: easy
piano/vocal/chords
songbook. With vocal
melody, lyrics, chord
names and big note
notation. Gospel. Series:
Hal Leonard E-Z Play
Today. 160 pages. 9x12
inches. Published by Hal
Leonard.
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).
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).