SKU: BA.BVK02472 Composed by Johann Sebastian Bach. Edited by Christoph W...(+)
SKU: BA.BVK02472
Composed by Johann
Sebastian Bach. Edited by
Christoph Wolff and
Martina Rebmann. This
edition: facsimile.
Half-leather binding.
Documenta musicologica
II/57 / Barenreiter
Facsimile. Facsimile. BWV
1052-1059. 106, 26*
pages. Baerenreiter
Verlag #BVK02472_00.
Published by Baerenreiter
Verlag (BA.BVK02472).
ISBN 9783761824726. 40
x 24 cm
inches.
Music for a
Leipzigcoffee houseand
for other venues - Johann
Sebastian Bach composed
not only for the nobility
and the church, but also
for bourgeois musical
culture. Among these
works are the harpsichord
concertos. They are noted
down in a manuscript that
is a unique and probably
the most important
document for the
instrumental repertoire
of the LeipzigCollegium
Musicum.
Bach
arranged his concerto
movements in such a way
that the harpsichord is
given a solo part that
exploits the
instrument'sclavieristicp
ossibilities to the full.
These works thus fix a
decisive moment in the
early history of the
piano concerto genre
which received
significant impulses from
Bach and his circle of
students.
The
autograph offers
revealing insights into
the composer's working
methods, elucidated by
Christoph Wolff in an
accompanying essay.
Martina Rebmann describes
the genesis of the Bach
collection at the
Staatsbibliothek zu
Berlin, which holds the
autograph.
The
facsimile in high-quality
four-colour printing
reproduces the extensive
score in its original
size; BWV and bar numbers
on every page facilitate
its use.
Harpsichord; Organ; Early Music SKU: UT.HS-282 Composed by Alessandro Sca...(+)
Harpsichord; Organ; Early
Music
SKU:
UT.HS-282
Composed by
Alessandro Scarlatti.
Edited by Francesco
Tasini. Saddle stitching.
Classical. Ut Orpheus #HS
282. Published by Ut
Orpheus (UT.HS-282).
ISBN 9790215326446. 9
x 12 inches.
The
two-part composition has
always been an essential
stage in didactic
treatises for teaching
counterpoint; the Duo has
been of fundamental
importance, since the
early decades of the
sixteenth century, in the
teaching of singing and
in instrumental
practice. The
interpretation and
performance of
Scarlatti’s
Fughe a Due
require on the one hand a
correct and prompt
interpretation of the
chords which are the
basis of the movement and
the relationship between
the two parts, and on the
other an indispensable
invention of a third or
even a fourth part (to
ensure, above all, full
and significant
harmony). An
indication of this
practice of filling in is
offered by the same ms.
source containing
Scarlatti’s
Fughe a Due. In
Fugue II in D
minor, in the first
eleven bars, we find
indicated above the Bass
a series of numbers
showing the interval in
relation to the
respective upper line.
These indications should
not be confused with the
numerical marking typical
of the basso continuo and
of the partimento, for
they establish a clear
sign of the usual
practice exercised in the
teaching of counterpoint
in order to guide the
student visually to pass
safely and speedily from
two to three or more
parts; this type of
numbering is often found
in the counterpoint
methods of the time, in
particular in the section
illustrating the
Contrapunto semplice e
Diminuito. These
fifteen Fughe a
Due, unlike the many
Duos and Duets which
figure in the
counterpoint methods, are
not a simple display of
formulas, but they assert
themselves as a
calculated sample of
characterized styles and
genres, a series of
pieces conceived with an
exquisite sense of
form.
By W. A. Mozart (1756-1791). For Horn. DOWANI 3 Tempi Play Along - Horn. Artist:...(+)
By W. A. Mozart
(1756-1791). For Horn.
DOWANI 3 Tempi Play Along
- Horn. Artist: Gleb
Karpushkin - Horn;
Konstantin Krimets -
Conductor; Russian
Philharmonic Orchestra -
Orchestra accompaniment;
Vitaly Junitsky - Piano.
Level: Intermediate.
Sheet Music with CD (3
Tempi Play Along).
Published by Dowani
International
Violin - intermediate SKU: BT.DOW-04016-400 Composed by Johann Sebastian ...(+)
Violin - intermediate
SKU:
BT.DOW-04016-400
Composed by Johann
Sebastian Bach. Dowani 3
Tempi Play Along.
Educational Tool. Set of
Books and Media. Dowani
#DOW 04016-400. Published
by Dowani
(BT.DOW-04016-400).
UPC: 632977040163.
International.
DOWA
NI 3 Tempi Play Along is
an effective and
time-tested method of
practicing that offers
more than conventional
play-long editions.
DOWANI 3 Tempi Play Along
enables you to learn a
work systematically and
with accompaniment at
different tempi.The first
thing you hear on the CD
is the concert version in
a first-class recording
with solo instrument and
orchestral, continuo, or
piano accompaniment. Then
the piano or harpsichord
accompaniment follows in
slow and medium tempo for
practice purposes, with
the solo instrument heard
softly in the background
at slow tempo. Finally,
you can play at the
original tempo to the
accompaniment of an
orchestra, piano, or
basso
continuo.Allversions
appearing on the CD were
recorded live by renowned
soloists, accompanists,
and orchestras. There are
no synthesised sounds in
a DOWANI edition!
Telemann: Trio for Treble (Alto) Recorder, Viola, and Basso Continuo TWV42 F Maj...(+)
Telemann: Trio for Treble
(Alto) Recorder, Viola,
and Basso Continuo TWV42
F Major by Georg Philipp
Telemann (1681-1767). For
Alto Recorder, Treble
Recorder. Dowani Book/CD.
Play Along. Book and CD.
20 pages. Dowani
International #DOW2518.
Published by Dowani
International
Violin - intermediate SKU: BT.DOW-04024-400 Op. 21 in A-minor. Dow...(+)
Violin - intermediate
SKU:
BT.DOW-04024-400
Op. 21 in A-minor.
Dowani 3 Tempi Play
Along. Educational Tool.
Set of Books and Media.
Dowani #DOW 04024-400.
Published by Dowani
(BT.DOW-04024-400).
ISBN 9783905479812.
International.
DOWA
NI 3 Tempi Play Along is
an effective and
time-tested method of
practicing that offers
more than conventional
play-long editions.
DOWANI 3 Tempi Play Along
enables you to learn a
work systematically and
with accompaniment at
different tempi.The first
thing you hear on the CD
is the concert version in
a first-class recording
with solo instrument and
orchestral, continuo, or
piano accompaniment. Then
the piano or harpsichord
accompaniment follows in
slow and medium tempo for
practice purposes, with
the solo instrument heard
softly in the background
at slow tempo. Finally,
you can play at the
original tempo to the
accompaniment of an
orchestra, piano, or
basso
continuo.Allversions
appearing on the CD were
recorded live by renowned
soloists, accompanists,
and orchestras. There are
no synthesised sounds in
a DOWANI edition!
Orchestral suita No 2 for By Johann Sebastian Bach. For Flute. DOWANI 3 Tempi Pl...(+)
Orchestral suita No 2 for
By Johann Sebastian Bach.
For Flute. DOWANI 3 Tempi
Play Along - Flute.
Level: Advanced. Sheet
Music with CD (3 Tempi
Play Along). Published by
Dowani International.
By George Frideric Handel (1685-1759). Dowani Book/CD. Play Along. Book and CD. ...(+)
By George Frideric Handel
(1685-1759). Dowani
Book/CD. Play Along. Book
and CD. 16 pages. Dowani
International #DOW4519.
Published by Dowani
International
By C. Baermann. For Clarinet. DOWANI 3 Tempi Play Along - Clarinet. Artist: Evge...(+)
By C. Baermann. For
Clarinet. DOWANI 3 Tempi
Play Along - Clarinet.
Artist: Evgeny Petrov -
Clarinet; Tatyana
Gevorkova - Piano. Level:
Intermediate. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
Organ solo SKU: FZ.5930 Composed by Lambert Chaumont. Edited by Jean Sain...(+)
Organ solo
SKU:
FZ.5930
Composed by
Lambert Chaumont. Edited
by Jean Saint-Arroman.
This edition: Facsimile.
La Musique Francaise
Classique de 1650 a 1800.
Score. Published by Anne
Fuzeau Productions -
France (FZ.5930).
ISBN
9790230659307. 23.50 x
31.50 cm
inches.
This
facsimile of an original
by Lambert Chaumont is
part of our French
classical music
collection. Edition :
Liege, 1695. Preface by
Jean Saint-Arroman:
notation - table of
ornaments - ornamentation
Du melange des jeux et du
mouvement propre a chaque
espece de verset -
Explication des marques
qui servent aux agrements
(table). This organ book
contains pieces close to
the style of Nivers, a
text about mixing genres,
a treatise on
accompaniment, and a
method for tuning the
harpsichord.
Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile
of a copy in the
Conservatory Library of
Liege (Belgium). Anne
Fuzeau Classique propose
period copies of
classical music
scores.
For Clarinet. DOWANI 3 Tempi Play Along - Clarinet. Artist: Evgeny Petrov - Clar...(+)
For Clarinet. DOWANI 3
Tempi Play Along -
Clarinet. Artist: Evgeny
Petrov - Clarinet;
Tatyana Gevorkova -
Piano. Level: Easy. Sheet
Music with CD (3 Tempi
Play Along). Published by
Dowani International.
By A. Vivaldi (1678-1741). For Violin. DOWANI 3 Tempi Play Along - Violin. Artis...(+)
By A. Vivaldi
(1678-1741). For Violin.
DOWANI 3 Tempi Play Along
- Violin. Artist: Alexey
Bruni - Violin;
Konstantin Krimets -
Conductor; Leonid
Ogrintschuk - Piano;
Russian Philharmonic
Orchestra - Orchestra
accompaniment. Level:
Intermediate. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
Violin - advanced SKU: BT.DOW-04008-400 Composed by Franz Joseph Haydn. D...(+)
Violin - advanced
SKU:
BT.DOW-04008-400
Composed by Franz Joseph
Haydn. Dowani 3 Tempi
Play Along. Educational
Tool. Set of Books and
Media. Dowani #DOW
04008-400. Published by
Dowani
(BT.DOW-04008-400).
ISBN 9783905479171.
UPC: 632977040088.
International.
DOWA
NI 3 Tempi Play Along is
an effective and
time-tested method of
practicing that offers
more than conventional
play-long editions.
DOWANI 3 Tempi Play Along
enables you to learn a
work systematically and
with accompaniment at
different tempi.The first
thing you hear on the CD
is the concert version in
a first-class recording
with solo instrument and
orchestral, continuo, or
piano accompaniment. Then
the piano or harpsichord
accompaniment follows in
slow and medium tempo for
practice purposes, with
the solo instrument heard
softly in the background
at slow tempo. Finally,
you can play at the
original tempo to the
accompaniment of an
orchestra, piano, or
basso
continuo.Allversions
appearing on the CD were
recorded live by renowned
soloists, accompanists,
and orchestras. There are
no synthesised sounds in
a DOWANI edition!
By Johann Sebastian Bach. For Violin. DOWANI 3 Tempi Play Along - Violin. Level:...(+)
By Johann Sebastian Bach.
For Violin. DOWANI 3
Tempi Play Along -
Violin. Level: Advanced.
Sheet Music with CD (3
Tempi Play Along).
Published by Dowani
International.
By A. Vivaldi (1678-1741). For Flute. DOWANI 3 Tempi Play Along - Flute. Level: ...(+)
By A. Vivaldi
(1678-1741). For Flute.
DOWANI 3 Tempi Play Along
- Flute. Level:
Intermediate. Sheet Music
with CD (3 Tempi Play
Along). Published by
Dowani International.
Edited by J. Peter Close/Holger Sassmannshaus. For double bass and piano. Staple...(+)
Edited by J. Peter
Close/Holger
Sassmannshaus. For double
bass and piano. Stapled.
Barenreiter's Double Bass
Collection. Level 2.
Piano reduction, part(s).
Text Language:
German/English. 32/64
pages. Published by
Baerenreiter Verlag
Based on the Sonata in E Major for Flauto Traverso, BWV 1035. By Johann Sebastia...(+)
Based on the Sonata in E
Major for Flauto
Traverso, BWV 1035. By
Johann Sebastian Bach.
Dowani Book/CD. Softcover
with CD. Size 9x12
inches. 12 pages.
Published by Dowani.
By W. A. Mozart (1756-1791). For Clarinet. DOWANI 3 Tempi Play Along - Clarinet....(+)
By W. A. Mozart
(1756-1791). For
Clarinet. DOWANI 3 Tempi
Play Along - Clarinet.
Level: Advanced. Sheet
Music with CD (3 Tempi
Play Along). Published by
Dowani International.
Organ; Harpsichord; Early Music SKU: UT.HS-327 Composed by Padre Antonio ...(+)
Organ; Harpsichord; Early
Music
SKU:
UT.HS-327
Composed by
Padre Antonio Soler.
Edited by Andrea Coen.
Classical. Ut Orpheus #HS
327. Published by Ut
Orpheus (UT.HS-327).
ISBN 9790215327900. 9
x 12 inches.
In
1716, François
Couperin published in
Paris L’Art de
Toucher le Clavecin, that
brief and famous method
containing eight
Preludes, all
extraordinarily
beautiful, as well as
technically very useful.
Less than fifty years
later, in 1762 in Madrid,
Padre Antonio Soler
published through Joachin
Ibarra a weighty treatise
of 272 pages (Llave de la
Modulacion), which
includes – in the
tenth and final chapter
– eight Preludes
for keyboard
instrument This kind
of Prelude, according to
what emerges from the
thorny and at times
ambiguous language of
Padre Soler, while
maintaining its undoubted
basic executive value,
stands on the one hand as
a study of composition
and on the other as an
exercise in
improvisation. Both these
categories are more than
pertinent to the period
in which this work was
conceived and to its
aesthetics. In this
sense, the term arbitri
itself, so widely used in
the musical text, is
perhaps the most
representative of a type
of training that is
actually centred more on
practice procedure than
on merely theoretical
study.
Recorder performed by Marion Verbruggen, Viola da gamba performed by Mary Spring...(+)
Recorder performed by
Marion Verbruggen, Viola
da gamba performed by
Mary Springfels,
Harpsichord performed by
Arthur Haas. For
Recorder. Recorder Method
(Suzuki). CD. Published
by Alfred Publishing.
The Complete Harpsichord Suites. Composed by Louis-Claude Daquin (1694-1772). Ma...(+)
The Complete Harpsichord
Suites. Composed by
Louis-Claude Daquin
(1694-1772). Masterworks;
Organ - Method or
Collection. Faber
Edition. Baroque;
Masterwork. Book. Faber
Music #12-0571506526.
Published by Faber Music
By J. Haydn (1732-1809). For Trumpet. DOWANI 3 Tempi Play Along - Trumpet. Artis...(+)
By J. Haydn (1732-1809).
For Trumpet. DOWANI 3
Tempi Play Along -
Trumpet. Artist: Boris
Schlepakov - Trumpet;
Konstantin Krimets -
Conductor; Russian
Philharmonic Orchestra -
Orchestra accompaniment;
Vitaly Junitsky - Piano.
Level: Advanced. Sheet
Music with CD (3 Tempi
Play Along). Published by
Dowani International.
Corelli: Sonata for Treble (Alto) Recorder and Basso Continuo Op. 5, No. 7 G Min...(+)
Corelli: Sonata for
Treble (Alto) Recorder
and Basso Continuo Op. 5,
No. 7 G Minor by
Arcangelo Corelli
(1653-1713). For Alto
Recorder, Treble
Recorder. Dowani Book/CD.
Play Along. Book and CD.
12 pages. Dowani
International #DOW2519.
Published by Dowani
International
Piano solo - Level 4 SKU: FV.FUE-3160 Composed by Ruth Schonthal. Piano (...(+)
Piano solo - Level 4
SKU: FV.FUE-3160
Composed by Ruth
Schonthal. Piano
(Harpsichord), 2-hands.
Instrumental Music. Full
score. Composed 2000.
Duration 13'. Furore
Verlag #FUE 3160.
Published by Furore
Verlag (FV.FUE-3160).
ISBN
979-0-50012-816-8.
Ruth Schonthal's
compositions, which
reflect the concerns of
today's world, display a
unique blend of her
deeply rooted European
tradition, depth of
feeling, and masterful
blending of traditional
and contemporary
techniques.Ruth Schonthal
never followed the
prevalent contemporary
aesthetic fashions. At a
time when Anton Webern
and John Cage were the
American role models, she
followed her own musical
path, never denying her
own classic-romantic
heritage. The
extraordinarily varied
impressions she absorbed
in the course of her life
in different parts of the
world provided the
foundation of her musical
style. Through exposure
to diverse influences and
teaching methods in
Germany, Sweden, Mexico
and the USA, Ruth
Schonthal was able to
extrapolate an unusually
rich mixture of
compositional techniques
from these experiences.
She used them to form a
comprehensive stylistic
synthesis.
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).