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 Piano SKU: PR.510079380 Grosses Konzertstück über ...(+)
Chamber Music Piano
SKU: PR.510079380
Grosses
Konzertstück über
Mendelssohns Lieder ohne
Worte and Franz Schuberts
Grosse Fantasie.
Composed by Franz Liszt
Felix Mendelssohn.
Collection - Full. Editio
Musica Budapest
#510-07938. Published by
Editio Musica Budapest
(PR.510079380).
Composed in
1834, Liszt's Grand duo
is based on material from
three pieces from the
first book (op. 19b) of
Mendelssohn's Songs
without Words (no. 1 in E
major, no. 6 in G minor,
and no. 3 in A major).
While Liszt made an
almost literal
transcription of the
first piece, he gave the
second and third pieces a
much freer arrangement,
in the style of concert
paraphrases. The
large-scale concert piece
was premiered by Liszt
and Chopin on Christmas
Day 1834 in a salon in
Paris. The Grand duo was
not published in Liszt's
lifetime, and has
survived as a
draft.Schubert's Fantasy
in C major (also known as
the Wanderer Fantasy) was
a defining musical
experience for the young
Liszt. He arranged this
masterpiece of Romantic
piano literature for
piano and orchestra in
1851, at the beginning of
his Weimar period, and it
was premiered by Julius
Egghard in Vienna in
December of that year. By
1855, Liszt had
transcribed this
arrangement for two
pianos, because it was
played on 22 October 1855
at a concert held in
Weimar in honour of his
birthday. With the
version for piano and
orchestra, Liszt attuned
the fantasy to the
requirements of the
concert hall, reinforcing
the orchestral effects
inherent in Schubert's
composition. His aim with
the two-piano version was
to achieve a similarly
grand effect in spaces
too small for an
orchestra. The
arrangement for piano and
orchestra appeared in
print in 1857, followed
by the two-piano version
in 1862.This volume comes
complete with a detailed
preface in English,
German, and Hungarian
containing new research
findings, several
manuscript facsimiles,
and a critical report in
English.
By Wolfgang Amadeus Mozart (1756-1791). Edited by Wolfgang Rehm. For piano/orche...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Edited by Wolfgang Rehm.
For piano/orchestra (solo
piano/flute/2 oboes/2
bassoons/2
horns/strings). This
edition: Stapled, Urtext
edition. Score. KV 595,
No. 27. 78 pages.
Duration 30'. Published
by Baerenreiter Verlag
Rekonstruktion nach BWV 1052 - Reconstructed from BWV 1052. By Johann Sebastian ...(+)
Rekonstruktion nach BWV
1052 - Reconstructed from
BWV 1052. By Johann
Sebastian Bach. Edited by
Fischer, Wilfried;
Sommer, Jurgen. For
Violin Solo, strings,
basso continuo. Piano
Reduction/Vocal Score;
Urtext Edition. Duration
25. Published by
Baerenreiter-Ausgaben
(German import). (BA5144
90)
Flute and Piano - intermediate SKU: BT.DOW-05532-400 RV 433 La tempest...(+)
Flute and Piano -
intermediate
SKU:
BT.DOW-05532-400
RV 433 La tempesta di
mare F major / Fa majeur
/ F-Dur. Composed by
Antonio Vivaldi. Dowani 3
Tempi Play Along.
Classical. Book with Part
and Audio-Online.
Composed 2019. 22 pages.
Dowani #DOW 05532-400.
Published by Dowani
(BT.DOW-05532-400).
ISBN 9789043157056.
English-German-French.
This edition presents
a piece that belongs in
the standard repertoire
of every flutist: the
Concerto for flute,
strings and basso
continuo Op. 10 No. 1, RV
439 “La tempesta di
mare†in F Major by
Antonio Vivaldi. The
edition allows you to
work through the piece
systematically and at
different tempi with the
accompaniment. The
enclosed CD begins with
the concert version of
each movement, following
which you will hear the
piano accompaniment at
slow and medium tempo to
help you practise. Having
mastered these slower
versions, you’ll
now be ready to play with
orchestral accompaniment
at the original tempo.
All of the versions were
recorded live. The CD
tracks are alsoavailable
in downloadable MP3
format.
Mit
dieser Ausgabe
präsentieren wir Ihnen
ein Stück, das zum
Standardrepertoire eines
jeden Flötisten
zählt: das Konzert
für Flöte,
Streicher und Basso
continuo op. 10 Nr. 1, RV
439 La tempesta di
mare“ in F-Dur von
Antonio Vivaldi. Diese
Ausgabe ermöglicht es
Ihnen, das Werk
systematisch und in
verschiedenen Tempi mit
Begleitung zu
erarbeiten. Auf der
beiliegenden CD hören
Sie zuerst die
Konzertversion eines
jeden Satzes. Zum Ãœben
folgt nun im langsamen
und mittleren Tempo die
Klavierbegleitung:
anschließend können
Sie sich im Originaltempo
vom Orchester begleiten
lassen. Alle
eingespielten Versionen
wurden live aufgenommen.
Sämtliche CD-Tracks
stehen auch online
imMP3-Format zur
Verfügung.
Piano and orchestra SKU: HL.49011963 Composed by Robert Schumann. Edited ...(+)
Piano and orchestra
SKU: HL.49011963
Composed by Robert
Schumann. Edited by Akio
Mayeda and Bernhard R.
Appel. This edition:
Full-cloth binding. Sheet
music. Robert Schumann -
Neue Ausgabe samtlicher
Werke. Classical. Score.
Op. 54. 305 pages.
Schoenberg #RSA1007-10.
Published by Schoenberg
(HL.49011963).
ISBN
9783795793197. UPC:
073999799019.
10.0x13.25x1.268
inches.
Schumann's
Piano Concerto is known
all over the world, yet
despite its popularity it
remains in a certain
sense an undiscovered
work. The aim with this
edition is not only to
provide a critical score
of the work, but at the
same time to indicate
what questions of detail
should form the focus of
future research. The
critical analysis offered
here thus offers
discussion of the
relationship between the
one-movement Fantasia
version and the
three-movement concerto
version, the problem of
the transition from the
second to the third
movement and a series of
questions relating to the
version completed in
1853. A booklet of
facsimiles completes the
volume.
By Ludwig van Beethoven (1770-1827). Edited by Eugen d'Albert. For Piano, Orches...(+)
By Ludwig van Beethoven
(1770-1827). Edited by
Eugen d'Albert. For
Piano, Orchestra (2
pianos). This edition:
paperback. Edition
Breitkopf. Piano
reduction. 64 pages.
Published by Breitkopf
and Haertel
Piano SKU: HL.49045690 Zur Klavierschule Piano Kids Die richtigen Stuc...(+)
Piano
SKU:
HL.49045690
Zur
Klavierschule Piano Kids
Die richtigen Stucke fur
Konzert und Freizeit.
Composed by Hans-Gü
and nter Heumann. Piano.
Classical, German
Edition. Softcover. 56
pages. Schott Music
#ED22643. Published by
Schott Music
(HL.49045690).
For decades,
pupils (aged 6+) have
been learning the basics
of piano playing with
plenty of imagination and
creativity by using the
popular three-volume
piano method Piano Kids
by Hans-Gunter Heumann.
In 2014 the method was
revised and has since
been published in a
revised and expanded new
edition: New songs and
illustrations breathe new
life into the standard
work and adjust it to the
realityof life of today's
first-time piano players.
The educational concept
of Piano Kids, resulting
from the combination of
textbooks, additional
activity books as well as
the large number of
themed tune books, is now
completed by tune books
that are companions to
the textbooks.These new
tune books contain a wide
range of very easy pieces
for beginners which are
in line with the progress
of the textbooks
andprovide the young
pianists with
age-appropriate playing
literature from the very
first piano lesson.
Well-known folklore
melodies, upbeat
compositions in the style
of pop, rock and jazz
music as well as the
first little masterpieces
by Mozart, Beethoven
& Co. motivate and
stimulate the pupils and
add variety to the music
lessons. Volume 1 starts
with several pieces for
piano duet which will
easily motivate beginners
without demanding too
much. All pieces are
limited to the five-note
range while nevertheless
covering the whole
spectrum of styles: from
folk melodies via
classical pieces by
composers such as
Gurlitt, Turk or Bartok
to modern compositions
from the areas of pop,
rock and jazz music.
Alongside Vol. 2 of the
piano method, Volume 2
extends the pitch range
and heightens the
rhythmic demands. Apart
from the wide rangeof
songs from the areas of
folk, rock and pop music,
the young musicians get
to know the first easy
piano pieces by Mozart,
Beethoven & Co. Many
little 'treats' will have
a lasting motivating
effect on the pianists,
like e.g. the Baby
Elephant Walk by Henri
Mancini or The
Entertainer by Scott
Joplin. These pieces have
been arranged by
Hans-Gunter Heumann in
such a way that they do
not demand too much of
the children but motivate
them when playing these
famous melodies.
Bassoon and piano SKU: M7.AST-7011 Composed by Hans-Klaus Langer. Sheet m...(+)
Bassoon and piano
SKU:
M7.AST-7011
Composed
by Hans-Klaus Langer.
Sheet music. Composed
1959. Duration 7'. MDS
(Music Distribution
Services) #AST 7011.
Published by MDS (Music
Distribution Services)
(M7.AST-7011).
Piano (Piano) SKU: HL.50586323 Ricos Konzert 2. Composed by Walter...(+)
Piano (Piano)
SKU:
HL.50586323
Ricos
Konzert 2. Composed
by Walter Noona. Ricordi
Germany. Book
[Softcover]. Composed
2010. Ricordi Berlin
#SY2506. Published by
Ricordi Berlin
(HL.50586323).
ISBN
9783931788490.
German.
Mit
Ricos Konzert
erhalten Lehrer variables
Unterrichtsmaterial, das
sie begleitend zum
jeweiligen Band der
Schule einsetzen konnen.
Die Schuler bekommen mit
diesen Heften besonders
motivierende Spielstucke,
die sie auch im Konzert
vorspielen konnen. Die
Rico-Klavierschule geht
einen Weg, der besonders
fur junge Anfanger
(Kinder ab etwa 6 Jahren)
zugeschnitten ist: Sie
ist in 3 Stufen
gegliedert; jede Stufe
besteht aus drei Heften:
1.das Hauptlehrbuch :
Rico lernt Klavier
1-32.ein
Erganzungsbuch: Ricos
Werkstatt 1-3
3.erganzende Spielstucke:
Ricos Konzert
1-3Alle 3 Hefte
werden parallel
verwendet. Durch ihren
flexiblen Aufbau konnen
dieverschiedenen
Lernziele an mehreren
Stucken abwechslungsreich
erarbeitet werden. Sehr
viel variables Material
also, das der Lehrer der
jeweiligen
Unterrichtssituation und
den individuellen
Bedurfnissen des Schulers
anpassen kann. So hat er
einerseits fur jeden
Schuler genugend
Lernmaterial zur
Verfugung, andererseits
muss aber nicht jeder
Schuler jedes Stuck
spielen.
Urtext der Neuen Mozart-Ausgabe. By Johann Sebastian Bach. Edited by Heller, Kar...(+)
Urtext der Neuen
Mozart-Ausgabe. By Johann
Sebastian Bach. Edited by
Heller, Karl. For
Piano/Harpsichord. Neue
Bach-Ausgabe. Serie V,
Band 11. Playing Score;
Urtext Edition; Complete
Edition (cloth bound).
Published by
Baerenreiter-Ausgaben
(German import). (BA5088
01)
Cello and piano SKU: M7.AST-7017 Composed by Hans-Klaus Langer. Sheet mus...(+)
Cello and piano
SKU:
M7.AST-7017
Composed
by Hans-Klaus Langer.
Sheet music. Composed
1960. Duration 15'. MDS
(Music Distribution
Services) #AST 7017.
Published by MDS (Music
Distribution Services)
(M7.AST-7017).
(KV 413 (387a), 414 (386a), 415 (387b). Anhang: Skizze zum ersten Satz zu KV 414...(+)
(KV 413 (387a), 414
(386a), 415 (387b).
Anhang: Skizze zum ersten
Satz zu KV 414 (386a)).
By Wolfgang Amadeus
Mozart (1756-1791).
Edited by Christoph
Wolff. For Piano Solo,
Orchestra. Neue
Mozart-Ausgabe. Serie V,
Werkgruppe 15/3. Urtext
Language: German.
Klassik,
Musikwissenschaft
(Classical, Music
Theory). Critical
Commentary; Complete
Edition (paperbound)
By Johann Melchior Molter (1696-1765). Edited by H. Becker / M. Obst. For Clarin...(+)
By Johann Melchior Molter
(1696-1765). Edited by H.
Becker / M. Obst. For
Clarinet, Orchestra
(clarinet and piano).
This edition: paperback.
Edition Breitkopf. Piano
reduction. 24 pages.
Published by Breitkopf
and Haertel