Luminary Piano et Orchestre [Conducteur d'étude / Miniature] Theodore Presser Co.
Concerto for Piano and Orchestra. Composed by Narong Prangcharoen. First ...(+)
Concerto for Piano and
Orchestra. Composed
by Narong Prangcharoen.
First performed by the
Thailand Philharmonic
Orchestra, Dariusz
Mikulksi, conductor, with
Christopher Janwong
McKiggan as piano
soloist. Contemporary.
Full score (study). With
Standard notation.
Composed 2016. 80 pages.
Duration 24 minutes.
Theodore Presser Company
#416-41609. Published by
Theodore Presser Company
(PR.416416090).
Organ - Grade 4 SKU: HL.14019450 Composed by Bent Lorentzen. Music Sales ...(+)
Organ - Grade 4
SKU:
HL.14019450
Composed
by Bent Lorentzen. Music
Sales America. Classical.
Book [Softcover].
Composed 2002. 20 pages.
Edition Wilhelm Hansen
#WH30404. Published by
Edition Wilhelm Hansen
(HL.14019450).
ISBN
9788759867570.
English.
The
Planets is cast as a
single unit, consisting
of seven movements,
varying greatly in
character, each of which
describes a planet or a
celestial body. Mars
makes a war-like contrast
with aggressive rhythms
and contrasting
registers. This part is
poly-rhythmic and very
complex. Thus there is
extensive use of the
proportions 5:2, 5:3,
5:4, 5:7 and 5:9 which
are the point of
departure of all the
rhythm series.
Flute, Cello & Piano SKU: ST.C320 Composed by Mark Tanner. Chamber music....(+)
Flute, Cello & Piano
SKU: ST.C320
Composed by Mark Tanner.
Chamber music. Clifton
Edition #C320. Published
by Clifton Edition
(ST.C320).
ISBN
9790570813209.
Composer’s
Note:
I composed
The Planets to
be performed during my
tenure as Composer in
Residence at Chetham’s
International Piano
Summer School,
Manchester, in August
2018. Drawing inspiration
from Holst’s Suite of
the same name – a work
of unstoppable importance
– my composition
nevertheless contrasts
conspicuously, both in
its overall scheme (nine
movements instead of
seven) and orientation
(my work takes the Sun as
its point of orientation,
whereas Holst places the
Earth at the centre point
and hence leaves it out
of the musical scheme).
There is, as a
consequence, a sense of
increasing serenity to my
music following the
effervescence of Jupiter,
though there are
reverberations of earlier
themes and moods in the
concluding movement,
Pluto, which nevertheless
ends enigmatically as
befits its distant,
‘cold’ designation.
Pluto was left out of
Holst’s work for good
reason – it had yet to
be discovered – though
Colin Matthews redressed
the situation admirably
in 2000. Whether one
chooses to go along with
Pluto’s unresolved
status, or indeed to
promote it to the
position of ‘full’
planet (amusingly, Pluto
became demoted to dwarf-
planet in 1992) is
perhaps less important
than its potential to
evince a musical spirit
entirely to
itself.
Performanc
e Note:
Movements
may be performed
separately as desired,
though the connections
between musical
characters will of course
be lost in doing so. In
Neptune and Pluto (which
are best performed
attacca) I include
infrequent use of a bell,
pitched at B4. This
denotes the intangibility
of time; it adds a
welcome new colour, as
well as an additional
element for the audience
to ponder on. A standard
hotel receptionist’s
bell was used in the
inaugural performance –
surprisingly resonant,
even in a sizeable
auditorium – though if
this is unavailable the
cellist can play the same
note (or harmonic, if
preferred).
World
Premiere given at Stoller
Hall, Chetham’s School
of Music, Manchester,
August 2018: Gillian
Poznansky (flute),
Sebastian Poznansky
(cello) and Mark Tanner
(piano).
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano
SKU:
PR.312419020
From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020).
ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A).
UPC:
680160690510.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Organ - Grade 4 SKU: HL.14019471 The Planets. Composed by Bent Lor...(+)
Organ - Grade 4
SKU:
HL.14019471
The
Planets. Composed by
Bent Lorentzen. Music
Sales America. Classical.
Book [Softcover].
Composed 2002. 8 pages.
Edition Wilhelm Hansen
#WH30407. Published by
Edition Wilhelm Hansen
(HL.14019471).
ISBN
9788759809303.
English.
The
Planets is cast as a
single unit, consisting
of seven movements,
varying greatly in
character, each of which
describes a planet or a
celestial body. Venus is
the most exquisite of the
planets, symbolizing
femininity and beauty. In
certain places the music
is reminiscent of
Parsifal.
Organ - Grade 4 SKU: HL.14019447 The Planets. Composed by Bent Lor...(+)
Organ - Grade 4
SKU:
HL.14019447
The
Planets. Composed by
Bent Lorentzen. Music
Sales America. Classical.
Book [Softcover]. Edition
Wilhelm Hansen #WH30403.
Published by Edition
Wilhelm Hansen
(HL.14019447).
ISBN
9788759868195. UPC:
888680967710.
English.
The
Planets is cast as a
single unit, consisting
of seven movements,
varying greatly in
character, each of which
describes a planet or a
celestial body.
Luna is a contrast
to the sun. The sun is
enormous, strong and warm
whereas the moon is weak,
thin, cold and mysterious
because it borrows its
light from the sun. While
'Luna' described the
mysterious moon with
cold, thin sound
colours.
Composed by Stan Pethel. Choral. Singable Solutions. Sacred Anthem, All Saints...(+)
Composed by Stan Pethel.
Choral. Singable
Solutions.
Sacred Anthem, All
Saints'
Day, General. Octavo.
Lorenz
Publishing Company
#10/5137L. Published by
Lorenz Publishing Company
Organ - Grade 4 SKU: HL.14019460 The Planets. Composed by Bent Lor...(+)
Organ - Grade 4
SKU:
HL.14019460
The
Planets. Composed by
Bent Lorentzen. Music
Sales America. Classical.
Book [Softcover].
Composed 2002. 10 pages.
Edition Wilhelm Hansen
#WH30408. Published by
Edition Wilhelm Hansen
(HL.14019460).
ISBN
9788759863930.
14.5x10.25x0.427 inches.
English.
The
Planets is cast as a
single unit, consisting
of seven movements,
varying greatly in
character, each of which
describes a planet or a
celestial body. Saturn,
the symbol of pleasure,
celebration and
Christmas. The joyful
celebrations of the
Romans and the
festivities of Christmas
are easy to distinguish
behind playful Latin
rhythms and jubilant
sounds.
Choral TTBB choir, piano SKU: PR.312419270 From Terra Nostra. Comp...(+)
Choral TTBB choir, piano
SKU: PR.312419270
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes. Theodore Presser
Company #312-41927.
Published by Theodore
Presser Company
(PR.312419270).
ISBN
9781491137918. UPC:
680160692606. English.
Charles
Mackay.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Choral Children's choir, Piano SKU: PR.312419260 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419260
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2:45.
Theodore Presser Company
#312-41926. Published by
Theodore Presser Company
(PR.312419260).
ISBN
9781491137901. UPC:
680160692590.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
(5th Adventure: Scat Cat Island). By Freddie the Frog. For Choral. Mystic Publis...(+)
(5th Adventure: Scat Cat
Island). By Freddie the
Frog. For Choral. Mystic
Publishing/Freddie Frog.
Hardcover with CD. 46
pages. Published by
Mystic Publishing
Composed by Gustav Holst (1874-1934). Arranged by Colin Matthews and Imogen ...(+)
Composed by Gustav Holst
(1874-1934). Arranged by
Colin
Matthews and Imogen
Holst.
This edition: Limited.
Full
Orchestra (Full Score);
Orchestra Resources;
Resources. Classical;
Masterwork. Score. 272
pages.
Faber Music
#12-0571542735.
Published by Faber Music
Performed by The Rolling Stones. Fakebook for voice and C instrument. With vocal...(+)
Performed by The Rolling
Stones. Fakebook for
voice and C instrument.
With vocal melody, chord
names, color photos,
discography, selected
riffs (guitar tab) and
introductory text. 431
pages. Published by
Alfred Publishing.
(Getting Started on the Piano). Arranged by Pam Wedgwood. For Piano. Book; Piano...(+)
(Getting Started on the
Piano). Arranged by Pam
Wedgwood. For Piano.
Book; Piano Collection;
Piano Supplemental; Solo.
Faber Edition: Classic
FM. Masterwork
Arrangement; Radio. Early
Elementary; Elementary;
Late Elementary.
Published by Faber Music
Large orchestra (Score) SKU: HL.49015932 Suite. Composed by Gustav...(+)
Large orchestra (Score)
SKU: HL.49015932
Suite. Composed by
Gustav Holst. Edited by
Colin Matthews and Imogen
Holst. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Op. 32. 196 pages.
Duration 52'. Eulenburg
Edition #ETP 8007.
Published by Eulenburg
Edition (HL.49015932).
ISBN 9783795768775.
UPC: 841886001879.
7.5x10.5x0.477
inches.
Preface *
Faksimile * The Planets:
* 1. Mars, the bringer of
war * 2. Venus, the
bringer of peace * 3.
Mercury, the winged
messenger * 4. Jupiter,
the bringer of jollity *
5. Saturn, the bringer of
old age * 6. Uranus, the
magician * 7. Neptune,
the mystic.
Chamber Music Piano SKU: PO.PE048 Composed by John Psathas. Performance S...(+)
Chamber Music Piano
SKU: PO.PE048
Composed by John Psathas.
Performance Score.
Promethean Editions
#PE048. Published by
Promethean Editions
(PO.PE048).
ISBN
9781877218484.
Suit
able for performers of
approximately Grade VIII
to Diploma-level ability,
Waiting for the Aeroplane
is Psathas response to
the emotional experience
of contemporary air
travel. Interjections of
melodic fragments above
the work's alternating
two-note ostinato are
like the fleeting,
distracted thoughts and
conversations occupying
the individual obliged to
wait at the behest of
influences outside his or
her control.
Jupiter from The Planets Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire FJH
By Gustav Holst. Arranged by William Owens. Concert Band/Wind Ensemble. FJH Conc...(+)
By Gustav Holst. Arranged
by William Owens. Concert
Band/Wind Ensemble. FJH
Concert Band. Score for
this title: B1306S. Extra
part for this title:
B1306P. Concert Band.
Level: Grade 3. Score and
Set of Parts. Published
by The FJH Music Company
Inc.
The Mountain Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
As performed by Trans- Siberian Orchestra (Based upon "Mars, the Bringer of Wa...(+)
As performed by Trans-
Siberian Orchestra (Based
upon "Mars, the Bringer
of
War" from The Planets by
Gustav Holst and "In the
Hall of the Mountain
King"
by Edvard Grieg).
Composed
by Paul O'Neill and John
Olivia [Trans-Siberian
Orchestra]. Arranged by
Bob
Phillips. Part(s); Score;
String Orchestra. Pop
Concert String Orchestra.
Christmas; Holiday Pops;
Light Concert; Pop;
Secular;
Winter. 152 pages.
Published
by Alfred Music
Ensemble SKU: HL.14015267 Composed by Gustav Holst. Edited by Nicholas Ha...(+)
Ensemble
SKU:
HL.14015267
Composed
by Gustav Holst. Edited
by Nicholas Hare. Music
Sales America. Concert.
Sheet Music, Instrumental
Work. With Text language:
English. 16 pages.
Chester Music #CH55730.
Published by Chester
Music (HL.14015267).
UPC: 884088808525.
8.5x11.0x0.334
inches.
Edited by
Nicholas Hare.
Kaleidoscope will save
you time! Do you spend
hours arranging music for
odd assortments of
instruments? Kaleidoscope
is specially arranged to
suit almost any
instrumental combination
and these varied
ensembles are easy and
enjoyable too. So much
scope for virtually any
combination of
instruments! The series
is successful with
recorders, guitars,
percussion and keyboard
as well as with
orchestral groupings.
Whether there are five or
fifty players, every
Kaleidoscope title will
work! Just make sure that
melody and keyboard parts
are included - all other
parts are optional.
Kaleidoscope is superb
value for money - each
set contains a score plus
around 50 parts, each one
carefully written to suit
the needs of each
instrument. For example,
easy string parts are in
first position only
whilst easy clarinet
parts take care to avoid
the break. There are more
demanding parts too, for
experienced players. To
help you choose the right
pieces for your players
we have given the key of
each Kaleidoscope in
brackets. The complete
performance option! These
super-flexible
arrangements of
well-known titles are a
must for every school.
Why not choose a theme
for your concert and
perform a selection of
Kaleidoscope show titles
and film themes or have
an evening of classical
favourites. And don't
forget we have
Kaleidoscope bumper carol
packs and seasonal gems
for your Christmas
Concert too!
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).
(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. B...(+)
(Easy Piano). Arranged by
Dan
Coates. For Piano. This
edition: Easy Piano.
Book;
Piano - Easy Piano
Collection.
The Giant Book of Sheet
Music.
Jazz. Easy Piano. 252
pages.
Published by Alfred Music
SKU: GI.G-6902 Composed by Trey Reely. Instructional. 175 pages. GIA Publ...(+)
SKU: GI.G-6902
Composed by Trey Reely.
Instructional. 175 pages.
GIA Publications #6902.
Published by GIA
Publications (GI.G-6902).
ISBN 9781579995980.
English.
“Tho
se who study
communication say that
humor is the shortest
distance between two
people. If there is a
shred of truth in that
statement, you will
quickly connect with Trey
Reely’s latest
contribution to the band
director’s
library, Mr. Holland on
the Edge. Prepare
yourself for some hearty
laughing, you’ll
quickly identify with
many of the anecdotes by
an author who walks his
talk.†--Tim
LautzenheiserJoin band
humorist Trey Reely for a
fresh and sometimes
poignant look at the life
of a band director.
Having problems with
marching band season?
Read “Everything
You Wanted to Know about
Football But Were Afraid
to Ask a
Cheerleader†for an
instant
“fix.†Need
some advice on matters
musical and otherwise?
Make sure to turn to
“From the Files of
Dear Abby.â€The
veritable Dave Barry of
band, Trey Reely can tell
a tale that hits just the
right note—keep a
copy handy for an instant
laugh! Quality paperback,
extensively illustrated,
with a Foreword by John
Knight.Trey Reely is
Director of Bands at
Paragould High School in
Paragould, Arkansas. His
other books include Mr.
Holland Strikes Back:
More Tales from the
Musical Podium and Move
Over Mr. Holland:
Insights, Humor, and
Philosophy on Music and
Life. He has a regular
column in The
Instrumentalist
magazine.“Most
school band directors
have a love/hate
relationship with their
profession. Most of the
time they couldn’t
imagine doing anything
else--except when they
have ‘one of those
days.’ When you
suffer from one of them,
I highly recommend taking
a couple of doses of Trey
Reely before bed, and you
won’t be calling
anyone in the morning.
His medicine will go down
smoothly, and, at the
dawn of a new day, you
will realize that you are
not alone. Trey has been
there and done that and
sees these shared
experiences with a truly
wicked sense of humor. At
other times he is serious
and philosophical with
terrific suggestions that
can help you as you labor
in one of the most
important jobs on the
planet.†--David
Newell, author and
arranger A fresh and
sometimes poignant look
at the life of a band
director.
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).