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).
I Don't Want to Miss a Thing Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Originally Performed by Aerosmith). Composed by Diane Warren. Arranged by fo...(+)
(Originally Performed by
Aerosmith). Composed by
Diane Warren. Arranged by
for Vitamin String
Quartet
by Jim McMillen.
Orchestra.
Part(s); Score; String
Orchestra. Pop Concert
String Orchestra. Form:
Ballade. Pop/Rock. Grade
3.5. 124 pages. Published
by
Alfred Music
2 violins, viola, violoncello SKU: FG.55011-878-2 Composed by Kalevi Aho....(+)
2 violins, viola,
violoncello
SKU:
FG.55011-878-2
Composed by Kalevi Aho.
Classical, contemporary,
folk. Score & parts.
Fennica Gehrman
#55011-878-2. Published
by Fennica Gehrman
(FG.55011-878-2).
Lasting 27
minutes, Kalevi
Aho’s String
quartet no. 4 (2021) is
in four movements. The
first, Nocturne, begins
with a hazily muted
melody dominated by the
interval of a minor third
on the second violin.
Though the first movement
begins in nocturnal mood,
there is also some more
forceful music around the
middle. The second
movement, Allegro
capriccioso, is quick
with quirky rhythms. At
times tempestuous, it
faces the players with
the biggest technical and
virtuoso challenges. The
following Largo is slow.
A couple of times in the
first half it is
dominated by soft,
mysterious harmonies. The
tempo marking of the
virtuosic closing
movement is Presto,
leggiore. The movement
begins with quick,
flickering,
will-o’-the-wisp-l
ike music. It later
builds up to an extremely
violent climax dominated
by tremolo figures on the
second violin and thick
chords on the other
instruments. The
flickering music of the
beginning returns at the
end, before dissolving
into silence.
This
product includes the full
score (A4) and the parts
(B4).
String quartet and marimba - difficult SKU: HL.49018066 For marimba an...(+)
String quartet and
marimba - difficult
SKU: HL.49018066
For marimba and string
quartet. Composed by
Steve Martland. This
edition: Folder. Sheet
music. Ensemble. Van
Gogh's visionary painting
The Starry Night provides
the title, if not the
stimulus, for this music.
Rather, personal memories
of Africa are recalled
and in particular the
sound of music and
dancing both near and in
the distance all taking
place under. Set of
parts. Composed
2007-2008. Duration 20'.
Schott Music #ED13276-10.
Published by Schott Music
(HL.49018066).
ISBN
9790220131592. UPC:
884088567309.
9.0x12.0x0.339
inches.
A virtuoso
work for an increasingly
popular instrumental
combination, the title
(after Van Gogh's
visionary painting The
Starry Night) gives a
sense of the intensity of
this music. Personal
memories of Africa are
recalled and in
particular the sound of
music and dancing both
near and in the distance
all taking place under
the vivid starry night
sky.
Van Gogh's
visionary painting The
Starry Night provides the
title, if not the
stimulus, for this music.
Rather, personal memories
of Africa are recalled
and in particular the
sound of music and
dancing both near and in
the distance all taking
place under the vivid
starry night sky. So this
music is dance music and
maybe it tries to emulate
the dancing of Van Gogh's
gigantic stars. Steve
Martland.
By Gioachino Rossini. Edited by Philip Gossett. For Violoncello, Contrabass. Thi...(+)
By Gioachino Rossini.
Edited by Philip Gossett.
For Violoncello,
Contrabass. This edition:
Urtext Edition; Stapled.
Score; Set of Parts.
Published by Baerenreiter
Verlag (German import).
Score and Parts. By Sergei Rachmaninoff. Arranged by David Butler Cannata. G. Sc...(+)
Score and Parts. By
Sergei Rachmaninoff.
Arranged by David Butler
Cannata. G. Schirmer
String Ensemble. Size
8.25x11.75 inches. 56
pages. Published by
Sikorski.
Cantata for Christmas
Day - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque. Sheet
Music. 12 pages. Duration
25'. Breitkopf and
Haertel #OB 32120-26.
Published by Breitkopf
and Haertel
(BR.OB-32120-26).
ISBN
9790004350515. 10 x 12.5
inches.
This
cantata is a composition
by Kuhnau for the first
of the Christmas holidays
[Christmas Day] and one
of his most extensive
works. It is underlaid
with the free poetry of a
hitherto anonymous
author, not including any
Bible or chorale texts.
Though the dating has not
yet been clarified, the
structure - two
recitative-aria pairings,
framed by two magnificent
tutti movements -
indicates a genesis
period within the last
years of the composer's
tenure as St. Thomas
cantor in Leipzig.
Additional indications
are the triple use of the
da capo form as well as
the four-part vocal
setting, partly
differentiated in solo
and tutti, taking the
individual parts to the
limits of their ambitus
as was later customary
with Johann Sebastian
Bach.Particularly
noteworthy are two
details of the
instrumentation: Firstly,
there are three violin
parts in the score, the
first of which has to
master an exceptionally
virtuoso solo part.
Secondly, in the third
movement, Kuhnau
expressly notates an
obbligato organ solo
part, not to be found in
any of his other extant
compositions. This
virtuosic part also
already foreshadows the
later and far more famous
obbligato organ parts in
various Bach
cantatas.
Violin, Violoncello and Piano SKU: AP.36-60783002 Composed by Camille Sai...(+)
Violin, Violoncello and
Piano
SKU:
AP.36-60783002
Composed by Camille
Saint-Saens. String Duo
and Ensemble, Piano Trio,
Conductor Score and
Parts. Master String
Series. Score and
Part(s). LudwigMasters
Publications
#36-60783002. Published
by LudwigMasters
Publications
(AP.36-60783002).
ISBN
9798888528655. UPC:
659359997112.
English.
The piano
trio version of LA MUSE
ET LE POÈTE, Op. 132 was
written by Camille
Saint-Saëns (1835-1921)
in 1910 during a vacation
to North Africa, and that
version premiered at
Queen's Hall on June 7,
1910, with Eugene Ysaÿe
on violin, Jospeh
Hollmann on cello, and
the composer at the
piano. Saint-Saëns
transcribed the version
for violin, cello and
orchestra that same year,
and the same two string
players premiered that
version on October 20 at
the Sarah Bernhardt
Theater in Paris under
Fernand Le Borne. Despite
the title (which was
later added by the
publisher to make it more
marketable), no program
is intended for the work
and neither instrument
represents either the
muse or the poet.
Saint-Saëns himself
referred to the piece as
a conversation between
the two instruments
instead of a debate
between two
virtuosos.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
First flute, second flute (flute-picc), 2 oboes, first clarinet, clarinet-Ialto ...(+)
First flute, second flute
(flute-picc), 2 oboes,
first clarinet,
clarinet-Ialto second
voice, 2 bassoons, 3
horn, 2 trumpets, 3
trombones, trombone, Tri,
timpani (1. Flute, 2.
Flute (Piccolo flute),
Oboes (2), 1. Clarinet,
2. Clarinet (in A),
Bassoons (2), Horns (3),
Trumpets (2), Trombones
(3), Tuba, Triangle,
Timpani)
SKU:
BA.BA09045-65
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. Opus 104.
11/7/12/7/11/8/8/8/7/6/7/
4/4/4/4/4/4/1/6 pages.
Duration 37 minutes.
Baerenreiter Verlag
#BA09045_65. Published by
Baerenreiter Verlag
(BA.BA09045-65).
ISBN
9790006537655. 32.5 x
25.5 cm inches. Key: B
minor.
Like every
other great 19th-century
solo concerto, Dvorak's
famous Cello Concerto was
a collaboration between
composer and virtuoso. It
has long been known that
certain solo passages in
Dvorak's autograph score
were actually written by
the cellist Hanus Wihan;
but Barenreiter's edition
now reveals that some
details in the orchestral
parts are also in his
writing, showing just how
closely the two musicians
were working
together.
The
editor Jonathan Del Mar
has painstakingly
examined all the
surviving sources,
including two that have
hitherto been either
ignored or crucially
undervalued, in order to
produce an authoritative
edition which restores -
for the first time since
the original edition was
published in 1896 -
Dvorak's final and
definitive version of the
solo cello part. This
differs, in details, in
almost every bar from the
version found in all
other modern editions,
while hundreds of
corrections have also
been made to the
orchestral
parts.
* With
Dvorak's final and
definitive version of the
solo cello part * With
hundreds of corrections
in the solo cello part as
well as the orchestral
parts * With hitherto
unknown details regarding
the collaboration between
Dvorak and Wihan *
With Dvorak's original
piano reduction * With
Feuermann's and Casals'
alternatives to a passage
in the first
movement.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Violin and orchestra (solos: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.PB-...(+)
Violin and orchestra
(solos: vl - 2.2.2.2 -
2.2.0.0 - timp - str)
SKU: BR.PB-15136
Urtext. Composed
by Camille Saint-Saens.
Edited by Christiane
Strucken-Paland.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
In
Cooperation with G. Henle
Verlag
Solo concerto;
Romantic; Late-romantic.
Full score. 32 pages.
Breitkopf and Haertel #PB
15136. Published by
Breitkopf and Haertel
(BR.PB-15136).
ISBN
9790004214725. 10 x 12.5
inches.
The
Havanaise possibly has
its roots in the
friendship of the
composer with the
Cuban-born violinist
Rafael Diaz Albertini. It
is thus perfectly
plausible that
Saint-Saens borrowed the
Cuban syncopated slow
dance Habanera out of
kindness towards his
performance partner when
he was getting ready to
write a work for Diaz
Albertini in 1887.
Saint-Saens originally
wrote a version for
violin and piano, which
was later followed by the
orchestral version that
the publisher Durand had
urged him to write. Diaz
Albertini, to whom the
work was dedicated, gave
its world premiere before
other virtuosos adopted
it for themselves and
spread its fame
throughout the world. The
basis of this first
Urtext edition of the
piece is the first
edition, which was
presumably personally
overseen by
Saint-Saens.