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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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15 sheet music found
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1
Concerto G Major
2 Violas (duet)
2 violas, strings and basso continuo - intermediate - Digital Download SKU: S9.Q5689
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2 violas, strings and basso continuo - intermediate - Digital Download SKU: S9.Q5689 Composed by Georg Philipp Telemann. This edition: piano reduction with solo parts. Concerto - viola - viola library. Viola Library. Downloadable, Piano reduction with solo parts. Duration 7 minutes. Schott Music - Digital #Q5689. Published by Schott Music - Digital (S9.Q5689). Key: G major.Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary solo instruments to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar-Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notations, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.
$15.99
14.92 €
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2 Violas (duet)
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Georg Philipp Telemann
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Concerto G Major
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Schott Music - Digital
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SheetMusicPlus
Aria from Suite n°3 in D major (BWV 1068)
String Quartet: 2 violins, viola, cello
String Quartet String Quartet,Viola - Level 2 - Digital Download SKU: A0.798115 Com…
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String Quartet String Quartet,Viola - Level 2 - Digital Download SKU: A0.798115 Composed by Johann Sebastian Bach. Arranged by Inacio Saldanha. Baroque,Concert,Praise & Worship,Standards. Score and parts. 6 pages. Inacio Saldanha #5376723. Published by Inacio Saldanha (A0.798115). An air (Italian: aria; also ayr, ayre in French) is a song-like vocal or instrumental composition. The term can also be applied to the interchangeable melodies of folk songs and ballads. It is a variant of the musical song form often referred to (in opera, cantata and oratorio) as aria.Bach's third Orchestral Suite in D major, composed in the first half of the 18th century, has an Air as second movement, following its French overture opening movement. The suite is composed for three trumpets, timpani, two oboes, strings (two violin parts and a viola part), and basso continuo. In the second movement of the suite however only the strings and the continuo play. This is the only movement of the suite where all other instruments are silent.The music of the Air is written on four staves, for solo violin, violins, violas, and continuo. The interweaving melody lines of the high strings contrasts with the pronounced rhythmic drive in the bass.Arranged for Viola Quartet. Key of D major. Early intermediate.
$12.99
12.12 €
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String Quartet: 2 violins, viola, cello
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Johann Sebastian Bach
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Aria from Suite n°3 in D major
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Inacio Saldanha
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SheetMusicPlus
Overture in G Minor
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1143717 By Alex Tinlin. By Henry Purcell. Arranged by Alex Tinlin. Baroque,Chamber. 16 pages. Alex Tinlin #744040. Published by Alex Tinlin (A0.1143717). My arrangement of Henry Purcell's Overture in G Minor, originally for Strings - 2 violins, 2 violas, and continuo.
$4.99
4.65 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Alex Tinlin
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Overture in G Minor
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Alex Tinlin
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SheetMusicPlus
Concerto G Major
2 violas, strings and basso continuo - Digital Download SKU: S9.Q24090 Composed by …
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2 violas, strings and basso continuo - Digital Download SKU: S9.Q24090 Composed by Georg Philipp Telemann. This edition: separate part. Concertino. Downloadable, Individual part. Schott Music - Digital #Q24090. Published by Schott Music - Digital (S9.Q24090). Key: G major.
$2.99
2.79 €
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Georg Philipp Telemann
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Concerto G Major
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Schott Music - Digital
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SheetMusicPlus
Concerto G Major
2 violas, strings and basso continuo - intermediate - Digital Download SKU: S9.Q1151
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2 violas, strings and basso continuo - intermediate - Digital Download SKU: S9.Q1151 Composed by Georg Philipp Telemann. This edition: score. Concertino. Downloadable, Score. Duration 7 minutes. Schott Music - Digital #Q1151. Published by Schott Music - Digital (S9.Q1151). Key: G major.
$15.99
14.92 €
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Georg Philipp Telemann
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Concerto G Major
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Schott Music - Digital
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SheetMusicPlus
Sextet for Strings
String Ensemble Cello,Viola - Level 5 - Digital Download SKU: A0.928011 Composed by…
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String Ensemble Cello,Viola - Level 5 - Digital Download SKU: A0.928011 Composed by Malcolm D Robertson. Contemporary. Score and parts. 52 pages. Mr Malcolm D Robertson #6638443. Published by Mr Malcolm D Robertson (A0.928011). Composed during June & July of 2021. The String Sextet is scored for the standard 2 violins, 2 violas & 2 cellos and is in one continuous movement slow-fast-slow, with a duration of about 18 minutes. As the String Sextet repetoire is not extensive, I hop it will prove a valuable addition to the repetoire. Parts available upon request.
$10.00
9.33 €
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Malcolm D Robertson
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Sextet for Strings
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Mr Malcolm D Robertson
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SheetMusicPlus
Jesu, joy of man's desiring by Bach for Viola Duet
2 Violas (duet)
Viola Duet Viola - Level 1 - Digital Download SKU: A0.1117976 Composed by Johann Se…
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Viola Duet Viola - Level 1 - Digital Download SKU: A0.1117976 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred,Wedding. Score. 6 pages. Woods Only, Arrangements #719484. Published by Woods Only, Arrangements (A0.1117976). This easy arrangement for viola duet has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. It is often performed at wedding ceremonies slowly and reverently, challenging the effect suggested by Bach in his original score for voices with trumpet, oboes, strings, and continuous bass. This is one of Bach's most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary's Visitation. It is the final chorale of the cantata Herz und Mund und Tat und Leben. Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works.
$3.99
3.72 €
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2 Violas (duet)
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Johann Sebastian Bach
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Jesu, joy of man's desiring by Bach for Viola Duet
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Woods Only, Arrangements
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SheetMusicPlus
Bach - Oboe Concerto in F major BWV1053 for Oboe, Strings and Continuo - Score and Parts
String Orchestra
String Orchestra - Level 4 - Digital Download SKU: A0.516833 Composed by Bach Johan…
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String Orchestra - Level 4 - Digital Download SKU: A0.516833 Composed by Bach Johann Sebastian. Arranged by Santino Cara. Baroque. Score and parts. 75 pages. Santino Cara #2885013. Published by Santino Cara (A0.516833). Oboe Concerto in F major BWV 1053 for Oboe, Strings and Continuo (realized for harpsichord) by Johann Sebastian Bach, reconstructed in Rome in 2016 by Santino Cara. With the complete score of the concerto, it is also inserted the separate parts for oboe, string instruments (first violins, second violins, violas, violoncellos) and continuo realized for harpsichord. Movements: 1. Allegro, 2. Siciliano, 3. Allegro. This concerto, is also available, in the version for oboe and Piano on my Sheet Music Plus page. http://www.sheetmusicplus.com/publishers/Santino-Cara/1492
$18.99
17.71 €
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String Orchestra
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Bach Johann Sebastian
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Bach - Oboe Concerto in F major BWV1053 for Oboe, Strings and Continuo - Score and Parts
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Santino Cara
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SheetMusicPlus
Hallelujah from Handel's Messiah - SATB Choir and Orchestra (Individual Parts)
Strings B-Flat Trumpet,Basso Continuo,C Trumpet,Choir,Timpani - Level 3 - Digital Download…
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Strings B-Flat Trumpet,Basso Continuo,C Trumpet,Choir,Timpani - Level 3 - Digital Download SKU: A0.1216857 Composed by George Frideric Handel. Arranged by César Madeira. Baroque,Children,Early Music,Film/TV,Multicultural,World. 31 pages. Sheet Music To Play Editions #813381. Published by Sheet Music To Play Editions (A0.1216857). Hallelujah Chorus from Handel's Messiah. Arrangement for *Orchestra and SATB Choir. With Individual Parts. Enjoy it!*Instrumentation - Trumpet 1, 2 in C (optional), Bb Trumpet 1, 2, Timpani, SATB Choir, Piano Reduction (optional), Strings - Violins 1, 2, Violas and Violoncellos/Basses and Continuo.This file DOES NOT contain Full Score. Individual Parts only.Georg Friedrich Händel (1685 –1759) was a German-born Baroque composer becoming well known for his operas, oratorios, anthems, concerti grossi and organ concertos. Handel received his training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$15.99
14.92 €
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George Frideric Handel
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Hallelujah from Handel's Messiah - SATB Choir and Orchestra
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Sheet Music To Play Editions
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SheetMusicPlus
Hallelujah from Handel's Messiah - Orchestra and SATB Choir (Full Score and Parts)
Strings B-Flat Trumpet,Basso Continuo,C Trumpet,Cello,Choir,Double Bass,Timpani,Viola,Viol…
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Strings B-Flat Trumpet,Basso Continuo,C Trumpet,Cello,Choir,Double Bass,Timpani,Viola,Violin - Level 3 - Digital Download SKU: A0.1216852 Composed by George Frideric Handel. Arranged by César Madeira. Baroque,Early Music,Film/TV,Multicultural,Sacred,World. 59 pages. Sheet Music To Play Editions #813375. Published by Sheet Music To Play Editions (A0.1216852). Hallelujah Chorus from Handel's Messiah. Arrangement for *Orchestra and SATB Choir. With Full Score and Individual Parts. Enjoy it!*Instrumentation - Trumpet 1, 2 in C (optional), Bb Trumpet 1, 2, Timpani, SATB Choir, Piano Reduction (optional), Strings - Violins 1, 2, Violas and Violoncellos/Basses and Continuo.Georg Friedrich Händel (1685 –1759) was a German-born Baroque composer becoming well known for his operas, oratorios, anthems, concerti grossi and organ concertos. Handel received his training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$24.99
23.31 €
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George Frideric Handel
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Hallelujah from Handel's Messiah - Orchestra and SATB Choir
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Sheet Music To Play Editions
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SheetMusicPlus
Hallelujah from Handel's Messiah - SATB Choir and Orchestra (Full Score) - Score Only
Level 3 - Digital Download SKU: A0.1216856 Composed by George Frideric Handel. Arra…
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Level 3 - Digital Download SKU: A0.1216856 Composed by George Frideric Handel. Arranged by César Madeira. Baroque,Film/TV,Praise & Worship,Religious,Sacred. 30 pages. Sheet Music To Play Editions #813380. Published by Sheet Music To Play Editions (A0.1216856). Hallelujah Chorus from Handel's Messiah. Arrangement for *Orchestra and SATB Choir. With Full Score. Enjoy it!*Instrumentation - Trumpet 1, 2 in C (optional), Bb Trumpet 1, 2, Timpani, SATB Choir, Piano Reduction (optional), Strings - Violins 1, 2, Violas and Violoncellos/Basses and Continuo.This file DOES NOT contain Individual Parts. Full Score only.Georg Friedrich Händel (1685 –1759) was a German-born Baroque composer becoming well known for his operas, oratorios, anthems, concerti grossi and organ concertos. Handel received his training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$15.99
14.92 €
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George Frideric Handel
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Hallelujah from Handel's Messiah - SATB Choir and Orchestra
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Sheet Music To Play Editions
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SheetMusicPlus
Bach - Piano Concerto No.7 in G minor BWV 1058 for Piano solo and String Orchestra
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1356525 By Santino Cara. By …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1356525 By Santino Cara. By Johann Sebastian Bach. Arranged by Santino Cara. Baroque. 118 pages. Santino Cara #941197. Published by Santino Cara (A0.1356525). Complete score and parts of the Piano Concerto No.8 in G minor BWV 1058 for Piano concertato and Strings. Arranged for harpsichord in 1738 by Bach himself, from the previous concerto in A minor for solo violin, strings and continuo BWV 1041. Rewritten and elaborated for Piano and String orchestra in Rome in 2023 by Santino Cara.3 Movements: 1. Allegro moderato, 2. Andante, 3. Allegro assai.Instrumentations: Piano concertato, Violins I. & II., Violas, Violoncellos, Double Basses.
$22.40
20.9 €
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Chamber Orchestra
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Santino Cara
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II
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Bach - Piano Concerto No.7 in G minor BWV 1058 for Piano solo and String Orchestra
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Santino Cara
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SheetMusicPlus
Bach - Piano Concerto No.8 in D minor BWV 1059 for Piano solo and String Orchestra
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1352181 By Santino Cara. By …
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1352181 By Santino Cara. By Johann Sebastian Bach. Arranged by Santino Cara. Baroque. 93 pages. Santino Cara #937016. Published by Santino Cara (A0.1352181). Complete score and parts of the Concerto No.8 in D minor BWV 1059 for Piano, Strings and Continuo. Composed by Johann Sebastian Bach. Rewritten and elaborated in Rome in 2023 by Santino Cara.3 Movements: 1. Allegro, 2. Adagio, 3. Presto.Instrumentation: Piano concertato, Violins I. & II., Violas, Violoncellos and Double Basses
$22.40
20.9 €
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Chamber Orchestra
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Santino Cara
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Johann Sebastian Bach
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II
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Bach - Piano Concerto No.8 in D minor BWV 1059 for Piano solo and String Orchestra
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Santino Cara
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SheetMusicPlus
Cello Concerto
Cello, Orchestra
2 (2:picc.) · 1 · c.a. · 2 (2: b.cl.) · 2 (2: cbsn.) - 2 · 0 · 0 · 0 - perc. (timp.…
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2 (2:picc.) · 1 · c.a. · 2 (2: b.cl.) · 2 (2: cbsn.) - 2 · 0 · 0 · 0 - perc. (timp., b.d., tam-tam, sus. cym., vibra., glock., tub. bells, marimba) (2 players) - hp - str. (6 · 6 · 4 · 4 · 2 minimum) cello and orchestra - Digital Download SKU: S9.Q3688 Farewell to philosophy. Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 35 minutes. Schott Music - Digital #Q3688. Published by Schott Music - Digital (S9.Q3688). I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars.
$30.99
28.91 €
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Cello, Orchestra
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Gavin Bryars
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Cello Concerto
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
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)
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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