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PIANO & KEYBOARDS
Easy Piano
55994
Piano solo
14235
Organ
3065
Big Note Piano
3044
Piano, Voice
2910
C Instruments
2003
Piano, Vocal and Guitar
1452
Accordion
1080
1 Piano, 4 hands
736
Piano Accompaniment
284
Piano Trio: piano, violin, cello
139
Piano (band part)
101
2 Pianos, 4 hands
78
Piano Quartet: piano, 2 violins, cello
63
Keyboard
60
Piano Quartet: piano, violin, viola, cello
58
1 Piano, 6 hands
51
Organ, Trumpet (duet)
39
Organ, Piano (duet)
26
Piano Quintet: piano, 2 violins, viola, cello
26
Harpsichord
18
2 Accordions
10
Accordion, Voice
5
Accordion, Piano
5
Accordion ensemble
2
Organ, Voice
2
2 Pianos, 8 hands
1
Instrumentations suivantes
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GUITARS
Guitar notes and tablatures
7373
Guitar
5208
Melody line, (Lyrics) and Chords
1611
Bass guitar
1560
Ukulele
672
2 Guitars (duet)
349
Guitar (band part)
200
Piano, Guitar (duet)
156
Lyrics and Chords
77
3 Guitars (trio)
46
Guitar Ensemble
41
4 Guitars (Quartet)
41
Banjo
31
Dulcimer
25
Mandolin
25
Lap Steel Guitar
20
2 Ukuleles
9
Baritone Ukulele
6
Electric Bass (band part)
6
Mandolin, Guitar (duet)
3
Guitar, Violin, Cello (trio)
3
2 Mandolins (duet)
2
Ukulele Ensemble
2
Guitar, String Quartet
1
Dobro
1
Instrumentations suivantes
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VOICE
Choral SATB
3108
Choral 3-part
1933
Choral 2-part
1430
Choral Unison
724
Voice solo
601
Choral TTBB
591
Choral SSAA
260
Vocal duet, Piano
114
Vocal duet
77
Choral
63
Low voice, Piano
45
Alto voice, Piano
34
High voice
30
Soprano voice, Piano
19
Choral SSATB
16
Choral, Organ
13
Medium voice, Piano
10
Tenor voice, Piano
10
Baritone voice, Piano
9
Tenor voice
8
Voice, Guitar
8
Choral SSATTB
5
Choral SSAATTBB
5
Soli, Mixted choir and accompaniment
3
Choral SSAB a cappella
3
Choral SATBB
3
Soprano voice
2
Low voice
2
Mezzo-Soprano voice, Piano
1
Choral SATTBB A Cappella
1
Choral SAATB A Cappella
1
Choral SSAB, Piano
1
Instrumentations suivantes
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WOODWIND
Saxophone
6693
Clarinet
3495
Flute
3423
Saxophone (band part)
1913
Flute and Piano
1306
Alto Saxophone
1138
2 Saxophones (duet)
1058
Saxophone Quartet: 4 saxophones
902
Oboe, Piano (duet)
835
Clarinet and Piano
747
Flute, Oboe, Clarinet, Bassoon
739
Alto Saxophone and Piano
709
2 Flutes (duet)
688
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
681
2 Clarinets (duet)
679
Recorder
674
Oboe (band part)
638
Tenor Saxophone and Piano
558
Clarinet Quartet: 4 clarinets
515
Tenor Saxophone
467
Saxophone Quintet: 5 Saxophones
422
Oboe
393
3 Saxophones (trio)
370
Soprano Saxophone
305
3 Clarinets (trio)
300
Soprano Saxophone and Piano
284
Flute, Clarinet (duet)
223
2 Oboes (duet)
212
2 Recorders (duet)
187
Baritone Saxophone, Piano
183
Flute Quartet: 4 flutes
178
Flute Trio: 3 flutes
173
Descant (Soprano) Recorder
124
Flute (band part)
123
Flute and Guitar
117
Clarinet Quintet: 5 clarinets
109
Recorder Quartet
108
Descent (Soprano) Recorder, Piano
108
Flute, Oboe, Bassoon
107
Oboe, Bassoon (duet)
105
Clarinet (band part)
88
Saxophone, Clarinet (duet)
82
Treble (Alto) Recorder
82
Clarinet, Violin (duet)
79
Oboe, Clarinet (duet)
74
Flute, Clarinet and Bassoon.
74
Clarinet Ensemble
64
3 Recorders (trio)
64
English horn, Piano
61
Flute, Violoncello
59
Flute, Violin
58
English Horn
57
Flute, Oboe, Clarinet (trio)
56
Harmonica
56
Treble (Alto) Recorder, Piano
54
Clarinet, Trumpet (duet)
53
Baritone Saxophone
53
Flute, Violin, Piano
48
Oboe, Clarinet, Bassoon (trio)
47
Clarinet, Bassoon (duet)
47
3 Oboes
42
Saxophone ensemble
41
Clarinet and Viola
40
4 Oboes
39
Flute, Oboe (duet)
39
Flute, Viola (duet)
34
Flute, Saxophone (duet)
32
Saxophone and Piano
31
Flute ensemble
30
Clarinet, Cello (duet)
30
Oboe, Flute
27
Piccolo
22
Flute, Trumpet (duet)
22
Oboe, Cello
21
5 Recorders
20
Bass Clarinet, Piano
20
Tenor Recorder
20
Recorder Ensemble
17
Flute, Bassoon, and Piano
16
Saxophone and Guitar
15
Flute Quintet : 5 flutes
13
Clarinet, Trombone (duet)
11
Clarinet, Guitar (duet)
11
Oboe, Guitar (duet)
11
Flute, Oboe, Violin
10
Flute, Clarinet, Horn and Bassoon (Quartet)
9
Oboe and viola (duet)
9
Flute, Cello, Piano (trio)
9
Piccolo, Piano
8
2 Saxophones, Piano
8
Flute and Strings Trio
7
Flute, Violin and Violoncello
7
Treble (Alto) Recorder, Basso continuo
7
Oboe, Violin (duet)
7
Clarinet, Bassoon, Piano (trio)
6
Flute, Trombone (duet)
6
Oboe ensemble
6
2 Flutes, Piano
6
2 Clarinets, Piano
6
Pennywhistle
5
Flute, Oboe, Piano (trio)
5
Flute, Violin, Violoncello and Piano
5
Descant (Soprano) Recorder, Basso continuo
4
Recorder, Guitar (duet)
4
Flute, Basso continuo
4
Flute, Organ (duet)
4
Clarinet, Organ
4
Saxophone, Violin (duet)
4
Flute, Clarinet, Piano (trio)
3
Oboe, Violin, Viola and Violoncello (Quartet)
3
Eb Instruments
3
Clarinet, Harp (duet)
2
Ocarina
2
Saxophone and Organ
2
Flute, harp and violin
2
Oboe, Cello and Piano
2
Oboe, Bassoon and Piano
2
Flute, Clarinet, Violin (trio)
2
Clarinet Quartet: Clarinet, Violin, Viola, Cello
2
2 Clarinets, Bassoon
2
Flute and String Quartet
2
Oboe, Violin, Piano
1
Oboe, Trombone (duet)
1
Bagpipe
1
Bass Clarinet
1
Flute, Harp and Cello
1
Flute, Viola and Piano
1
Clarinet, Cello, Piano (trio)
1
Recorder, Piano
1
Clarinette, Viola and Piano (trio)
1
Flute, Violin, Guitar
1
2 Oboes, Piano
1
2 Flutes and Guitar
1
2 Oboes and Basson
1
Harmonica, Piano
1
2 Flutes, Basso continuo
1
Flute, Tuba (duet)
1
2 English horns and Pianoforte
1
Saxophone, Bassoon (duet)
1
Pan Flute
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
3248
Trombone
2924
French horn
765
Trumpet, Piano
707
Trombone and Piano
632
Tuba
605
Brass Quintet: 2 trumpets, horn, trombone, tuba
497
2 Trumpets (duet)
489
Euphonium
444
Trombone (band part)
439
Trumpet (band part)
386
French Horn and Piano
371
2 Trombones (duet)
354
Brass quartet : 2 trumpets, trombone, tuba
293
Trumpet, Trombone (duet)
269
Tuba and Piano
261
Brass Quartet: 2 trumpets, horn, trombone
248
Brass Quartet
187
2 French horns (duet)
160
French horn (band part)
114
Tuba (band part)
100
Trumpet, Horn (duert)
71
2 Tubas (duet)
65
Trumpet, Saxophone (duet)
64
English horn, Piano
61
Brass Quartet: 4 trombones
59
English Horn
57
Tuba and Organ
49
Brass Trio
45
Brass Quartet: 4 trumpets
44
Euphonium, Piano (duet)
37
Brass Quartet: 4 horns
30
3 Trumpets (trio)
19
Horn, Trumpet, Trombone (trio)
17
Horn, Tuba (duet)
14
Trombone, Horn (duet)
14
3 Trombones (trio)
14
2 Euphoniums (duet)
14
Bass Trombone and Piano
10
Trombone, Tuba (duet)
10
Horn Ensemble
9
4 Tubas
9
Trombone ensemble
7
2 Euphoniums and 2 Tubas
7
3 French horns (trio)
7
Trumpet, violin (duet)
7
Euphonium, Tuba (duet)
6
Trumpet, Tuba (duet)
6
Horn, Cello (duet)
6
Trumpet, Cello (duet)
6
Bass Clef Instruments
6
3 Tubas (trio)
5
2 Trumpets, Keyboard (piano or organ)
5
Brass Quartet: 2 trumpets, 2 trombones
4
Trombone, Organ
4
Bass Trombone
4
Trumpet, Bassoon (duet)
4
French horn and Basson (duet)
3
Clarinet, Horn (duet)
2
Trumpet, Trombone, Piano
2
Brass Quintet: 2 trumpets, horn, 2 trombones
2
Bb Instruments
2
Trumpet, Euphonium (duet)
2
Trumpet and Guitar
2
3 Euphoniums
1
4 Euphoniums
1
Tuba ensemble
1
Trumpet ensemble
1
2 English horns and Pianoforte
1
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
1
Instrumentations suivantes
Retracter
STRINGS
Violin
2598
String Quartet: 2 violins, viola, cello
1773
Violin and Piano
1754
Viola
1472
Cello
1189
Cello, Piano
1170
Viola, Piano
955
Harp
916
Cello (band part)
839
2 Violins (duet)
764
2 Cellos (duet)
642
Violin, Cello (duet)
562
String Quintet: 2 violins, viola, cello, bass
429
2 Violas (duet)
387
Double Bass
361
Double bass, Piano (duet)
333
Violin, Viola (duet)
293
Viola (band part)
273
String Trio: violin, viola, cello
262
String Trio: 2 violins, cello
190
Viola, Cello (duet)
173
Violin (band part)
170
Doublebass (band part)
130
String Trio: 3 cellos
123
4 Cellos
96
String Trio: 3 violins
94
Piano Trio: Violin, Viola, Piano
63
2 Double basses (duet)
60
String quartet: 4 violins
56
Violin, Guitar (duet)
54
String Quartet : 4 violas
44
String Trio: 2 violins, viola
38
Cello, Guitar (duet)
37
String Trio: 3 violas
33
Cello, String Bass (duet)
29
Viola, Guitar (duet)
21
2 Violins, Piano
17
Violin, Bassoon (duet)
15
Cello, Organ
10
2 Harps (duet)
10
Violoncello, Basso continuo
10
Viola and Bassoon
10
2 Cellos, Piano
9
2 Violas, Piano
9
Harp, Voice
8
Harp, Flute (duet)
7
String Quintet: 2 violins, 2 violas, cello
7
4 Double Basses
6
String trio
5
Cello Ensemble
4
2 Violins and Basso
3
Cello, Orchestra
3
Viola, Organ
3
Harp and Organ
2
Violin, Clarinet, Piano (trio)
2
Violin, Organ
2
Autoharp
2
3 double basses
2
Harp (band part)
2
5 Harps
2
Violin, Basso continuo
2
Harp, Cello (duet)
1
Harp and Piano
1
3 Harps
1
Harp, Violin (duet)
1
Flute, Doublebass (duet)
1
Harp, Violin, Violoncello
1
Violin, Trumpet and Piano
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Drums
2004
Concert band
781
String Orchestra
719
Orchestra
716
Jazz Ensemble
435
Brass ensemble
365
Handbells
289
Drum (band part)
125
Chamber Orchestra
121
Jazz combo
92
Percussion Ensemble
87
Marching band
83
Percussion
66
Marimba
56
Xylophone
34
Percussion (band part)
29
Xylophone, Piano
29
Timpani
28
School Ensemble
13
Vibraphone
12
Piano and Orchestra
10
Big band
8
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
8
Vibraphone, Piano
7
Vibraphone (band part)
6
Snare drums
4
Woodwind Quartet: any 4 woodwinds
2
Xylophone or Marimba or Vibraphone
2
Flexible Instrumentation
1
Woodwind Quintet
1
3 Marimbas
1
2 Percussions
1
2 Snare Drums (duet)
1
Orchestra, Violin
1
Brass Quintet: other combinaisons
1
Marimba, Piano (duet)
1
Drums-Marching band
1
Instrumentations suivantes
Retracter
OTHERS
Stationery
1
Music Theory
1
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Piano and Orchestra
Sheetmusic to print
10 sheet music found
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1
Hatikvah. The national anthem of Israel. Easy piano.
Piano and Orchestra
Arranged by R.Sloboder. Jewish,Wedding,World. Score. 2 pages. Rivka Sloboder #573316…
(+)
Arranged by R.Sloboder. Jewish,Wedding,World. Score. 2 pages. Rivka Sloboder #5733163. Published by Rivka Sloboder
$5.99
5.53 €
#
Piano and Orchestra
#
Hatikvah. The national anthem of Israel. Easy piano.
#
Rivka Sloboder
#
SheetMusicPlus
Concerto No. 6 for Piano and Orchestra
Piano and Orchestra
By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner…
(+)
By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC6. Published by Classical Video Concepts, Inc
$20.00
18.45 €
#
Piano and Orchestra
#
Alexander Peskanov
#
Concerto No. 6 for Piano and Orchestra
#
Classical Video Concepts, Inc
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano and Orchestra
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
184.5 €
#
Piano and Orchestra
#
Mykola Leontovych
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Concerto No. 9 (Boston Concerto) for Piano and Orchestra
Piano and Orchestra
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner.…
(+)
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC9. Published by Classical Video Concepts, Inc
$20.00
18.45 €
#
Piano and Orchestra
#
Alexander Peskanov
#
Concerto No. 9
#
Classical Video Concepts, Inc
#
SheetMusicPlus
Concerto No. 4 for Piano and Orchestra
Piano and Orchestra
By Alexander Peskanov. For Piano, Orchestra. Classical Period. Easy/Beginner. Piano Reduct…
(+)
By Alexander Peskanov. For Piano, Orchestra. Classical Period. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC4. Published by Classical Video Concepts, Inc
$20.00
18.45 €
#
Piano and Orchestra
#
Alexander Peskanov
#
Concerto No. 4 for Piano and Orchestra
#
Classical Video Concepts, Inc
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano and Orchestra
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
(+)
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
138.38 €
#
Piano and Orchestra
#
Mykola Leontovych
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano and Orchestra
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
(+)
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
115.31 €
#
Piano and Orchestra
#
Mykola Leontovych
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
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)
$23.99
22.13 €
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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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SheetMusicPlus
Concerto No. 9 (Boston Concerto) - Orchestra Score
Piano and Orchestra
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner.…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Score. Classical Video Concepts, Inc #M-YC9-SCORE. Published by Classical Video Concepts, Inc
$50.00
46.13 €
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Piano and Orchestra
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Alexander Peskanov
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Concerto No. 9
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Classical Video Concepts, Inc
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SheetMusicPlus
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