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6131
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1174
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995
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854
Piano, Vocal and Guitar
379
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193
C Instruments
185
Piano Accompaniment
134
Piano Trio: piano, violin, cello
124
2 Pianos, 4 hands
77
Piano Quintet: piano, 2 violins, viola, cello
30
Piano Quartet: piano, violin, viola, cello
29
Organ, Piano (duet)
23
Accordion
21
Organ, Trumpet (duet)
14
Harpsichord
14
Piano (band part)
12
Piano Quartet: piano, 2 violins, cello
8
1 Piano, 6 hands
6
2 Pianos, 8 hands
4
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2
Fake Book
2
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1
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1
Piano ensembles
1
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Guitar
587
Ukulele
287
Guitar notes and tablatures
272
Melody line, (Lyrics) and Chords
135
Piano, Guitar (duet)
129
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105
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24
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22
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19
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14
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11
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9
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7
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5
Dulcimer
4
Baritone Ukulele
3
Lyrics and Chords
2
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1
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1
Banjo
1
2 Ukuleles
1
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1
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1
Lute
1
2 Mandolins (duet)
1
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2051
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486
Choral 2-part
211
Choral Unison
196
Choral TTBB
113
Soprano voice, Piano
104
High voice
102
Choral SSAA
84
Vocal duet
62
Alto voice, Piano
61
Baritone voice, Piano
61
Tenor voice, Piano
60
Medium voice, Piano
45
Vocal duet, Piano
37
Voice solo
31
Choral SSAATTBB
23
Low voice, Piano
15
Tenor voice
12
Mezzo-Soprano voice, Piano
10
Low voice
10
Choral SSATTB
8
Soprano voice
5
Choral SSATB
3
Soli, Mixted choir and accompaniment
3
Choral
2
Choral SSAATB
1
Choral SATBB
1
Baritone voice
1
Choral SSAB a cappella
1
Voice, Guitar
1
Choral SSAB, Piano
1
Choral SAATB A Cappella
1
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Flute and Piano
1114
Clarinet and Piano
782
Oboe, Piano (duet)
651
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
621
Alto Saxophone and Piano
594
Saxophone Quartet: 4 saxophones
429
2 Flutes (duet)
319
Clarinet Quartet: 4 clarinets
307
Tenor Saxophone and Piano
305
2 Saxophones (duet)
285
Flute, Oboe, Clarinet, Bassoon
245
Clarinet
234
Flute
227
Soprano Saxophone and Piano
205
Saxophone Quintet: 5 Saxophones
203
Flute Quartet: 4 flutes
180
2 Clarinets (duet)
173
Clarinet Ensemble
169
Alto Saxophone
146
Flute ensemble
135
Saxophone ensemble
116
Saxophone (band part)
115
English horn, Piano
109
Flute, Violin, Piano
95
Flute and Guitar
95
Clarinet Quintet: 5 clarinets
95
3 Clarinets (trio)
86
Baritone Saxophone, Piano
86
Tenor Saxophone
82
Oboe (band part)
77
3 Saxophones (trio)
77
Clarinet, Guitar (duet)
67
Flute Quintet : 5 flutes
66
2 Oboes (duet)
49
Bass Clarinet, Piano
45
Flute, Clarinet (duet)
43
Flute Trio: 3 flutes
40
Recorder Quartet
38
2 Recorders (duet)
35
Descant (Soprano) Recorder
35
Recorder Ensemble
34
Saxophone, Clarinet (duet)
33
Oboe, Bassoon (duet)
33
Clarinet, Violin (duet)
28
Flute, Violin
26
Clarinet, Bassoon (duet)
25
Clarinet, Cello (duet)
23
Flute (band part)
22
Flute, Violoncello
19
Tenor Recorder
19
Flute, Cello, Piano (trio)
18
Recorder
18
Oboe, Flute
17
Clarinet, Trumpet (duet)
17
Treble (Alto) Recorder
16
Flute, Oboe, Clarinet (trio)
15
Oboe, Clarinet (duet)
15
Oboe
15
Clarinet and Viola
15
5 Recorders
14
Flute, Viola (duet)
14
Soprano Saxophone
13
Oboe, Clarinet, Bassoon (trio)
13
Flute, Saxophone (duet)
13
Flute, Clarinet, Piano (trio)
12
English Horn
12
3 Recorders (trio)
11
Oboe, Cello
11
Flute, Clarinet and Bassoon.
10
2 Clarinets, Piano
10
Flute, Oboe, Piano (trio)
10
Clarinet (band part)
10
Piccolo, Piano
10
Ocarina
9
Recorder, Guitar (duet)
9
Flute, Trumpet (duet)
9
2 Flutes, Piano
9
Clarinet, Harp (duet)
9
Harmonica
8
Descent (Soprano) Recorder, Piano
8
Treble (Alto) Recorder, Piano
7
Baritone Saxophone
7
Clarinet, Cello, Piano (trio)
7
Saxophone and Guitar
7
Flute, Oboe (duet)
7
Flute, Viola and Piano
6
2 Clarinets, Bassoon
6
Piccolo
6
English Horn, Guitar (duet)
5
2 Saxophones, Piano
5
Flute, Violin, Violoncello and Piano
5
Saxophone and Harp
5
Recorder, Piano
5
2 English horns and Pianoforte
4
Flute, Cello, Guitar
4
Flute, Oboe, Bassoon
4
Flute, Violin and Violoncello
4
4 Oboes
3
Oboe, Harp
3
Flute, Bassoon, and Piano
3
Flute, Clarinet, Horn and Bassoon (Quartet)
3
English horn, Harp (duet)
3
Saxophone and Organ
3
Saxophone
3
Saxophone and Piano
2
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2
Oboe, Guitar (duet)
2
3 Oboes
2
2 Oboes, Piano
2
Flute, Clarinet, Violin (trio)
2
Flute, Organ (duet)
2
Oboe, Clarinet and Piano (Trio)
2
Flute, Trombone (duet)
2
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2
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2
Treble (Alto) Recorder, Basso continuo
2
Bagpipe
1
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1
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1
Flute, Harp and Cello
1
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1
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1
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1
Clarinette, Viola and Piano (trio)
1
Flute and String Quartet
1
Pennywhistle
1
2 Flutes and Harp
1
Oboe, Cello and Piano
1
Oboe ensemble
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Oboe, Violin, Piano
1
Bass Clarinet
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Flute, harp and violin
1
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WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
761
Trombone and Piano
423
Trumpet, Piano
343
Brass quartet : 2 trumpets, trombone, tuba
335
Trumpet
310
French Horn and Piano
244
Trombone
144
Tuba and Piano
124
Brass Quartet: 2 trumpets, horn, trombone
115
English horn, Piano
109
Euphonium, Piano (duet)
108
Trombone ensemble
87
Brass Quartet
82
Trumpet (band part)
76
Trombone (band part)
68
Brass Quartet: 4 trombones
68
2 Trumpets (duet)
65
2 French horns (duet)
61
French horn
60
Trumpet ensemble
57
2 Trombones (duet)
50
Tuba
42
Brass Quartet: 4 horns
35
Trumpet, Trombone (duet)
31
Trumpet, Saxophone (duet)
23
Brass Quartet: 4 trumpets
20
French horn (band part)
19
Horn Ensemble
18
Tuba (band part)
13
English Horn
12
2 Euphoniums and 2 Tubas
11
4 Tubas
10
2 Tubas (duet)
9
3 Trombones (trio)
9
3 Tubas (trio)
8
Brass Trio
8
Bass Trombone and Piano
8
Trumpet, Horn (duert)
7
Bass Trombone
7
Euphonium
7
2 Euphoniums (duet)
6
Euphonium, Tuba (duet)
6
English Horn, Guitar (duet)
5
French Horn and Harp
5
Trombone, Horn (duet)
5
Horn, Cello (duet)
4
2 English horns and Pianoforte
4
Trumpet, violin (duet)
3
Tuba and Organ
3
Trumpet, Harp
3
Trumpet, Bassoon (duet)
3
3 Trumpets (trio)
3
Trombone, Tuba (duet)
3
English horn, Harp (duet)
3
3 French horns (trio)
3
Trombone and Orchestra
3
Trumpet, Cello (duet)
2
Trombone, Organ
2
Trumpet and Guitar
2
Horn, Tuba (duet)
2
3 Euphoniums
2
2 Trumpets, Keyboard (piano or organ)
1
Tuba ensemble
1
Clarinet, Horn (duet)
1
Horn and Organ
1
French horn and Basson (duet)
1
Brass Quartet: 2 trumpets, 2 trombones
1
Cornet and Orchestra
1
Trumpet, Cello, Piano
1
Instrumentations suivantes
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STRINGS
String Quartet: 2 violins, viola, cello
1448
Violin and Piano
1293
Cello, Piano
717
Viola, Piano
669
Violin
320
Cello
235
String Trio: violin, viola, cello
172
2 Violins (duet)
153
Harp
150
Violin, Cello (duet)
135
Viola
109
Violin, Guitar (duet)
108
2 Cellos (duet)
100
2 Violas (duet)
87
Violin, Viola (duet)
80
Cello, Guitar (duet)
69
Double bass, Piano (duet)
65
Viola, Guitar (duet)
64
String Trio: 2 violins, cello
48
String Quintet: 2 violins, 2 violas, cello
47
4 Cellos
45
String Trio: 3 violins
40
String Quintet: 2 violins, viola, cello, bass
39
Violin (band part)
38
Viola, Cello (duet)
37
Viola (band part)
32
Harp, Flute (duet)
29
Double Bass
28
Doublebass (band part)
22
2 Harps (duet)
21
String Trio: 3 cellos
19
Harp, Violin (duet)
17
Cello, String Bass (duet)
15
String Quartet : 4 violas
15
Piano Trio: Violin, Viola, Piano
15
String Trio: 2 violins, viola
14
String Trio: 3 violas
14
String quartet: 4 violins
12
Violin ensemble
11
Harp, Cello (duet)
11
Viola ensemble
9
String Quintet: 2 violins, viola, 2 cellos
9
Violin, Bassoon (duet)
8
2 Double basses (duet)
7
Cello, Organ
7
Viola and Harp
6
Viola and Bassoon
4
Flute, Doublebass (duet)
4
Cello Ensemble
4
Harp, Trombone (duet)
4
Violin, Clarinet, Piano (trio)
4
Cello (band part)
4
Harp and Piano
3
3 Harps
3
Harp, Violin, Violoncello
2
Harp and Organ
2
4 Double Basses
2
Violin, Basso continuo
2
Cello, Orchestra
2
Violoncello, Basso continuo
2
Harp and mandolin
2
Viola, Organ
2
Violin, Organ
1
2 Violins, Piano
1
4 Harps
1
2 Cellos, Piano
1
Instrumentations suivantes
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PERCUSSION & ORCHESTRA
Concert band
1801
Orchestra
791
String Orchestra
668
Chamber Orchestra
355
Brass ensemble
278
Handbells
269
Jazz Ensemble
200
Percussion Ensemble
74
Jazz combo
73
Marching band
65
Marimba
28
Drums
17
Vibraphone
15
Drum (band part)
13
Piano and Orchestra
8
Percussion (band part)
5
Xylophone, Piano
3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
2
Xylophone
2
Orchestra, Violin
2
2 Marimbas
1
Marimba and Organ
1
Marimba, Piano (duet)
1
School Ensemble
1
Vibraphone and Marimba
1
Instrumentations suivantes
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OTHERS
Musical course - Solfege
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Composer:
Piano and Orchestra
Sheetmusic to print
8 sheet music found
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1
Concerto No. 18 Bb major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4536 Cadenzas by the Composer
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Piano and orchestra - Digital Download SKU: S9.Q4536 Cadenzas by the Composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4536. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4536). Key: B flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$10.99
10.13 €
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Piano and Orchestra
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Wolfgang Amadeus Mozart
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Concerto No. 18 Bb major
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
Piano and Orchestra
Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067…
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Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067 Composed by Nicolae Kirculescu. Arranged by Andrei Lucian Drăgoi. 20th Century,Contemporary,Standards. 3 pages. Andrei-Lucian Dragoi #6188049. Published by Andrei-Lucian Dragoi (A0.913067). Composed for piano and orchestra by: Nicolae Kirculescu (Romanian composer) (1903-1985)
$2.00
1.84 €
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Piano and Orchestra
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Nicolae Kirculescu
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Kirculescu
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Andrei-Lucian Dragoi
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SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano and Orchestra
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.85 €
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Piano and Orchestra
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
Concerto No. 11 F major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4619 Cadenzas by the Composer
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Piano and orchestra - Digital Download SKU: S9.Q4619 Cadenzas by the Composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst eulenburg - orchestra - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 23 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4619. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4619). Key: F major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$11.99
11.05 €
#
Piano and Orchestra
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Wolfgang Amadeus Mozart
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Concerto No. 11 F major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto No. 19 F major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by …
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Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by the composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst eulenburg - orchestra - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 30 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4521. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4521). Key: F major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.9 €
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Piano and Orchestra
#
Wolfgang Amadeus Mozart
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Piano Concerto No. 19 F major
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Konzert fur Piano und Orchester, Opus 15
Piano and Orchestra
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$32.95
30.38 €
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Piano and Orchestra
#
Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
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Bisel Classics - Digital
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SheetMusicPlus
Concerto No. 6 Bb major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q12464 Cadenzas by the Composer
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Piano and orchestra - Digital Download SKU: S9.Q12464 Cadenzas by the Composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 21 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q12464. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12464). Key: B flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$11.99
11.05 €
#
Piano and Orchestra
#
Wolfgang Amadeus Mozart
#
Concerto No. 6 Bb major
#
Ernst Eulenburg & Co. GmbH - Digital
#
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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22.12 €
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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
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