Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
4
Digital
Sheet Music
4
Sheet Music
Books
157
Music
Equipment
14,951
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
11354
PIANO & KEYBOARDS
Piano solo
23044
Piano, Voice
4344
Piano, Vocal and Guitar
4126
Easy Piano
3269
C Instruments
664
Organ
648
1 Piano, 4 hands
322
Big Note Piano
207
Piano Accompaniment
176
2 Pianos, 4 hands
134
Piano Trio: piano, violin, cello
114
Accordion
85
Piano (band part)
60
Piano Quintet: piano, 2 violins, viola, cello
60
Piano Quartet: piano, violin, viola, cello
44
Organ, Piano (duet)
20
Melody line, Piano
19
Harpsichord
18
Piano Quartet: piano, 2 violins, cello
14
Keyboard
11
Organ, Trumpet (duet)
7
2 Pianos, 8 hands
5
1 Piano, 6 hands
4
Accordion, Voice
4
Solo instrument and Organ
3
2 Accordions
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
1778
Melody line, (Lyrics) and Chords
831
Guitar
767
Ukulele
335
Lyrics and Chords
256
Bass guitar
179
Piano, Guitar (duet)
145
Lap Steel Guitar
97
2 Guitars (duet)
97
Guitar (band part)
60
Banjo
39
Dulcimer
29
Electric Bass (band part)
23
Mandolin
22
4 Guitars (Quartet)
13
Guitar Ensemble
12
3 Guitars (trio)
10
Baritone Ukulele
8
Ukulele Ensemble
8
Mandolin, Guitar (duet)
6
Band Scores
5
Dobro
2
2 Ukuleles
1
Guitar, Violin, Cello (trio)
1
Guitar, Orchestra
1
Guitar Tab, Voice, Bass, Drum
1
2 Mandolins (duet)
1
Plectrum Orchestra
1
Guitar, Flute, Clarinet
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
4411
Choral 3-part
1373
Choral Unison
1348
Choral 2-part
1114
Choral TTBB
621
Choral SSAA
333
Vocal duet, Piano
266
Choral
115
Vocal duet
106
Voice solo
91
Soprano voice, Piano
91
Choral SSATB
30
Alto voice, Piano
26
High voice
23
Medium voice, Piano
15
Tenor voice
12
Low voice, Piano
11
Choral SSAATTBB
11
Tenor voice, Piano
10
Mezzo-Soprano voice, Piano
8
Soli, Mixted choir and accompaniment
7
Soprano voice
7
Voice, Guitar
7
Baritone voice, Piano
6
Choral SSATTB
5
Choral, Organ
3
Choral SSAATB
3
Choral SSATBB
2
Choral SAATB A Cappella
2
Choral SATBB
2
Choral SATTBB A Cappella
2
Choral SSAATB A Cappella
1
Choral SATTBB, keyboard
1
High voice, Piano
1
Choral SSAB, Piano
1
Choral SSAB a cappella
1
Choral, Orchestra
1
Low voice
1
Medium Voice
1
Instrumentations suivantes
Retracter
WOODWIND
Flute and Piano
1640
Clarinet and Piano
1221
Oboe, Piano (duet)
1093
Alto Saxophone and Piano
758
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
694
Saxophone Quartet: 4 saxophones
634
Saxophone (band part)
629
2 Saxophones (duet)
603
Flute
586
Flute, Oboe, Clarinet, Bassoon
551
Clarinet
495
Tenor Saxophone and Piano
469
Alto Saxophone
402
Saxophone Quintet: 5 Saxophones
396
2 Flutes (duet)
334
Clarinet (band part)
334
2 Clarinets (duet)
320
Tenor Saxophone
309
Soprano Saxophone and Piano
297
Clarinet Quartet: 4 clarinets
268
Oboe (band part)
231
English horn, Piano
213
Flute, Clarinet (duet)
166
Flute Quartet: 4 flutes
165
Saxophone ensemble
162
Baritone Saxophone, Piano
153
2 Oboes (duet)
144
Saxophone, Clarinet (duet)
139
Flute ensemble
131
Flute (band part)
127
Clarinet Ensemble
117
Clarinet Quintet: 5 clarinets
113
3 Saxophones (trio)
110
Saxophone
109
Clarinet, Violin (duet)
107
3 Clarinets (trio)
96
2 Recorders (duet)
92
Flute Quintet : 5 flutes
92
Clarinet, Trumpet (duet)
84
Oboe, Bassoon (duet)
84
Oboe, Clarinet (duet)
82
Oboe
80
Flute Trio: 3 flutes
74
Flute, Violin
65
Clarinet, Harp (duet)
64
Soprano Saxophone
63
Recorder
59
Flute and Guitar
59
Bass Clarinet, Piano
54
Flute, Saxophone (duet)
54
Oboe, Flute
52
Oboe, Clarinet, Bassoon (trio)
49
Clarinet and Viola
48
Descant (Soprano) Recorder
46
Flute, Viola (duet)
44
Flute, Cello, Piano (trio)
44
Flute, Trumpet (duet)
42
Clarinet, Bassoon (duet)
41
Flute, Oboe, Clarinet (trio)
38
Flute, Violoncello
34
Baritone Saxophone
32
Flute, Clarinet and Bassoon.
27
Clarinet, Cello (duet)
24
Eb Instruments
23
Flute, Oboe (duet)
23
English Horn
21
Recorder Quartet
20
Flute, Clarinet, Piano (trio)
19
Flute, Harp and Cello
19
Treble (Alto) Recorder
18
Oboe, Cello
17
Flute, French horn (duet)
16
Ocarina
15
2 Flutes, Piano
15
Clarinet, Guitar (duet)
12
Flute, Oboe, Bassoon
11
Clarinet, Cello, Piano (trio)
11
Descent (Soprano) Recorder, Piano
11
5 Recorders
11
Tenor Recorder
10
Harmonica
10
Saxophone and Guitar
10
Flute, Violin and Violoncello
10
Clarinet, Trombone (duet)
9
Treble (Alto) Recorder, Piano
9
2 Clarinets, Piano
8
2 Saxophones, Piano
8
3 Oboes
7
Oboe, Violin (duet)
7
3 Recorders (trio)
7
Pennywhistle
7
Flute, Violin, Piano
7
4 Oboes
6
Flute, Clarinet, Horn and Bassoon (Quartet)
6
Piccolo, Piano
5
Bass Clarinet
5
Recorder Ensemble
5
Flute, Bassoon, and Piano
5
Piccolo
5
Flute, Viola and Piano
5
Flute, Oboe, Piano (trio)
4
Oboe, Cello and Piano
4
Flute, Violin, Violoncello and Piano
4
Oboe, Harp
3
Clarinet, trumpet and piano
3
Flute and String Quartet
3
Flute, Violin, Guitar
3
Flute, Trombone (duet)
3
Bagpipe
3
2 English horns and Pianoforte
3
Flute, trombone and piano
3
English Horn, Guitar (duet)
2
2 Harmonicas
2
Oboe, Guitar (duet)
2
Wind ensemble
2
Oboe and viola (duet)
2
Oboe, Bassoon and Piano
2
Recorder, Piano
2
Flute, harp and violin
2
Flute, Basso continuo
2
Saxophone and Organ
2
Oboe, Clarinet and Piano (Trio)
2
Treble (Alto) Recorder, Basso continuo
1
2 Oboes, 2 Horns and 2 Bassoons
1
Oboe and Orchestra
1
Oboe ensemble
1
Flute, viola, cello and guitar
1
Oboe, Violin, Piano
1
Flute, Viola and harp
1
Oboe, Trombone (duet)
1
Flute, Tuba (duet)
1
Clarinet, Tuba
1
Clarinet Quintet: Clarinet, String Quartet
1
Saxophone and Harp
1
Flute, Clarinet, Violin (trio)
1
Clarinet, Double bass (duet)
1
Clarinet, Saxophone, Piano
1
Clarinet, Orchestra
1
2 Oboes, Piano
1
Clarinette, Viola and Piano (trio)
1
Flute, Oboe, Violin
1
Saxophone and Piano
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
728
Trombone and Piano
633
Trumpet
587
Trumpet, Piano
580
French Horn and Piano
444
Trumpet (band part)
439
Trombone (band part)
417
Trombone
399
Brass quartet : 2 trumpets, trombone, tuba
388
French horn
331
Tuba and Piano
224
Brass Quartet
223
English horn, Piano
213
Brass Quartet: 2 trumpets, horn, trombone
206
2 Trumpets (duet)
185
French horn (band part)
184
2 Trombones (duet)
176
Tuba
168
Trumpet, Trombone (duet)
133
2 French horns (duet)
113
Trumpet, Saxophone (duet)
111
Tuba (band part)
108
Euphonium, Piano (duet)
101
Trumpet ensemble
98
Brass Quartet: 4 trombones
70
Brass Quartet: 4 horns
63
Trombone ensemble
59
Trumpet, Horn (duert)
39
2 Tubas (duet)
37
Brass Quartet: 4 trumpets
28
Bb Instruments
25
Horn Ensemble
25
Bass Clef Instruments
23
English Horn
21
Brass Trio
20
Tuba and Organ
19
2 Euphoniums and 2 Tubas
19
Euphonium
18
3 Trombones (trio)
18
2 Euphoniums (duet)
17
3 Trumpets (trio)
14
4 Tubas
13
Euphonium, Tuba (duet)
13
Trombone, Horn (duet)
12
Clarinet, Horn (duet)
11
Horn, Cello (duet)
11
Trombone, Tuba (duet)
10
Trumpet, Tuba (duet)
9
Horn, Tuba (duet)
9
Tuba or Euphonium or Saxhorn
8
Brass Quartet: 2 trumpets, 2 trombones
7
Bass Trombone
7
Bass Trombone and Piano
7
F Instruments
6
Cornet
6
French Horn and Harp
4
3 French horns (trio)
4
Trumpet, Cello (duet)
4
Tuba ensemble
3
2 English horns and Pianoforte
3
English Horn, Guitar (duet)
2
2 Trumpets, Keyboard (piano or organ)
2
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
2
Trombone and Orchestra
2
French horn and Basson (duet)
2
Trombone, Organ
2
Trumpet, Cello, Piano
2
Trumpet, Euphonium (duet)
2
Horn and Organ
1
Trumpet, Bassoon (duet)
1
Horn, Cello and Piano
1
Trumpet, Orchestra
1
Trombone, Violin (duet)
1
Trumpet, Harp
1
Trumpet, violin (duet)
1
3 Euphoniums
1
3 Tubas (trio)
1
2 Trombones, Piano
1
Instrumentations suivantes
Retracter
STRINGS
Harp
2386
Violin and Piano
1874
String Quartet: 2 violins, viola, cello
1672
Cello, Piano
1147
Viola, Piano
1034
Violin
775
Cello
623
Viola
381
Violin, Cello (duet)
321
2 Violins (duet)
291
Double bass, Piano (duet)
241
2 Cellos (duet)
228
String Quintet: 2 violins, viola, cello, bass
209
String Trio: violin, viola, cello
209
Violin (band part)
206
Harp, Flute (duet)
181
2 Harps (duet)
172
Violin, Viola (duet)
170
Double Bass
166
2 Violas (duet)
158
Doublebass (band part)
148
Viola (band part)
131
String Trio: 2 violins, cello
70
Cello (band part)
62
Viola, Cello (duet)
57
4 Cellos
56
Harp, Violin (duet)
55
2 Double basses (duet)
37
Piano Trio: Violin, Viola, Piano
34
Violin, Guitar (duet)
33
String Trio: 3 violins
28
String Trio: 3 cellos
24
String quartet: 4 violins
19
Violin ensemble
17
Harp, Voice
15
Violin, Bassoon (duet)
15
Viola ensemble
15
Cello, String Bass (duet)
14
String Quintet: 2 violins, 2 violas, cello
14
String trio
13
String Trio: 2 violins, viola
13
String Quartet : 4 violas
11
3 Harps
11
String Quintet: 2 violins, viola, 2 cellos
11
Cello, Guitar (duet)
11
String Trio: 3 violas
10
Viola and Bassoon
10
Harp and Piano
6
Viola, Guitar (duet)
5
Harp, Cello (duet)
5
Violin, Basso continuo
5
Cello Ensemble
5
Harp (band part)
5
Violin, Clarinet, Piano (trio)
4
4 Harps
4
2 Violins, Piano
4
Harp, Violin, Violoncello
3
Flute, Doublebass (duet)
3
5 Harps
3
2 Cellos, Piano
3
3 double basses
2
Autoharp
2
Harp, Orchestra
2
Viola and Harp
2
4 Double Basses
2
Cello, Organ
2
Violin, Tuba (duet)
1
2 Violas, Piano
1
Harp and mandolin
1
Violin, Clarinet and Guitar
1
Violoncello, Basso continuo
1
Violin, Organ
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
3438
Orchestra
913
String Orchestra
872
Jazz Ensemble
492
Brass ensemble
327
Handbells
281
Marching band
259
Percussion (band part)
206
Chamber Orchestra
171
Drums
162
Jazz combo
136
Drum (band part)
131
Percussion Ensemble
67
Percussion
47
Timpani (band part)
33
Marimba
30
Vibraphone
28
Xylophone, Piano
24
Xylophone
15
Woodwind Quintet
11
Timpani
8
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
8
Snare drums
5
Orchestra, Violin
4
Woodwind Quartet: any 4 woodwinds
4
Piano and Orchestra
4
2 Xylophones
3
School Ensemble
3
Xylophone (band part)
2
Flexible Instrumentation
2
Brass Quintet: other combinaisons
2
Vibraphone and Marimba
1
Marimba, Saxophone (duet)
1
Marimba, Piano (duet)
1
Instrumentations suivantes
Retracter
OTHERS
Music Theory
4
You've selected:
New
Piano and Orchestra
Sheetmusic to print
4 sheet music found
<
1
Konzertstück F minor
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4516 Composed by Carl Maria von Web…
(+)
Piano and orchestra - Digital Download SKU: S9.Q4516 Composed by Carl Maria von Weber. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 79. Duration 16 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4516. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4516). Key: F minor.New Edition based on the Weber Complete Edition with a preface by Markus Bandur. 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.
$12.99
11.68 €
#
Piano and Orchestra
#
Carl Maria von Weber
#
Konzertstück F minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 5 Eb major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4493 Emperor. Composed by Lu…
(+)
Piano and orchestra - Digital Download SKU: S9.Q4493 Emperor. Composed by Ludwig van Beethoven. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 73. Ernst Eulenburg & Co. GmbH - Digital #Q4493. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4493). Key: E flat major.New Urtext Edition.
$17.99
16.18 €
#
Piano and Orchestra
#
Ludwig van Beethoven
#
Concerto No. 5 Eb major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 1 E minor
Piano and Orchestra
Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. T…
(+)
Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. New URTEXT Edition. Downloadable, Study score. Op. 11. Ernst Eulenburg & Co. GmbH - Digital #Q4621. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4621). Key: E minor.Klavierkonzert Nr. 1 e-Moll op. 11Seine unausgesprochenen Gefühle unerfüllter Liebe, die er für die Sängern Konstanze Gładkowska hegte, hatte Chopin bereits im f-Moll-Konzert zu verarbeiten versucht, doch die Sehnsucht scheint sich auch im zweiten Satz des e-Moll-Konzertes widerzuspiegeln: Die Romanze „… soll wie das milde Hinblicken auf eine Stätte wirken, die tausend süße Erinnerungen wachruft, wie eine Träumerei in einer schönen, mondbeglänzten Frühlingsnacht.
$15.99
14.38 €
#
Piano and Orchestra
#
Frederic Chopin
#
Concerto No. 1 E minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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
21.57 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version