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
7
Digital
Sheet Music
7
Sheet Music
Books
273
Music
Equipment
31,721
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
ENGLISH HORN
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
19698
PIANO & KEYBOARDS
Piano solo
37469
Piano, Voice
6480
Easy Piano
3505
Piano, Vocal and Guitar
2837
Accordion
2405
Organ
1568
C Instruments
1092
1 Piano, 4 hands
506
Piano Accompaniment
323
Piano Trio: piano, violin, cello
210
Piano (band part)
119
2 Pianos, 4 hands
111
Big Note Piano
74
Organ, Piano (duet)
72
Piano Quartet: piano, violin, viola, cello
62
Harpsichord
34
Piano Quartet: piano, 2 violins, cello
32
1 Piano, 6 hands
30
Piano Quintet: piano, 2 violins, viola, cello
22
Organ, Trumpet (duet)
18
Keyboard
8
2 Pianos, 8 hands
8
Melody line, Piano
6
Solo instrument and Organ
2
Piano ensembles
1
Accordion ensemble
1
Accordion, Voice
1
Fake Book
1
Instrumentations suivantes
Retracter
GUITARS
Guitar
5659
Bass guitar
3546
Guitar notes and tablatures
2784
Melody line, (Lyrics) and Chords
722
Ukulele
655
Mandolin
355
Lyrics and Chords
236
2 Guitars (duet)
192
Piano, Guitar (duet)
149
Guitar (band part)
128
4 Guitars (Quartet)
74
Dulcimer
71
Banjo
69
3 Guitars (trio)
44
Guitar Ensemble
22
Mandolin, Guitar (duet)
10
Electric Bass (band part)
7
Baritone Ukulele
6
Band Scores
6
2 Dulcimers (duet)
5
Mandolin, Piano (duet)
4
Guitar, Violin, Cello (trio)
4
2 Ukuleles
4
Guitar, Orchestra
3
Guitar, Flute, Clarinet
2
Lap Steel Guitar
2
Ukulele Ensemble
1
Dobro
1
Lute
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
6520
Voice solo
5903
Choral 3-part
1843
Choral 2-part
1123
Choral TTBB
1091
Choral SSAA
683
Choral Unison
676
High voice
275
Soprano voice, Piano
264
Vocal duet, Piano
252
Choral Instrumental Pak
172
Tenor voice, Piano
169
Vocal duet
145
Baritone voice, Piano
139
Alto voice, Piano
132
Low voice, Piano
126
Soli, Mixted choir and accompaniment
106
Choral
69
Mezzo-Soprano voice, Piano
55
Medium voice, Piano
55
High voice, Piano
29
Choral SSAATTBB
29
Choral SSATB
18
Tenor voice
16
Choral SSATTB
16
Low voice
13
Soprano voice
12
Voice, Guitar
10
Choral SSAB, Piano
4
Choral SATBB
3
Choral SSAATB
3
Vocal duet, Organ
2
Choral SSAB a cappella
2
Choral SATTBB A Cappella
1
Voice, Basso continuo
1
Baritone voice
1
Choral SSAATB A Cappella
1
Soprano voice, Orchestra
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone
16647
Flute
8395
Clarinet
7842
Alto Saxophone
1963
Tenor Saxophone
1740
Flute and Piano
1563
Clarinet and Piano
1403
2 Saxophones (duet)
1384
Saxophone Quartet: 4 saxophones
1291
Recorder
1262
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
1215
Oboe, Piano (duet)
1185
Alto Saxophone and Piano
1058
Flute, Oboe, Clarinet, Bassoon
944
Oboe
915
Saxophone (band part)
816
Tenor Saxophone and Piano
812
2 Flutes (duet)
726
Clarinet Quartet: 4 clarinets
714
Soprano Saxophone
686
2 Clarinets (duet)
618
Saxophone Quintet: 5 Saxophones
609
Soprano Saxophone and Piano
439
Oboe (band part)
389
Descant (Soprano) Recorder
365
Baritone Saxophone, Piano
320
Clarinet (band part)
301
Ocarina
301
3 Saxophones (trio)
288
Flute Quartet: 4 flutes
286
Flute, Clarinet (duet)
285
2 Recorders (duet)
281
2 Oboes (duet)
255
Treble (Alto) Recorder
251
Saxophone, Clarinet (duet)
249
Clarinet Ensemble
227
Clarinet, Violin (duet)
211
Harmonica
211
Flute (band part)
206
Flute and Guitar
183
Oboe, Bassoon (duet)
178
Oboe, Clarinet (duet)
177
3 Clarinets (trio)
165
Clarinet, Trumpet (duet)
163
Saxophone ensemble
162
Flute ensemble
148
Clarinet Quintet: 5 clarinets
146
Flute Trio: 3 flutes
139
English horn, Piano
138
Flute, Violin
126
Flute, Violin, Piano
110
Clarinet and Viola
108
Baritone Saxophone
100
Flute, Viola (duet)
95
Bass Clarinet, Piano
94
Flute, Oboe, Clarinet (trio)
93
Flute, Saxophone (duet)
90
Oboe, Flute
90
Flute, Trumpet (duet)
86
Clarinet, Bassoon (duet)
81
Flute, Clarinet and Bassoon.
78
Flute Quintet : 5 flutes
75
Recorder Quartet
74
Clarinet, Guitar (duet)
67
Treble (Alto) Recorder, Piano
65
Flute, Oboe (duet)
62
Oboe, Clarinet, Bassoon (trio)
61
Descent (Soprano) Recorder, Piano
56
Recorder Ensemble
53
Flute, Violoncello
50
English Horn
49
2 Saxophones, Piano
48
Tenor Recorder
47
Clarinet, Cello (duet)
40
2 Flutes, Piano
40
Flute, Clarinet, Piano (trio)
39
Oboe, Cello
33
3 Recorders (trio)
32
Flute, Oboe, Bassoon
32
5 Recorders
27
Flute, Trombone (duet)
25
Oboe, Violin (duet)
25
Piccolo
24
Flute, Bassoon, and Piano
23
Oboe, Guitar (duet)
22
Piccolo, Piano
21
Saxophone and Organ
20
Bass Clarinet
19
Eb Instruments
19
Clarinet, Cello, Piano (trio)
19
Treble (Alto) Recorder, Basso continuo
18
Flute, Oboe, Piano (trio)
18
Flute, Clarinet, Horn and Bassoon (Quartet)
17
Flute, Violin and Violoncello
17
Recorder, Piano
16
Flute, Cello, Piano (trio)
16
Clarinet, Harp (duet)
16
Clarinet, Trombone (duet)
15
2 Clarinets, Piano
14
Clarinet, Bassoon, Piano (trio)
13
Flute, Viola and Piano
13
Oboe and viola (duet)
12
Flute, harp and violin
11
Flute, Violin, Violoncello and Piano
10
Flute, trombone and piano
9
2 Clarinets, Bassoon
9
4 Oboes
8
English Horn, Guitar (duet)
8
Saxophone and Guitar
8
3 Oboes
7
Oboe, Harp
7
Clarinette, Viola and Piano (trio)
7
Oboe ensemble
6
Saxophone and Harp
6
Pennywhistle
6
Clarinet, Double bass (duet)
6
Clarinet, Organ
5
Oboe, Clarinet and Piano (Trio)
5
Clarinet, trumpet and piano
5
Flute, Organ (duet)
5
Flute, Cello, Guitar
4
Wind ensemble
4
Oboe, Cello and Piano
4
Flute and Strings Trio
4
Clarinet Quintet: Clarinet, String Quartet
4
2 English horns and Pianoforte
3
Flute, Viola and harp
3
Flute, Tuba (duet)
3
Oboe, Trombone (duet)
3
Oboe, Violin, Piano
3
Oboe, Bassoon and Piano
3
Flute, Clarinet, Violin (trio)
2
Saxophone and Piano
2
2 Recorders, Piano
2
English horn, Harp (duet)
2
2 Flutes, 2 Clarinets (Quartet)
2
Clarinet, Tuba
2
Saxophone and cello
1
2 Recorders, Guitar
1
Flute, Harp and Cello
1
Flute, French horn (duet)
1
2 Flutes and Harp
1
Clarinet Quartet: Clarinet, Violin, Viola, Cello
1
Clarinet, Orchestra
1
Oboe, Trumpet (duet)
1
Pan Flute
1
Recorder, Guitar (duet)
1
2 Oboes, 2 Horns and 2 Bassoons
1
Flute, Oboe, Violin
1
Oboe and Orchestra
1
2 Flutes, Basso continuo
1
Flute and String Quartet
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
7086
Trombone
6327
Brass Quintet: 2 trumpets, horn, trombone, tuba
1418
Trombone and Piano
1080
Trumpet, Piano
991
French horn
962
French Horn and Piano
731
Brass quartet : 2 trumpets, trombone, tuba
646
Tuba
640
Trumpet (band part)
567
Trombone (band part)
538
Euphonium
437
Tuba and Piano
417
2 Trombones (duet)
386
2 Trumpets (duet)
380
Brass Quartet
303
Trumpet, Trombone (duet)
283
Brass Quartet: 2 trumpets, horn, trombone
273
2 French horns (duet)
236
French horn (band part)
233
Trumpet, Saxophone (duet)
184
Euphonium, Piano (duet)
172
Brass Quartet: 4 trombones
155
English horn, Piano
138
Tuba (band part)
116
2 Tubas (duet)
101
Brass Quartet: 4 horns
94
Trumpet ensemble
73
Trumpet, Horn (duert)
72
Trombone ensemble
67
Brass Quartet: 4 trumpets
52
English Horn
49
Horn Ensemble
39
3 Trombones (trio)
37
4 Tubas
29
2 Euphoniums and 2 Tubas
27
Brass Trio
27
Bass Trombone and Piano
24
Bass Clef Instruments
23
Bass Trombone
22
3 Trumpets (trio)
21
Tuba and Organ
20
Trombone, Horn (duet)
20
Bb Instruments
19
Horn, Cello (duet)
15
Trombone, Organ
15
2 Euphoniums (duet)
15
3 Tubas (trio)
14
Tuba or Euphonium or Saxhorn
14
French Horn and Harp
12
Trumpet, Cello (duet)
12
Trumpet, Bassoon (duet)
11
Trumpet, Harp
10
Horn, Tuba (duet)
10
Trumpet, Tuba (duet)
10
Brass Quartet: 2 trumpets, 2 trombones
10
3 French horns (trio)
9
Trombone, Tuba (duet)
9
English Horn, Guitar (duet)
8
French horn and Basson (duet)
7
Euphonium, Tuba (duet)
7
Euphonium (band part)
6
Horn and Organ
6
Trumpet, Trombone, Piano
5
Trumpet and Guitar
4
Cornet
4
Trumpet, violin (duet)
4
Trombone and Orchestra
4
2 English horns and Pianoforte
3
Trombone, Violin (duet)
3
2 Trumpets, Keyboard (piano or organ)
3
Brass Quintet: 2 trumpets, horn, 2 trombones
3
Trumpet, Cello, Piano
3
2 Trombones, Piano
2
Clarinet, Horn (duet)
2
F Instruments
2
English horn, Harp (duet)
2
Cornet and Orchestra
1
4 Euphoniums
1
Trumpet, Euphonium (duet)
1
Trumpet, Orchestra
1
Trombone, Viola (duet)
1
3 Euphoniums
1
Tuba ensemble
1
Instrumentations suivantes
Retracter
STRINGS
Violin
5555
Cello
3787
String Quartet: 2 violins, viola, cello
3342
Viola
2847
Violin and Piano
2171
Cello, Piano
1469
Viola, Piano
1242
Violin, Cello (duet)
751
Harp
709
2 Violins (duet)
593
Double Bass
551
String Trio: violin, viola, cello
492
2 Cellos (duet)
487
String Quintet: 2 violins, viola, cello, bass
414
Violin, Viola (duet)
385
2 Violas (duet)
367
Double bass, Piano (duet)
336
Violin (band part)
298
String Trio: 2 violins, cello
225
Doublebass (band part)
224
Viola (band part)
195
Viola, Cello (duet)
124
2 Double basses (duet)
97
Piano Trio: Violin, Viola, Piano
97
2 Harps (duet)
97
4 Cellos
95
String Trio: 3 violins
94
Violin, Guitar (duet)
92
Cello (band part)
73
Cello, String Bass (duet)
55
String Trio: 3 cellos
55
Cello, Guitar (duet)
46
Viola, Guitar (duet)
42
Harp, Flute (duet)
41
Violin, Bassoon (duet)
41
String quartet: 4 violins
39
String Quartet : 4 violas
39
String Trio: 3 violas
35
Harp, Violin (duet)
33
String Trio: 2 violins, viola
24
String Quintet: 2 violins, viola, 2 cellos
23
2 Violins, Piano
22
String trio
20
String Quintet: 2 violins, 2 violas, cello
20
Viola and Harp
16
Viola and Bassoon
16
Harp, Voice
15
Violin ensemble
15
Cello, Organ
15
Harp, Cello (duet)
15
Violin, Basso continuo
14
Violin, Clarinet, Piano (trio)
13
Viola ensemble
11
Flute, Doublebass (duet)
10
Cello Ensemble
7
Autoharp
6
3 Harps
6
Violin, Organ
6
4 Double Basses
6
Violoncello, Basso continuo
5
Harp, Violin, Violoncello
4
Violin, Cello, Clarinet
4
Cello, Orchestra
4
Violin, Tuba (duet)
3
Harp, Trombone (duet)
3
Harp and Piano
3
5 Harps
2
Viola, Organ
2
Viola and orchestra
2
2 Violas, Piano
2
Harp and Organ
2
Harp and mandolin
1
4 Harps
1
Harp (band part)
1
2 Cellos, Piano
1
Violin, Trumpet and Piano
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
6915
Drums
6031
Orchestra
2882
String Orchestra
1718
Handbells
1014
Jazz Ensemble
970
Brass ensemble
611
Chamber Orchestra
480
Marching band
417
Jazz combo
211
Percussion (band part)
210
Percussion Ensemble
200
Percussion
188
Drum (band part)
78
Marimba
55
Timpani (band part)
32
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
29
Vibraphone
29
Xylophone, Piano
24
Timpani
21
Xylophone
19
Piano and Orchestra
7
Orchestra, Violin
7
Woodwind Quintet
7
2 Xylophones
6
School Ensemble
6
Xylophone or Marimba or Vibraphone
4
3 Marimbas
4
Brass Quintet: other combinaisons
4
Big band
2
2 Marimbas
2
2 Snare Drums (duet)
2
Snare drums
2
Bongos
1
Woodwind Quartet: any 4 woodwinds
1
Drums-Marching band
1
Vibraphone and Marimba
1
Conga
1
Bodhran
1
Voice Mezzo-Soprano, Orchestra
1
Marimba and Organ
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
54
You've selected:
Ted
Piano and Orchestra
Sheetmusic to print
7 sheet music found
<
1
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
21.93 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - 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…
(+)
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
30.12 €
#
Piano and Orchestra
#
Giovanni Sgambati
#
Konzert fur Piano und Orchester, Opus 15
#
Bisel Classics - Digital
#
SheetMusicPlus
Gesellschafts Rondo, Opus 117
Piano and Orchestra
Composed by Johann Nepomuk Hummel (1778-1837). Edited by Stephen Begley. This edition: sof…
(+)
Composed by Johann Nepomuk Hummel (1778-1837). Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 117. 90 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-124-8). - score - - Bisel Classics - Digital
$26.95
24.64 €
#
Piano and Orchestra
#
Johann Nepomuk Hummel
#
Gesellschafts Rondo, Opus 117
#
Bisel Classics - Digital
#
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…
(+)
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
24.64 €
#
Piano and Orchestra
#
Friedrich Kuhlau
#
Klavierkonzert in C-Dur, Opus 7
#
Bisel Classics - Digital
#
SheetMusicPlus
Concerto in C-Moll, Opus 12
Piano and Orchestra
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
(+)
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
24.64 €
#
Piano and Orchestra
#
Gabriel Pierne
#
Concerto in C-Moll, Opus 12
#
Bisel Classics - Digital
#
SheetMusicPlus
Concerto No. 25 C major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus …
(+)
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21383. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21383). Key: C major.His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works. Piano Concerto No. 25 is Mozart’s longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.
$12.99
11.88 €
#
Piano and Orchestra
#
Wolfgang Amadeus Mozart
#
Concerto No. 25 C major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Diamond Dust
Piano and Orchestra
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and p…
(+)
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and parts. 19 pages. Roger Hudson Music #5219395. Published by Roger Hudson Music
Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .
$19.99
18.28 €
#
Piano and Orchestra
#
Jeff Beck
#
Diamond Dust
#
Roger Hudson Music
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version