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
5
Digital
Sheet Music
5
Sheet Music
Books
37
Music
Equipment
12,385
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
13377
PIANO & KEYBOARDS
Piano solo
12340
Piano, Voice
5232
Piano Accompaniment
3009
Easy Piano
2722
Piano, Vocal and Guitar
2572
C Instruments
703
Organ
621
1 Piano, 4 hands
294
Accordion
215
Big Note Piano
171
Piano Trio: piano, violin, cello
136
Piano (band part)
88
2 Pianos, 4 hands
65
Piano Quartet: piano, violin, viola, cello
41
Piano Quartet: piano, 2 violins, cello
23
Piano Quintet: piano, 2 violins, viola, cello
21
Organ, Piano (duet)
20
Harpsichord
10
Accordion, Voice
8
Organ, Trumpet (duet)
8
Keyboard
8
Melody line, Piano
7
1 Piano, 6 hands
5
2 Pianos, 8 hands
5
2 Accordions
2
Accordion ensemble
2
Solo instrument and Organ
1
2 Organs (duet)
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
1408
Melody line, (Lyrics) and Chords
1063
Guitar
1013
Ukulele
627
Bass guitar
500
Mandolin
294
Lyrics and Chords
252
Piano, Guitar (duet)
148
Guitar (band part)
113
2 Guitars (duet)
53
Dulcimer
46
4 Guitars (Quartet)
38
Banjo
27
Guitar Ensemble
20
Electric Bass (band part)
17
Ukulele Ensemble
12
3 Guitars (trio)
11
Baritone Ukulele
8
Mandolin, Guitar (duet)
6
2 Ukuleles
5
Zither
4
Guitar, Flute, Clarinet
4
Lap Steel Guitar
2
2 Dulcimers (duet)
2
Mandolin, Piano (duet)
2
Lute
2
Band Scores
1
Guitar, Orchestra
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
4066
Choral 3-part
1259
Choral 2-part
758
Choral TTBB
681
Choral SSAA
382
Choral Unison
291
Vocal duet, Piano
134
Choral
133
Voice solo
119
Vocal duet
112
Soprano voice, Piano
109
High voice
27
Tenor voice, Piano
20
Choral SSAATTBB
19
Medium voice, Piano
16
Tenor voice
16
Alto voice, Piano
14
Low voice, Piano
12
Baritone voice, Piano
10
Mezzo-Soprano voice, Piano
10
Choral SSATB
5
Choral SSAB, Piano
5
Voice, Guitar
4
Soli, Mixted choir and accompaniment
3
Low voice
3
Soprano voice
2
Choral SAATB A Cappella
1
Choral SSATBB
1
Choral SSATTB
1
Baritone voice
1
Choral SSAATB
1
Choral, Organ
1
Instrumentations suivantes
Retracter
WOODWIND
Flute and Piano
1333
Clarinet and Piano
1067
Oboe, Piano (duet)
1040
Alto Saxophone and Piano
871
Saxophone Quartet: 4 saxophones
805
Saxophone (band part)
797
Flute
797
Clarinet
623
Alto Saxophone
604
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
601
2 Saxophones (duet)
556
Tenor Saxophone and Piano
542
Flute, Oboe, Clarinet, Bassoon
515
Tenor Saxophone
446
2 Flutes (duet)
373
Saxophone Quintet: 5 Saxophones
359
Oboe (band part)
359
Clarinet Quartet: 4 clarinets
350
2 Clarinets (duet)
348
Descant (Soprano) Recorder
320
Clarinet (band part)
279
Baritone Saxophone, Piano
230
Harmonica
230
Saxophone
228
Treble (Alto) Recorder
211
Flute Quartet: 4 flutes
199
Soprano Saxophone and Piano
199
Flute, Clarinet (duet)
182
Clarinet Ensemble
159
Clarinet, Violin (duet)
159
Flute ensemble
147
3 Saxophones (trio)
146
2 Oboes (duet)
141
Saxophone ensemble
131
Saxophone, Clarinet (duet)
129
Flute (band part)
127
Recorder
126
3 Clarinets (trio)
124
Flute, Violin
117
Oboe, Bassoon (duet)
98
2 Recorders (duet)
86
Oboe
85
Flute Trio: 3 flutes
85
Flute and Guitar
80
Clarinet, Trumpet (duet)
76
English horn, Piano
75
Oboe, Clarinet (duet)
75
Recorder Quartet
74
Clarinet Quintet: 5 clarinets
72
Saxophone and Piano
64
Oboe, Flute
55
Flute Quintet : 5 flutes
55
Flute, Viola (duet)
53
Clarinet and Viola
52
Flute, Saxophone (duet)
51
2 Flutes, Piano
49
Flute, Cello, Piano (trio)
47
Flute, Trumpet (duet)
45
Soprano Saxophone
43
Bagpipe
42
5 Recorders
41
Treble (Alto) Recorder, Piano
39
Flute, Violoncello
38
Flute, Oboe, Clarinet (trio)
38
Recorder Ensemble
38
Flute, Clarinet, Piano (trio)
36
Bass Clarinet, Piano
35
Clarinet, Bassoon (duet)
35
Flute, Bassoon, and Piano
34
Clarinet, Cello (duet)
33
Clarinet, Guitar (duet)
32
English Horn
31
Oboe, Clarinet, Bassoon (trio)
30
Flute, Oboe (duet)
29
Ocarina
26
Flute, Clarinet and Bassoon.
25
Oboe, Cello
25
Clarinet, Cello, Piano (trio)
24
Flute, Violin, Piano
23
Clarinet, Harp (duet)
22
Flute, Oboe, Bassoon
20
Recorder, Piano
18
Tenor Recorder
15
Flute, Trombone (duet)
13
Saxophone and Guitar
13
Oboe, Violin (duet)
13
Baritone Saxophone
12
2 Clarinets, Piano
12
Flute, Clarinet, Violin (trio)
12
2 Saxophones, Piano
12
Descent (Soprano) Recorder, Piano
11
Clarinet, Bassoon, Piano (trio)
11
3 Recorders (trio)
11
Flute, Violin and Violoncello
11
Flute, Viola and Piano
11
Piccolo
10
Eb Instruments
10
Flute, Clarinet, Horn and Bassoon (Quartet)
9
Pennywhistle
8
Saxophone and Harp
8
Piccolo, Piano
7
Oboe and viola (duet)
7
English Horn, Guitar (duet)
7
Oboe, Harp
6
Oboe, Guitar (duet)
6
3 Oboes
6
Flute, Violin, Violoncello and Piano
6
Bass Clarinet
6
Flute, harp and violin
5
Clarinette, Viola and Piano (trio)
5
Flute, Oboe, Violin
5
Flute, Harp and Cello
5
2 Clarinets, Bassoon
5
Flute, Oboe, Piano (trio)
5
Flute, French horn (duet)
4
Flute, Viola and harp
4
Flute, trombone and piano
4
Clarinet Quartet: Clarinet, Violin, Viola, Cello
3
Clarinet, trumpet and piano
3
Flute, Cello, Guitar
3
Recorder, Guitar (duet)
3
Oboe, Clarinet and Piano (Trio)
3
Saxophone and Organ
3
Oboe, Violin, Piano
2
Clarinet, Trombone (duet)
2
Clarinet, Saxophone, Piano
2
Oboe, Cello and Piano
2
Flute, Basso continuo
2
Clarinet, Double bass (duet)
2
Oboe, Bassoon and Piano
2
2 Harmonicas
2
Clarinet Quintet: Clarinet, String Quartet
2
Clarinet, Tuba
2
Flute, Organ (duet)
2
Clarinet, Orchestra
1
Treble (Alto) Recorder, Basso continuo
1
Flute and Strings Trio
1
Saxophone, Tuba (duet)
1
Flute and String Quartet
1
Oboe, Trombone (duet)
1
2 English horns and Pianoforte
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Flute, Tuba (duet)
1
Wind ensemble
1
2 Flutes, 2 Clarinets (Quartet)
1
Instrumentations suivantes
Retracter
WOODBRASS
Trombone and Piano
845
Trumpet, Piano
788
Trumpet
770
Brass Quintet: 2 trumpets, horn, trombone, tuba
761
Trombone
575
French Horn and Piano
570
Trumpet (band part)
496
Brass quartet : 2 trumpets, trombone, tuba
494
Trombone (band part)
441
French horn
402
Tuba
216
2 Trombones (duet)
195
2 Trumpets (duet)
175
Brass Quartet: 2 trumpets, horn, trombone
158
French horn (band part)
154
Tuba and Piano
126
Brass Quartet
123
2 French horns (duet)
118
Trumpet, Trombone (duet)
104
Tuba (band part)
94
Brass Quartet: 4 trombones
91
Trumpet, Saxophone (duet)
88
English horn, Piano
75
Trombone ensemble
70
Euphonium
70
Euphonium, Piano (duet)
63
2 Tubas (duet)
40
2 Euphoniums and 2 Tubas
40
Trumpet, Horn (duert)
38
Brass Quartet: 4 horns
38
Trumpet ensemble
36
English Horn
31
Brass Trio
25
Tuba and Organ
22
3 Trombones (trio)
15
Horn Ensemble
15
Horn, Cello (duet)
14
Bb Instruments
12
Brass Quartet: 4 trumpets
12
Bass Clef Instruments
11
French Horn and Harp
10
Trumpet, Tuba (duet)
9
3 French horns (trio)
8
2 Euphoniums (duet)
8
Trumpet, Cello (duet)
8
2 Trumpets, Keyboard (piano or organ)
8
Trumpet, Harp
8
Tuba or Euphonium or Saxhorn
7
English Horn, Guitar (duet)
7
Bass Trombone
7
Trumpet, Bassoon (duet)
7
4 Tubas
6
Brass Quartet: 2 trumpets, 2 trombones
5
Trombone, Tuba (duet)
5
Trombone, Organ
5
Horn, Tuba (duet)
5
Bass Trombone and Piano
5
Trombone, Horn (duet)
4
Trombone, Violin (duet)
4
Clarinet, Horn (duet)
3
Trombone and Orchestra
3
3 Trumpets (trio)
3
Euphonium, Tuba (duet)
3
Horn and Organ
2
Horn, Trumpet, Trombone (trio)
2
Cornet
2
F Instruments
2
Trumpet, Orchestra
2
French horn and Basson (duet)
2
2 English horns and Pianoforte
1
Trumpet, Euphonium (duet)
1
Tuba ensemble
1
Trumpet, Cello, Piano
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
2083
Violin and Piano
1526
Violin
1086
Cello, Piano
1011
Viola, Piano
948
Cello
762
Viola
567
Harp
494
2 Violins (duet)
350
Violin, Cello (duet)
347
String Trio: violin, viola, cello
251
Violin (band part)
222
2 Cellos (duet)
216
Doublebass (band part)
195
Viola (band part)
186
String Quintet: 2 violins, viola, cello, bass
185
Violin, Viola (duet)
170
Double Bass
166
2 Violas (duet)
147
Double bass, Piano (duet)
145
String Trio: 2 violins, cello
106
Cello (band part)
84
2 Harps (duet)
83
Viola, Cello (duet)
69
Piano Trio: Violin, Viola, Piano
64
Violin, Guitar (duet)
47
Harp, Flute (duet)
43
4 Cellos
32
2 Double basses (duet)
26
Violin, Bassoon (duet)
25
String Trio: 3 violins
23
Cello, Guitar (duet)
21
String Trio: 3 cellos
19
Violin, Clarinet, Piano (trio)
19
Harp, Violin (duet)
17
Violin ensemble
16
String trio
16
Cello, String Bass (duet)
15
2 Violins, Piano
15
String Trio: 2 violins, viola
15
Viola, Guitar (duet)
15
Harp (band part)
15
Harp, Voice
14
Viola and Bassoon
14
Viola ensemble
13
String quartet: 4 violins
13
Viola and Harp
11
Harp, Cello (duet)
9
String Quintet: 2 violins, 2 violas, cello
7
String Quintet: 2 violins, viola, 2 cellos
5
Harp, Violin, Violoncello
5
Cello Ensemble
4
Harp and Piano
4
Violin, Organ
4
String Trio: 3 violas
3
3 Harps
3
Flute, Doublebass (duet)
2
Violin, Tuba (duet)
2
Cello, Orchestra
2
Violin, Trumpet and Piano
2
Cello, Organ
2
String Quartet : 4 violas
2
5 Harps
2
Autoharp
1
Viola and orchestra
1
Harp and Organ
1
2 Cellos, Piano
1
Violin, Basso continuo
1
Harp and mandolin
1
Violoncello, Basso continuo
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
4125
Orchestra
995
String Orchestra
823
Jazz Ensemble
407
Brass ensemble
390
Handbells
325
Marching band
255
Chamber Orchestra
235
Percussion (band part)
234
Drums
205
Drum (band part)
129
Jazz combo
120
Percussion Ensemble
66
Percussion
51
Marimba
37
Timpani (band part)
29
Vibraphone
25
Xylophone
21
Woodwind Quintet
19
Timpani
10
Orchestra, Violin
7
Flexible Instrumentation
5
Brass Quintet: other combinaisons
5
Piano and Orchestra
5
Xylophone, Piano
5
School Ensemble
3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
2
Woodwind Quartet: any 4 woodwinds
1
Snare drums
1
Vibraphone and Marimba
1
Woodwind Trio: any 3 woodwinds
1
2 Snare Drums (duet)
1
3 Marimbas
1
2 Marimbas
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
11
Music Theory
1
You've selected:
The Lan
Piano and Orchestra
Sheetmusic to print
5 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
21.79 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - 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
18.15 €
#
Piano and Orchestra
#
Jeff Beck
#
Diamond Dust
#
Roger Hudson Music
#
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
29.92 €
#
Piano and Orchestra
#
Giovanni Sgambati
#
Konzert fur Piano und Orchester, Opus 15
#
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
24.48 €
#
Piano and Orchestra
#
Gabriel Pierne
#
Concerto in C-Moll, Opus 12
#
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
24.48 €
#
Piano and Orchestra
#
Friedrich Kuhlau
#
Klavierkonzert in C-Dur, Opus 7
#
Bisel Classics - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version