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
0
Digital
Sheet Music
4
Sheet Music
Books
22
Music
Equipment
2,573
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
4752
PIANO & KEYBOARDS
Piano solo
2774
Easy Piano
1817
Piano, Voice
896
Piano, Vocal and Guitar
867
C Instruments
336
Accordion
223
Organ
207
1 Piano, 4 hands
105
Piano Accompaniment
105
Big Note Piano
86
Piano Trio: piano, violin, cello
83
2 Pianos, 4 hands
30
Piano (band part)
28
Solo instrument and Organ
17
Melody line, Piano
16
Piano Quartet: piano, 2 violins, cello
14
Accordion, Voice
12
Piano Quartet: piano, violin, viola, cello
11
1 Piano, 6 hands
8
Piano Quintet: piano, 2 violins, viola, cello
5
Harpsichord
4
Organ, Piano (duet)
4
Organ, Trumpet (duet)
3
Organ, Voice
1
Keyboard
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
449
Guitar
395
Melody line, (Lyrics) and Chords
308
Ukulele
182
Mandolin
175
Lyrics and Chords
36
2 Guitars (duet)
35
Guitar (band part)
32
Banjo
17
Piano, Guitar (duet)
16
3 Guitars (trio)
12
4 Guitars (Quartet)
11
Bass guitar
8
Dulcimer
8
Guitar Ensemble
8
Ukulele Ensemble
5
Guitar, Violin, Cello (trio)
2
Electric Bass (band part)
2
Dobro
1
Mandolin, Guitar (duet)
1
Mandolin, Piano (duet)
1
Guitar, Flute, Clarinet
1
2 Dulcimers (duet)
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
1122
Choral 3-part
508
Choral 2-part
369
Choral TTBB
314
Choral Unison
203
Choral SSAA
185
Soprano voice, Piano
101
Vocal duet, Piano
82
Vocal duet
44
Choral
24
Tenor voice, Piano
13
Alto voice, Piano
13
Medium voice, Piano
11
Voice solo
8
Low voice, Piano
8
Tenor voice
7
High voice
4
Choral SSAATTBB
3
Choral SSATTB
3
Choral SSATB
2
Low voice
2
Mezzo-Soprano voice, Piano
1
Voice, Guitar
1
Choral SSAATB
1
Choral, Organ
1
Soprano voice
1
High voice, Piano
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone (band part)
660
Flute and Piano
347
Oboe (band part)
329
2 Saxophones (duet)
315
Saxophone Quartet: 4 saxophones
287
Clarinet and Piano
276
Clarinet
244
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
227
Oboe, Piano (duet)
221
Alto Saxophone and Piano
217
Flute
209
2 Flutes (duet)
199
2 Clarinets (duet)
198
Tenor Saxophone and Piano
196
Descant (Soprano) Recorder
188
Flute, Oboe, Clarinet, Bassoon
185
Alto Saxophone
171
Harmonica
157
Clarinet Quartet: 4 clarinets
156
Treble (Alto) Recorder
153
Soprano Saxophone and Piano
142
3 Saxophones (trio)
127
Clarinet (band part)
113
Saxophone Quintet: 5 Saxophones
107
3 Clarinets (trio)
88
Flute, Clarinet (duet)
86
2 Oboes (duet)
85
Flute (band part)
80
Flute Quartet: 4 flutes
78
Baritone Saxophone, Piano
67
Oboe
63
Saxophone
60
Flute Trio: 3 flutes
60
Oboe, Bassoon (duet)
60
Clarinet, Violin (duet)
59
Saxophone, Clarinet (duet)
57
Tenor Saxophone
57
Recorder
44
English horn, Piano
44
Clarinet Ensemble
42
Clarinet, Bassoon (duet)
42
2 Recorders (duet)
39
Oboe, Clarinet, Bassoon (trio)
38
Treble (Alto) Recorder, Piano
36
Flute, Violoncello
35
Flute, Violin
34
Oboe, Cello
34
Oboe, Clarinet (duet)
34
Flute, Oboe, Bassoon
32
Clarinet, Cello (duet)
31
Clarinet, Trumpet (duet)
30
Flute, Oboe, Clarinet (trio)
27
Flute and Guitar
26
Clarinet and Viola
25
Recorder Quartet
25
Clarinet Quintet: 5 clarinets
25
Recorder Ensemble
24
Flute ensemble
24
Soprano Saxophone
22
Flute, Clarinet and Bassoon.
21
Flute, Clarinet, Piano (trio)
20
Saxophone ensemble
20
Baritone Saxophone
19
Flute, Viola (duet)
19
Flute, Saxophone (duet)
19
Oboe, Flute
18
Flute, Trumpet (duet)
18
Clarinet, Guitar (duet)
18
Flute Quintet : 5 flutes
17
English Horn
16
Flute, Violin, Piano
15
Pennywhistle
15
2 Flutes, Piano
15
2 Clarinets, Piano
14
Bass Clarinet, Piano
14
Flute, Oboe (duet)
13
Tenor Recorder
12
Flute, Violin and Violoncello
11
3 Recorders (trio)
11
Piccolo
10
Flute, trombone and piano
10
Flute, Oboe, Piano (trio)
9
Saxophone and Piano
8
Flute, Cello, Piano (trio)
8
Flute, Viola and Piano
8
Clarinet, Cello, Piano (trio)
8
Descent (Soprano) Recorder, Piano
7
Clarinet, Harp (duet)
7
Bagpipe
7
Oboe, Harp
6
5 Recorders
6
Flute, Bassoon, and Piano
6
Saxophone and Harp
5
Oboe, Violin (duet)
5
Ocarina
5
Eb Instruments
5
3 Oboes
5
4 Oboes
4
Recorder, Piano
4
English Horn, Guitar (duet)
4
Piccolo, Piano
4
2 Saxophones, Piano
4
Oboe, Guitar (duet)
4
Saxophone and Organ
3
Oboe and viola (duet)
3
Bass Clarinet
3
2 Clarinets, Bassoon
3
Saxophone and Guitar
3
Clarinet, trumpet and piano
3
Flute, Cello, Guitar
3
Clarinet, Bassoon, Piano (trio)
2
Flute, Violin, Guitar
2
Flute, Violin, Violoncello and Piano
2
Oboe, Clarinet and Piano (Trio)
2
Oboe, Trombone (duet)
1
Oboe ensemble
1
Clarinette, Viola and Piano (trio)
1
Flute, Oboe, Violin
1
Flute, harp and violin
1
Flute and Strings Trio
1
Flute, Clarinet, Horn and Bassoon (Quartet)
1
Clarinet, Double bass (duet)
1
English horn, Harp (duet)
1
Flute, Tuba (duet)
1
Clarinet, Trombone (duet)
1
Clarinet, Tuba
1
2 English horns and Pianoforte
1
Flute, Organ (duet)
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
338
Trumpet
252
Trumpet, Piano
236
Trombone and Piano
206
Trumpet (band part)
189
Trombone (band part)
156
Trombone
145
French Horn and Piano
145
Brass quartet : 2 trumpets, trombone, tuba
127
2 Trombones (duet)
113
French horn
112
2 Trumpets (duet)
107
Brass Quartet: 4 trombones
95
Brass Quartet: 2 trumpets, horn, trombone
90
Tuba and Piano
88
Tuba
79
2 French horns (duet)
66
Trumpet, Trombone (duet)
59
Brass Quartet
55
French horn (band part)
51
Brass Quartet: 4 horns
45
English horn, Piano
44
Trumpet, Saxophone (duet)
40
Trumpet, Horn (duert)
39
Euphonium
37
Tuba (band part)
33
Brass Quartet: 4 trumpets
25
Horn, Cello (duet)
23
Euphonium, Piano (duet)
21
2 Tubas (duet)
21
Trombone ensemble
18
Trumpet, Bassoon (duet)
18
Trumpet ensemble
17
4 Tubas
16
English Horn
16
Trumpet, Cello (duet)
15
3 Trombones (trio)
12
French horn and Basson (duet)
12
3 Trumpets (trio)
11
Bass Clef Instruments
10
Bb Instruments
9
2 Euphoniums and 2 Tubas
9
Trombone, Horn (duet)
8
2 Trumpets, Keyboard (piano or organ)
8
Bass Trombone
8
Horn Ensemble
8
Brass Trio
7
2 Euphoniums (duet)
7
French Horn and Harp
7
Brass Quartet: 2 trumpets, 2 trombones
6
Horn, Tuba (duet)
6
Tuba and Organ
6
Trumpet, Harp
5
English Horn, Guitar (duet)
4
Trumpet, violin (duet)
4
Trumpet, Tuba (duet)
4
Bass Trombone and Piano
4
Horn, Trumpet, Trombone (trio)
3
3 French horns (trio)
3
Euphonium, Tuba (duet)
3
3 Tubas (trio)
3
Trombone, Organ
2
Trumpet, Cello, Piano
2
Trombone, Tuba (duet)
2
2 Trombones, Piano
2
Trombone, Violin (duet)
1
Horn, Cello and Piano
1
Trumpet, Trombone, Piano
1
Horn and Organ
1
Tuba ensemble
1
English horn, Harp (duet)
1
2 English horns and Pianoforte
1
Instrumentations suivantes
Retracter
STRINGS
Cello (band part)
654
String Quartet: 2 violins, viola, cello
638
Violin and Piano
543
Violin
359
Cello, Piano
339
Viola, Piano
306
Harp
219
Violin, Cello (duet)
212
2 Violins (duet)
212
Violin (band part)
183
Viola (band part)
177
Viola
173
String Trio: violin, viola, cello
140
2 Cellos (duet)
137
Cello
130
2 Violas (duet)
123
2 Harps (duet)
98
Violin, Viola (duet)
96
Double Bass
83
Doublebass (band part)
78
String Trio: 2 violins, cello
76
Double bass, Piano (duet)
65
String Quintet: 2 violins, viola, cello, bass
61
Viola, Cello (duet)
57
String Trio: 3 violins
47
4 Cellos
45
Violin, Guitar (duet)
30
Piano Trio: Violin, Viola, Piano
29
String quartet: 4 violins
29
String Trio: 3 cellos
27
Violin, Bassoon (duet)
24
Viola and Bassoon
22
String trio
20
Harp, Flute (duet)
20
2 Double basses (duet)
15
String Trio: 3 violas
13
String Quartet : 4 violas
12
Harp, Violin (duet)
9
Harp, Cello (duet)
8
Cello, Guitar (duet)
7
Violin ensemble
7
String Trio: 2 violins, viola
6
Viola and Harp
6
2 Violins, Piano
4
Viola, Guitar (duet)
4
Violin, Clarinet, Piano (trio)
3
Harp (band part)
3
Viola ensemble
3
2 Cellos, Piano
2
Harp, Orchestra
2
Cello, Organ
2
String Quintet: 2 violins, viola, 2 cellos
2
3 double basses
2
Harp and mandolin
2
String Quintet: 2 violins, 2 violas, cello
2
Harp, Voice
1
Violin, Organ
1
Flute, Doublebass (duet)
1
Autoharp
1
Cello, String Bass (duet)
1
2 Violas, Piano
1
Harp, Trombone (duet)
1
Violin, Tuba (duet)
1
Violin, Cello, Clarinet
1
3 Harps
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
641
String Orchestra
296
Orchestra
266
Handbells
242
Brass ensemble
126
Percussion (band part)
98
Chamber Orchestra
64
Jazz Ensemble
41
Drum (band part)
27
Marching band
18
Jazz combo
16
Percussion Ensemble
15
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
12
Marimba
9
Percussion
8
Timpani (band part)
7
Xylophone
5
Brass Quintet: other combinaisons
5
Piano and Orchestra
4
Woodwind Quartet: any 4 woodwinds
4
Drums
3
Xylophone, Piano
3
Woodwind Trio: any 3 woodwinds
2
Woodwind Quintet
2
Flexible Instrumentation
1
Vibraphone
1
Xylophone or Marimba or Vibraphone
1
2 Xylophones
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
2
You've selected:
Traditional, S
Piano and Orchestra
Sheetmusic to print
4 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
22.01 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano and Orchestra
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
183.45 €
#
Piano and Orchestra
#
Mykola Leontovych
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano and Orchestra
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
(+)
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
137.59 €
#
Piano and Orchestra
#
Mykola Leontovych
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano and Orchestra
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
(+)
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
114.66 €
#
Piano and Orchestra
#
Mykola Leontovych
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version