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9189
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8902
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3446
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2889
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2326
Easy Piano
2095
Piano, Vocal and Guitar
1351
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478
1 Piano, 4 hands
291
Piano Accompaniment
187
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151
Keyboard
94
Piano Trio: piano, violin, cello
71
Piano Quartet: piano, violin, viola, cello
35
2 Pianos, 4 hands
34
Harpsichord
21
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17
Organ, Piano (duet)
17
Organ, Trumpet (duet)
14
2 Organs (duet)
10
Piano Quartet: piano, 2 violins, cello
6
Melody line, Piano
6
All Instruments
4
1 Piano, 6 hands
3
3 Pianos
2
Accordion - Piano, Voice, Guitar chords
2
2 Pianos, 8 hands
2
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2
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1
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3106
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1707
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1030
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936
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636
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583
Ukulele
316
2 Guitars (duet)
119
Mandolin
117
Lyrics and Chords
107
Banjo
92
Piano, Guitar (duet)
77
Dulcimer
52
4 Guitars (Quartet)
20
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13
Baritone Ukulele
12
Lap Steel Guitar
11
3 Guitars (trio)
7
Dobro
6
2 Mandolins (duet)
3
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3
Guitar, Violin, Cello (trio)
3
Plectrum Orchestra
2
Lute
2
Guitar, Flute, Clarinet
2
2 Ukuleles
2
Mandolin, Guitar (duet)
2
2 Dulcimers (duet)
1
Guitar, Orchestra
1
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VOICE
Choral SATB
3627
Choral 3-part
879
Choral 2-part
464
Choral TTBB
407
Choral SSAA
348
Choral Unison
304
Voice solo
244
Choral
157
Soprano voice, Piano
143
High voice
120
Tenor voice, Piano
82
Vocal duet, Piano
70
Baritone voice, Piano
63
Alto voice, Piano
48
Medium voice, Piano
47
Vocal duet
42
Mezzo-Soprano voice, Piano
34
Low voice, Piano
30
Choral SSATB
27
Choral SSAATTBB
18
Choral SSATTB
17
Tenor voice
11
Soprano voice
7
Voice, Guitar
7
Choral, Organ
5
Choral SATBB
5
Low voice
5
Vocal duet, Organ
4
High voice, Piano
4
Choral SSAB, Piano
2
Choral SSAATB
2
Voice, Basso continuo
1
Choral SATTB
1
Medium Voice
1
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27148
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15414
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6341
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6206
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725
Flute
603
Clarinet and Piano
574
Flute and Piano
502
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479
Clarinet Ensemble
472
Alto Saxophone and Piano
384
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
374
Oboe, Piano (duet)
359
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313
Alto Saxophone
308
Clarinet Quintet: 5 clarinets
297
Saxophone Quartet: 4 saxophones
284
2 Clarinets (duet)
276
Tenor Saxophone
252
2 Saxophones (duet)
226
Flute, Oboe, Clarinet, Bassoon
212
Tenor Saxophone and Piano
201
2 Flutes (duet)
197
Flute and Guitar
164
Saxophone Quintet: 5 Saxophones
159
3 Clarinets (trio)
114
Flute Quartet: 4 flutes
94
3 Saxophones (trio)
91
Oboe
82
Soprano Saxophone and Piano
79
Recorder
75
2 Recorders (duet)
53
Harmonica
46
Flute, Clarinet (duet)
46
Bass Clarinet
44
Descant (Soprano) Recorder
42
Flute ensemble
42
Flute Trio: 3 flutes
42
Baritone Saxophone, Piano
41
English horn, Piano
35
Eb Instruments
32
Saxophone ensemble
31
Flute Quintet : 5 flutes
27
2 Oboes (duet)
26
Ocarina
26
Clarinet, Guitar (duet)
26
Flute, Violin
22
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21
Flute, Clarinet and Bassoon.
20
Soprano Saxophone
18
Saxophone and Piano
18
Oboe, Clarinet (duet)
17
Clarinet, Violin (duet)
16
Flute, Oboe, Clarinet (trio)
16
Clarinet, Bassoon (duet)
16
Oboe, Flute
16
Oboe, Clarinet, Bassoon (trio)
15
Bass Clarinet, Piano
15
Saxophone, Clarinet (duet)
15
Recorder Quartet
15
2 Clarinets, Piano
15
Flute, Violoncello
14
Flute, Violin, Piano
14
Treble (Alto) Recorder
13
Pennywhistle
11
Flute, Violin and Violoncello
10
2 Flutes, Piano
9
3 Recorders (trio)
9
Clarinet, Trumpet (duet)
9
Clarinet Quintet: Clarinet, String Quartet
9
Flute, Trumpet (duet)
9
Flute, Oboe, Bassoon
9
English Horn, Guitar (duet)
8
Clarinet and Viola
8
2 Saxophones, Piano
8
Tenor Recorder
7
Oboe, Violin (duet)
7
Flute, Oboe (duet)
7
Wind ensemble
7
Clarinet, Cello (duet)
7
Clarinet Quartet: Clarinet, Violin, Viola, Cello
6
Descent (Soprano) Recorder, Piano
6
Flute, Basso continuo
6
Flute, Clarinet, Piano (trio)
6
Clarinet, Cello, Piano (trio)
6
English Horn
6
Piccolo
5
Flute, Organ (duet)
5
Recorder Ensemble
5
Flute, Viola (duet)
5
Oboe, Guitar (duet)
5
Flute and Strings Trio
5
2 English horns and Pianoforte
5
Clarinet, Trombone (duet)
4
Flute, Violin, Violoncello and Piano
4
Flute, Clarinet, Violin (trio)
4
Flute, Bassoon, and Piano
4
Recorder, Piano
4
2 Flutes, 2 Clarinets (Quartet)
3
Clarinet, Organ
3
Baritone Saxophone
3
Clarinet, Harp (duet)
3
Oboe, Violin, Piano
3
Flute, Oboe, Piano (trio)
3
2 Clarinets, Bassoon
3
Flute, Cello, Piano (trio)
3
Saxophone and Guitar
3
Saxophone and Organ
3
Treble (Alto) Recorder, Piano
3
Flute, Saxophone (duet)
3
Oboe, Trumpet (duet)
2
Flute, Trombone (duet)
2
Oboe, Violin, Viola and Violoncello (Quartet)
2
Oboe, Cello
2
Pan Flute
2
Flute, Clarinet, Horn and Bassoon (Quartet)
2
Clarinet, Bassoon, Piano (trio)
2
Oboe, Cello and Piano
2
Flute, harp and violin
2
Treble (Alto) Recorder, Basso continuo
2
Clarinet, Orchestra
2
Saxophone, Violin (duet)
2
Clarinette, Viola and Piano (trio)
2
English horn, Harp (duet)
1
Descant (Soprano) Recorder, Basso continuo
1
Clarinet, Double bass (duet)
1
Saxophone and cello
1
Recorder, Guitar (duet)
1
Flute, Violin, Guitar
1
Flute, trombone and piano
1
Piccolo, Piano
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3 Oboes
1
Clarinet, Tuba
1
Flute, Oboe, Violin
1
Oboe and viola (duet)
1
Oboe, Bassoon and Piano
1
4 Oboes
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5 Recorders
1
2 Flutes, Basso continuo
1
Oboe, Clarinet and Piano (Trio)
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WOODBRASS
Trombone (band part)
19267
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18848
French horn (band part)
7646
Tuba (band part)
5075
Trumpet
453
Brass Quintet: 2 trumpets, horn, trombone, tuba
426
Trombone
329
Trumpet, Piano
294
French horn
275
Brass quartet : 2 trumpets, trombone, tuba
205
Tuba
182
French Horn and Piano
171
Trombone and Piano
166
Tuba and Piano
96
Brass Quartet
88
2 Trumpets (duet)
80
Euphonium
51
2 Trombones (duet)
50
Euphonium, Piano (duet)
36
English horn, Piano
35
Trumpet, Trombone (duet)
35
2 French horns (duet)
35
Brass Quartet: 4 trombones
34
Trombone ensemble
29
Brass Quartet: 2 trumpets, horn, trombone
28
Brass Quartet: 4 horns
27
Bb Instruments
23
Euphonium, Tuba (duet)
19
Brass Trio
18
Bass Clef Instruments
17
Trombone, Tuba (duet)
16
Horn Ensemble
13
3 Trombones (trio)
13
2 Euphoniums and 2 Tubas
13
3 Trumpets (trio)
12
4 Tubas
11
2 Tubas (duet)
11
Trumpet ensemble
10
Trumpet, Saxophone (duet)
10
Euphonium (band part)
8
English Horn, Guitar (duet)
8
Cornet
7
Trumpet, Horn (duert)
7
Bass Trombone and Piano
6
Trombone, cello (duet)
6
F Instruments
6
Brass Quartet: 4 trumpets
6
English Horn
6
Trumpet and Guitar
5
Horn and Orchestra
5
2 English horns and Pianoforte
5
Trombone, Horn (duet)
4
2 Euphoniums (duet)
4
Tuba and Organ
4
Tuba ensemble
4
Trumpet, Tuba (duet)
4
Trumpet, Trombone, Piano
3
Trumpet, Bassoon (duet)
3
2 Trumpets, Keyboard (piano or organ)
3
Trumpet, violin (duet)
3
Horn, Tuba (duet)
2
Flügelhorn
2
Trombone, Organ
2
English horn, Harp (duet)
1
Horn, Cello (duet)
1
Cornet and Orchestra
1
3 Tubas (trio)
1
Trombone and Orchestra
1
2 French horns, Piano
1
French Horn and Harp
1
3 French horns (trio)
1
Instrumentations suivantes
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STRINGS
Violin (band part)
10842
Doublebass (band part)
6806
Cello (band part)
3759
Viola (band part)
3514
String Quartet: 2 violins, viola, cello
1181
Violin
866
Violin and Piano
838
Cello
457
Harp (band part)
455
Cello, Piano
404
Harp
371
Viola, Piano
334
Viola
303
Violin, Cello (duet)
258
2 Violins (duet)
177
String Trio: violin, viola, cello
154
2 Cellos (duet)
143
String Quintet: 2 violins, viola, cello, bass
128
Violin, Viola (duet)
111
String Trio: 2 violins, cello
102
Double Bass
83
Double bass, Piano (duet)
67
2 Violas (duet)
49
Cello, Guitar (duet)
41
Violin, Guitar (duet)
40
Viola, Cello (duet)
40
4 Cellos
39
String Quintet: 2 violins, 2 violas, cello
21
Cello, String Bass (duet)
20
Viola, Guitar (duet)
20
String Trio: 3 cellos
20
Harp, Flute (duet)
19
Piano Trio: Violin, Viola, Piano
19
String trio
16
2 Violins, Piano
13
String Trio: 3 violins
13
String Trio: 2 violins, viola
11
2 Double basses (duet)
11
Harp, Violin (duet)
9
2 Harps (duet)
9
Autoharp
9
String quartet: 4 violins
9
String Quartet : 4 violas
7
Flute, Doublebass (duet)
6
Cello, Organ
6
Harp, Cello (duet)
6
Violoncello, Basso continuo
5
Viola and Harp
5
Cello, Orchestra
5
Harp, Voice
4
4 Harps
4
Violin, Basso continuo
4
String Trio: 3 violas
4
Harp and Organ
4
2 Violins and Basso
3
String Quintet: 2 violins, viola, 2 cellos
3
5 Harps
3
Violin, Organ
3
Violin, Bassoon (duet)
2
Harp and Piano
2
Violin ensemble
2
Viola and Bassoon
1
Violin, Clarinet, Piano (trio)
1
Harp, Violin, Violoncello
1
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PERCUSSION & ORCHESTRA
Percussion (band part)
10306
Concert band
8889
Drum (band part)
5421
Timpani (band part)
1986
Orchestra
751
String Orchestra
749
Jazz Ensemble
495
Handbells
373
Chamber Orchestra
242
Brass ensemble
238
Marching band
147
Drums
139
Jazz combo
106
Vibraphone (band part)
104
Percussion
99
Percussion Ensemble
69
Xylophone (band part)
18
Flexible Instrumentation
17
Marimba
17
Xylophone
12
Vibraphone
12
Piano and Orchestra
9
Timpani
8
Woodwind Quintet
7
Snare drums
6
Brass Quintet: other combinaisons
5
Xylophone, Piano
4
Woodwind Trio: any 3 woodwinds
3
School Ensemble
3
Orchestra, Violin
3
Conga
2
Big band
2
Woodwind Quartet: any 4 woodwinds
2
Bodhran
2
Xylophone or Marimba or Vibraphone
1
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
1
3 Percussions
1
Cajon
1
Marimba, Saxophone (duet)
1
3 Marimbas
1
Instrumentations suivantes
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OTHERS
Musical course - Solfege
12
Music Theory
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Piano and Orchestra
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1
Concerto No. 1 E minor
Piano and Orchestra
Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. T…
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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
14.33 €
#
Piano and Orchestra
#
Frederic Chopin
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Concerto No. 1 E minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Third Piano Concerto in E minor
Piano and Orchestra
Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minute…
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Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minutes. Zimmermann #Q564179. Published by Zimmermann
$19.99
17.92 €
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Piano and Orchestra
#
Nikolai Medtner
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Third Piano Concerto in E minor
#
SheetMusicPlus
Piano Concerto No. 1 Eb major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4496. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4496). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.54 €
#
Piano and Orchestra
#
Franz Liszt
#
Piano Concerto No. 1 Eb major
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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…
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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
16.12 €
#
Piano and Orchestra
#
Ludwig van Beethoven
#
Concerto No. 5 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 22 Eb major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q40294 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q40294 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q40294. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q40294). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$10.99
9.85 €
#
Piano and Orchestra
#
Wolfgang Amadeus Mozart
#
Concerto No. 22 Eb major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 9 Eb major
Piano and Orchestra
Piano and orchestra - Digital Download SKU: S9.Q4513 Jeunehomme. Composed by…
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Piano and orchestra - Digital Download SKU: S9.Q4513 Jeunehomme. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4513. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4513). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$10.99
9.85 €
#
Piano and Orchestra
#
Wolfgang Amadeus Mozart
#
Concerto No. 9 Eb major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.5 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Concerto para piano e orquestra n.2 em formas brasileiras
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Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part. 34 pages. Published by Musica Brasilis (S0.240407). - Solo Part - 21st Century,Contemporary Classical,South American - Musica Brasilis
$17.50
15.68 €
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Piano and Orchestra
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Hekel Tavares
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Concerto para piano e orquestra n.2 em formas brasileiras
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Musica Brasilis
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SheetMusicPlus
Frederic Chopin: Concerto in E minor Op.11 No.1 for piano & orchestra
Piano and Orchestra
Instantly downloadable sheet music by Frederic Chopin for piano & orchestra of HIGH sk…
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Instantly downloadable sheet music by Frederic Chopin for piano & orchestra of HIGH skill level. Contents: Op. 11, opus 11 / classical,concert
$6.99
6.26 €
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Piano and Orchestra
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Frederic Chopin
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Virtualsheetmusic
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