Version française
Browse Free-scores.com
Home page
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
Top Downloads
Instrumentations
Composers
New additions
Christmas
Other Services
Other Services
Top 100
Staff paper
Metronome
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free Sheet Music
13
Digital Sheet Music
1
Sheet Music Books
0
Music Equipment
213
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
Sheetmusicplus
Not classified
4773
PIANO & KEYBOARDS
Big Note Piano
3313
Piano solo
2465
Organ
1777
Piano, Vocal and Guitar
1157
Easy Piano
1117
Piano, Voice
875
C Instruments
419
Piano Accompaniment
133
1 Piano, 4 hands
108
Piano (band part)
60
Keyboard
60
2 Pianos, 4 hands
30
Piano Trio: piano, violin, cello
26
Accordion
20
Piano Quartet: piano, 2 violins, cello
9
Piano Quartet: piano, violin, viola, cello
9
Organ, Piano (duet)
7
Piano Quintet: piano, 2 violins, viola, cello
5
1 Piano, 6 hands
5
Organ, Trumpet (duet)
5
2 Pianos, 8 hands
3
Accordion ensemble
1
Harpsichord
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
604
Guitar
249
Melody line, (Lyrics) and Chords
217
Lyrics and Chords
131
Ukulele
130
Bass guitar
128
Guitar (band part)
96
Banjo
22
2 Guitars (duet)
20
Dulcimer
17
4 Guitars (Quartet)
15
Mandolin
10
Electric Bass (band part)
9
Piano, Guitar (duet)
8
3 Guitars (trio)
6
Guitar Ensemble
6
2 Dulcimers (duet)
4
Guitar, Violin, Cello (trio)
3
Lap Steel Guitar
3
2 Ukuleles
1
Baritone Ukulele
1
Ukulele Ensemble
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
1638
Choral 3-part
633
Choral TTBB
474
Choral 2-part
380
Choral Instrumental Pak
262
Choral SSAA
229
Choral Unison
200
Vocal duet, Piano
90
Choral
50
Voice solo
32
Vocal duet
31
Soprano voice, Piano
24
High voice
24
Alto voice, Piano
23
Baritone voice, Piano
13
Low voice, Piano
11
Tenor voice, Piano
9
Medium voice, Piano
8
Choral SSAATTBB
6
Low voice
5
Choral SSATB
3
Soprano voice
3
Voix Masculines
3
Choral SSAB a cappella
3
Choral SSATTB
3
Tenor voice
2
Choral SSAB, Piano
2
Choral SAATB A Cappella
2
Mezzo-Soprano voice, Piano
2
Soprano voice, Orchestra
1
Soli, Mixted choir and accompaniment
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone (band part)
459
Flute and Piano
271
2 Saxophones (duet)
258
Saxophone Quartet: 4 saxophones
252
Clarinet
247
Flute
226
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
192
Clarinet and Piano
184
Clarinet Quartet: 4 clarinets
171
Alto Saxophone
164
Oboe, Piano (duet)
161
Tenor Saxophone
161
Flute, Oboe, Clarinet, Bassoon
159
Alto Saxophone and Piano
156
Clarinet (band part)
147
2 Flutes (duet)
142
2 Clarinets (duet)
138
Oboe (band part)
119
Tenor Saxophone and Piano
103
Flute (band part)
102
Flute Quartet: 4 flutes
84
Saxophone, Clarinet (duet)
73
Soprano Saxophone and Piano
71
Clarinet, Violin (duet)
58
Flute, Clarinet (duet)
57
Saxophone Quintet: 5 Saxophones
49
Flute and Guitar
48
Flute ensemble
45
Flute, Violin
45
3 Saxophones (trio)
44
2 Oboes (duet)
42
3 Clarinets (trio)
40
Clarinet Ensemble
39
Flute Trio: 3 flutes
39
Clarinet, Trumpet (duet)
38
Oboe, Bassoon (duet)
35
Baritone Saxophone, Piano
34
Saxophone ensemble
32
Oboe, Flute
30
Oboe, Clarinet (duet)
29
English horn, Piano
28
Oboe
26
Clarinet Quintet: 5 clarinets
25
Flute, Saxophone (duet)
25
Flute, Viola (duet)
25
Flute, Trumpet (duet)
25
2 Recorders (duet)
24
Clarinet and Viola
23
Recorder
20
Descant (Soprano) Recorder
17
Bass Clarinet, Piano
17
Soprano Saxophone
15
Clarinet, Guitar (duet)
15
Flute, Oboe, Clarinet (trio)
14
Clarinet, Bassoon (duet)
10
Descent (Soprano) Recorder, Piano
9
Flute Quintet : 5 flutes
9
Saxophone
8
Flute, Clarinet and Bassoon.
8
Flute, Violoncello
8
Flute, Violin, Piano
7
Flute, Oboe, Bassoon
7
Recorder Quartet
6
English Horn
6
Treble (Alto) Recorder, Piano
6
Flute, Oboe (duet)
6
English Horn, Guitar (duet)
5
Clarinet, Harp (duet)
5
Eb Instruments
5
Flute, Cello, Piano (trio)
5
Treble (Alto) Recorder
5
2 Clarinets, Piano
5
Clarinet, Cello, Piano (trio)
5
2 Flutes, Piano
5
Saxophone and Guitar
4
Flute, Violin, Violoncello and Piano
4
Flute, Clarinet, Violin (trio)
4
Pennywhistle
4
3 Recorders (trio)
3
Flute, Violin and Violoncello
3
Flute, harp and violin
3
Oboe, Clarinet, Bassoon (trio)
3
Flute, Oboe, Violin
3
Bass Clarinet
3
Oboe, Cello
3
Oboe, Harp
3
Baritone Saxophone
3
Oboe, Guitar (duet)
3
3 Oboes
3
Recorder, Piano
2
Tenor Recorder
2
Flute and Strings Trio
2
Flute, Harp and Cello
2
Flute, Bassoon, and Piano
2
Ocarina
2
Piccolo
2
2 Saxophones, Piano
2
Harmonica
2
Clarinet, Cello (duet)
2
Piccolo, Piano
2
Flute, Trombone (duet)
2
Oboe, Violin (duet)
1
2 Flutes, 2 Clarinets (Quartet)
1
2 Oboes, Piano
1
2 Clarinets, Bassoon
1
Saxophone and Organ
1
Clarinet, Trombone (duet)
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Clarinet, trumpet and piano
1
Flute, Tuba (duet)
1
Recorder Ensemble
1
Clarinet, Tuba
1
Flute, Organ (duet)
1
Flute, Clarinet, Piano (trio)
1
Clarinet Quintet: Clarinet, String Quartet
1
Flute, trombone and piano
1
Flute, Oboe, Piano (trio)
1
Oboe and viola (duet)
1
Instrumentations suivantes
Retracter
WOODBRASS
Trombone (band part)
373
Trumpet (band part)
354
Brass Quintet: 2 trumpets, horn, trombone, tuba
318
Trumpet
236
Brass quartet : 2 trumpets, trombone, tuba
171
Trombone
161
Trumpet, Piano
150
Trombone and Piano
147
French horn
114
French horn (band part)
97
French Horn and Piano
89
Tuba (band part)
84
Tuba
77
2 Trumpets (duet)
73
2 Trombones (duet)
70
Trumpet, Saxophone (duet)
69
Brass Quartet: 4 trombones
45
Tuba and Piano
42
Trumpet, Trombone (duet)
39
Brass Quartet: 2 trumpets, horn, trombone
35
Euphonium, Piano (duet)
34
2 French horns (duet)
31
English horn, Piano
28
Brass Quartet
28
Brass Quartet: 4 horns
17
2 Tubas (duet)
16
Trombone ensemble
15
Euphonium
10
2 Euphoniums and 2 Tubas
10
Trumpet, Horn (duert)
9
Brass Trio
8
4 Tubas
8
Bass Clef Instruments
7
3 Trombones (trio)
7
English Horn
6
Brass Quartet: 4 trumpets
6
Tuba or Euphonium or Saxhorn
6
English Horn, Guitar (duet)
5
3 Trumpets (trio)
5
Horn Ensemble
4
French Horn and Harp
4
Brass Quartet: 2 trumpets, 2 trombones
4
Bb Instruments
3
2 Euphoniums (duet)
3
Tuba and Organ
3
Bass Trombone
3
2 Trumpets, Keyboard (piano or organ)
2
Bass Trombone and Piano
2
Trumpet ensemble
2
Trombone, Tuba (duet)
2
Tuba ensemble
1
Clarinet, Horn (duet)
1
Trumpet, Bassoon (duet)
1
3 French horns (trio)
1
Horn, Tuba (duet)
1
Trumpet, Trombone, Piano
1
Euphonium, Tuba (duet)
1
Horn and Organ
1
Trumpet, Tuba (duet)
1
Trombone, Organ
1
Cornet and Piano
1
French horn and Basson (duet)
1
Trumpet, Euphonium (duet)
1
Trumpet, Harp
1
Trombone, Violin (duet)
1
2 French horns, Piano
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
691
Violin
312
Violin and Piano
310
Cello
242
Harp
214
Cello, Piano
198
Viola
141
Viola, Piano
137
Violin, Cello (duet)
132
2 Cellos (duet)
109
Doublebass (band part)
107
2 Violins (duet)
106
String Trio: violin, viola, cello
103
Violin (band part)
95
Violin, Viola (duet)
70
Double Bass
61
Viola (band part)
51
2 Violas (duet)
51
String Trio: 2 violins, cello
51
Double bass, Piano (duet)
47
String Quintet: 2 violins, viola, cello, bass
33
2 Harps (duet)
32
Cello (band part)
20
Viola, Cello (duet)
19
4 Cellos
17
Harp, Flute (duet)
15
String Trio: 3 violins
14
Cello, Guitar (duet)
14
String Trio: 3 cellos
12
Piano Trio: Violin, Viola, Piano
10
2 Double basses (duet)
10
String quartet: 4 violins
10
Cello, String Bass (duet)
9
Violin, Guitar (duet)
9
Harp, Voice
7
Harp, Violin (duet)
6
String trio
5
String Trio: 3 violas
5
Harp, Cello (duet)
4
Viola, Guitar (duet)
4
Viola and Harp
3
Autoharp
3
Cello Ensemble
3
String Trio: 2 violins, viola
2
Harp, Violin, Violoncello
2
Harp and Piano
2
2 Violas, Piano
2
Violin, Bassoon (duet)
2
3 Harps
1
Viola and Bassoon
1
Harp and mandolin
1
String Quartet : 4 violas
1
2 Cellos, Piano
1
Violin, Clarinet, Piano (trio)
1
Violin, Organ
1
Flute, Doublebass (duet)
1
String Quintet: 2 violins, 2 violas, cello
1
Violin, Tuba (duet)
1
2 Violins, Piano
1
4 Double Basses
1
Cello, Organ
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
2181
Jazz Ensemble
648
Marching band
391
Orchestra
380
String Orchestra
361
Handbells
259
Brass ensemble
239
Jazz combo
134
Drums
114
Percussion (band part)
104
Chamber Orchestra
98
Drum (band part)
85
Percussion Ensemble
73
Marimba
24
Timpani (band part)
18
Percussion
18
Timpani
12
Vibraphone
9
Xylophone
8
School Ensemble
6
Xylophone, Piano
4
Woodwind Quintet
3
Drums-Marching band
2
Xylophone (band part)
2
Brass Quintet: other combinaisons
2
Woodwind Quartet: any 4 woodwinds
1
Bodhran
1
Orchestra, Violin
1
Marimba, Piano (duet)
1
Snare drums
1
2 Marimbas
1
Piano and Orchestra
1
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
1
Big band
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
4
Music Theory
4
You've selected:
up
SheetMusicPlus
Piano and Orchestra
Sheetmusic to print
1 sheet music found
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
22.12 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version