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8 1 Richter
Sheetmusic to print
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1
Concerto No. 1 in E major, Op. 8, RV 269, "Spring" (La primavera) I. Allegro (Solo Fingerstyle Guitar Tab)
Guitar notes and tablatures
Composed by Antonio Vivaldi (1678-1741). Arranged by Chris Richter. Baroque Period. …
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Composed by Antonio Vivaldi (1678-1741). Arranged by Chris Richter. Baroque Period. Tablature. 2 pages. Published by Chris Richter
$5.99
5.58 €
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Guitar notes and tablatures
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Antonio Vivaldi (1678-1741)
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Concerto No. 1 in E major, Op. 8, RV 269, "Spring"
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Chris Richter
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SheetMusicPlus
Celtic Harmonica Encyclopedia Volume 1
Harmonica
Harmonica - Intermediate - Digital Download SKU: M0.31181MEB Airs, Waltzes and M…
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Harmonica - Intermediate - Digital Download SKU: M0.31181MEB Airs, Waltzes and Mazurkas. Folk. World. Ebook and online audio. 65 pages. Mel Bay Publications - Digital Sheet Music #31181MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31181MEB). ISBN 9781513477237. 8.75x11.75 inches.This is the first volume of a four-part collection of over 200 Irish and Scottish dance tunes and airs arranged for standard Richter and Paddy Richter tuned 10-hole diatonic harmonicas. Volume One contains 37 famous Celtic airs, laments, mazurkas, and waltzes including Danny Boy, The Last Rose of Summer, The Minstrel Boy, MacphersonÂ?s Farewell, Annie Laurie, and many others. The book includes standard notation in the original keys, harmonica tab, guitar chords, and downloadable audio files of the tunes. There is also an instructional section explaining all the techniques youÂ?ll need to know to play traditional music on harmonica.
Song List: Annie Laurie Archibald MacDonald of Keppoch The Arran Boat Song The Ash Grove Believe Me If All Those Endearing Young Charms Boolavogue Cait Ni Dhuibhir Childgrove Danny Boy Down By The Salley Gardens Farewell The Foggy Dew (st and nd settings) For Ireland I'd Not Tell Her Name Gentle Annie Highland Mary Jock O' Hazeldean The Lark In The Clear Air The Last Rose Of Summer Logan Water MacPherson's Farewell Mary, Young and Fair The Minstrel Boy My Love Is Like A Red, Red Rose Neil Gow's Lament for the Death of his Second Wife The Parting Glass Princess Augusta The Pretty Girl Milking Her Cow Rosin The Beau The Shepherd's Wife Sir John Fenwick's The Flower Among Them All The Skye Boat Song The South Wind Two Irish Mazurkas (Sonny's Mazurka and Tommy Peoples' Mazurka) The Wild Geese The Wren
$17.99
16.77 €
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Harmonica
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Celtic Harmonica Encyclopedia Volume 1
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
8 1 Richter (Two Pianos and Percussion)
Percussion Ensemble
Percussion Ensemble - Level 5 - Digital Download SKU: A0.863016 Composed by Jordan …
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.863016 Composed by Jordan Grigg. Concert,Contemporary. Score and parts. 68 pages. Jordan Grigg #3385211. Published by Jordan Grigg (A0.863016).
$18.95
17.66 €
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Percussion Ensemble
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Jordan Grigg
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8 1 Richter
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Jordan Grigg
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SheetMusicPlus
8 1 Richter (Two Pianos and Percussion)
Multi-Percussion,Piano - Digital Download SKU: A0.1056828 Composed by Jordan Grigg.…
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Multi-Percussion,Piano - Digital Download SKU: A0.1056828 Composed by Jordan Grigg. 20th Century,Contemporary,Standards. Full Performance. Duration 360. Jordan Grigg #3458363. Published by Jordan Grigg (A0.1056828).
$2.99
2.79 €
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Jordan Grigg
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8 1 Richter
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Jordan Grigg
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SheetMusicPlus
Es geht ein dunkle Wolk herein (A dark cloud enters) for Brass Quartet
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.798827 Co…
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Brass Ensemble Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.798827 Composed by Traditional. Arranged by Jörg Richter. Folk,Renaissance,Traditional. Score and parts. 8 pages. Jörg Richter #5970373. Published by Jörg Richter (A0.798827). The famous traditional German folk song Es geht ein dunkle Wolk herein (A dark cloud enters) in an arrangement for Brass Quartet (Trp 1 + 2 in Bb, Trb 1 +2).
$5.99
5.58 €
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Brass quartet : 2 trumpets, trombone, tuba
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Traditional
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Es geht ein dunkle Wolk herein
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Jörg Richter
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SheetMusicPlus
Es geht ein dunkle Wolk herein für Blechbläser Quartett
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.798826 Co…
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Brass Ensemble Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.798826 Composed by Traditional. Arranged by Jörg Richter. Folk,Renaissance,Traditional. Score and parts. 8 pages. Jörg Richter #5970369. Published by Jörg Richter (A0.798826). Das bekannte deutsche Volkslied Es geht ein dunkle Wolk herein in einer Bearbeitung für Blechbläser Quartett (Trompete 1 + 2 in Bb, Posaune 1 + 2).Dunkle Wolken, auch Es geht ein dunkle Wolk herein, ist ein Volkslied nach der Liederhandschrift des bayerischen Benediktinerpaters Johannes Werlin aus dem Kloster Seeon. Das Lied ist ein Abschiedslied aus dem 16. Jahrhundert. (from Wikipedia.org).
$5.99
5.58 €
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Brass quartet : 2 trumpets, trombone, tuba
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Traditional
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Es geht ein dunkle Wolk herein für Blechbläser Quartett
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Jörg Richter
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SheetMusicPlus
Bridal Chorus "Treulich geführt" from Lohengrin for Brass Quartet
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.798930 Co…
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Brass Ensemble Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.798930 Composed by Richard Wagner. Arranged by Jörg Richter. Opera,Romantic Period,Wedding. Score and parts. 8 pages. Jörg Richter #6010315. Published by Jörg Richter (A0.798930). The famous Bridal Chorus Treulich geführt from Richard Wagner's opera Lohengrin, also known as Here Comes the Bride or Wedding March, in an arrangement for Brass Quartet (Trp 1 + 2 in Bb, Trb 1 + 2). https://en.wikipedia.org/wiki/Bridal_Chorus
$13.99
13.04 €
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Brass quartet : 2 trumpets, trombone, tuba
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Richard Wagner
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Bridal Chorus "Treulich geführt" from Lohengrin for Brass Quartet
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Jörg Richter
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SheetMusicPlus
Brautchor "Treulich geführt" aus der Oper "Lohengrin" für Blechbläser Quartett
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.798931 Co…
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Brass Ensemble Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.798931 Composed by Richard Wagner. Arranged by Jörg Richter. Opera,Romantic Period,Wedding. Score and parts. 8 pages. Jörg Richter #6010317. Published by Jörg Richter (A0.798931). Der berühmte Brautchor Treulich geführt aus der Oper Lohengrin von Richard Wagner in einem Arrangement für Blechbläser Quartett (Trp 1 + 2 in Bb, Posaune 1 + 2). https://de.wikipedia.org/wiki/Treulich_gef%C3%BChrt
$13.99
13.04 €
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Brass quartet : 2 trumpets, trombone, tuba
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Richard Wagner
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Brautchor "Treulich geführt" aus der Oper "Lohengrin" für Blechbläser Quartett
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Jörg Richter
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SheetMusicPlus
Spring from the Four Seasons
Solo Guitar - Level 3 - Digital Download SKU: A0.1437393 Composed by Antonio Vivald…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1437393 Composed by Antonio Vivaldi. Arranged by Chris Richter. Baroque,Classical. Individual part. 7 pages. Chris Richter #1017511. Published by Chris Richter (A0.1437393). Allegro from Concerto No. 1 in E major, Op. 8, RV 269, Spring (La primavera) of The Four Seasons (Le quattro stagioni) by Antonio Vivaldi arranged for solo fingerstyle guitar.
$5.99
5.58 €
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Antonio Vivaldi
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Spring from the Four Seasons
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Chris Richter
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SheetMusicPlus
Komm, heiliger Geist, Herre Gott (EG 125) für Posaunenquartett
Brass Quartet: 4 trombones
Brass Ensemble,Trombone Quartet - Level 5 - Digital Download SKU: A0.798766 Compose…
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Brass Ensemble,Trombone Quartet - Level 5 - Digital Download SKU: A0.798766 Composed by Moritz Landgraf von Hessen. Arranged by Jörg Richter. Easter,Praise & Worship,Renaissance,Sacred. Score and parts. 8 pages. Jörg Richter #5803207. Published by Jörg Richter (A0.798766). Der Pfingstchoral Komm, heiliger Geist, Herre Gott (EG 125) in einem Satz von Moritz Landgraf von Hessen, arrangiert für Posaunenquartett. (Beachte: Die 1. Posaune ist sowohl im Tenor-, als auch im Altschlüssel verfügbar.).
$6.99
6.52 €
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Brass Quartet: 4 trombones
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Moritz Landgraf von Hessen
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Komm, heiliger Geist, Herre Gott
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Jörg Richter
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SheetMusicPlus
White Christmas
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.798582 By Dave Koz & Kelly Sweet. By Irving Berlin. Arranged by Jörg Richter. 20th Century,Christmas,Jazz,Pop. 8 pages. Jörg Richter #4313205. Published by Jörg Richter (A0.798582). The famous Christmas song written by Irving Berin arranged for Saxophone quartet (Alto 1, Alto 2, Alto 3, Tenor, Baritone). Note: The 3rd voice is included as 3rd Alto as well as Tenore! https://en.wikipedia.org/wiki/White_Christmas_(song)
$12.99
12.11 €
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Saxophone Quartet: 4 saxophones
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Dave Koz & Kelly Sweet
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White Christmas
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Jörg Richter
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SheetMusicPlus
Jingle Bells for Saxophone Quartet
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.798955 Composed by James Lord Pierpont. Arranged by Jörg Richter. Christmas,Folk,Jazz,Traditional. 8 pages. Jörg Richter #6075585. Published by Jörg Richter (A0.798955). The famous Winter- and Christmas Song Jingle Bells written by James Lord Pierpont in an arrangement for Saxophone Quartet (Alto 1 + 2, Tenor, Baritone).
$13.99
13.04 €
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Saxophone Quartet: 4 saxophones
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James Lord Pierpont
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Jingle Bells for Saxophone Quartet
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Jörg Richter
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SheetMusicPlus
Moonlight Serenade
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.798747 Composed by Glenn Miller. Arranged by Jörg Richter. 20th Century,Jazz. 8 pages. Jörg Richter #5778841. Published by Jörg Richter (A0.798747). Glenn Millers berühmte Komposition Moonlight Serenade in einer Bearbeitung für Saxophon Quartett (Alt 1 + 2, Tenor, Bariton). Obwohl er hauptsächlich als Orchesterleiter und Arrangeur bekannt wurde, erlangte er mit dieser seiner einzigen Komposition unter seinen Hits Weltruhm.
$14.99
13.97 €
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Saxophone Quartet: 4 saxophones
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Glenn Miller
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Moonlight Serenade
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Jörg Richter
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SheetMusicPlus
Jingle Bells für Saxophon Quartett
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.798954 Composed by James Lord Pierpont. Arranged by Jörg Richter. Christmas,Folk,Holiday,Jazz,Traditional. 8 pages. Jörg Richter #6075581. Published by Jörg Richter (A0.798954). Das bekannte Winter- und Weihnachtslied Jingle Bells von James Lord Pierpont in einer Bearbeitung für Saxophon Quartett (Alt 1 + 2, Tenor, Bariton).
$13.99
13.04 €
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Saxophone Quartet: 4 saxophones
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James Lord Pierpont
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Jingle Bells für Saxophon Quartett
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Jörg Richter
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SheetMusicPlus
A Taste Of Honey
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.805227
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.805227 By The Beatles. By Bobby Scott and Ric Marlow. Arranged by Jörg Richter. 20th Century,Pop,Rock. Score and parts. 8 pages. Jörg Richter #412266. Published by Jörg Richter (A0.805227). The great song A Taste of Honey written by Bobby Scott and become world famous in the interpretations of Herb Alpert as well as of The Beatles in an arrangement for Brass Quintet Trp 1 +2, Horn, Trombone, Tuba).
$14.99
13.97 €
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Brass quartet : 2 trumpets, trombone, tuba
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The Beatles
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A Taste Of Honey
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Jörg Richter
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SheetMusicPlus
The Earl of Oxford's March für Horn Quintett
Horn Quintet - Level 5 - Digital Download SKU: A0.798674 Composed by William Byrd. …
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Horn Quintet - Level 5 - Digital Download SKU: A0.798674 Composed by William Byrd. Arranged by Jörg Richter. Baroque,Classical,Holiday,Renaissance. 8 pages. Jörg Richter #5325689. Published by Jörg Richter (A0.798674). Eine Bearbeitung des berühmten altenglischen Stückes The Earl of Oxford's March für Horn Quintett. (Bitte beachten: Die Stimmen sind nicht angeordnet wie im Orchester üblich, also 1. und 3. Horn sind die hohen Stimmen, 2. und 4. Horn sind die tiefen. Da es sich um eine Bearbeitung für Quintett handelt, sind die Stimmen durchnummeriert wie im Posaunensatz.).
$13.99
13.04 €
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William Byrd
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The Earl of Oxford's March für Horn Quintett
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Jörg Richter
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SheetMusicPlus
A Taste Of Honey
Saxophone Quintet: 5 Saxophones
Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.799061 By The Beatles. By Bobby Scott. Arranged by Jörg Richter. 20th Century,Pop,Rock. 8 pages. Jörg Richter #6864889. Published by Jörg Richter (A0.799061). The great song A Taste of Honey written by Bobby Scott and become world famous in the interpretations of Herb Alpert as well as of The Beatles in an arrangement for Saxophone Quintet (Alto 1, Alto 2, Alto 3, Tenor, Bariton).
$14.99
13.97 €
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Saxophone Quintet: 5 Saxophones
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The Beatles
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A Taste Of Honey
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Jörg Richter
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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)
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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
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