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You've selected:
A Flute with Attitude
Sheetmusic to print
23 sheet music found
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1
A Flute with Attitude
Flute
Flute Solo - Level 5 - Digital Download SKU: A0.703665 Composed by Eric Bingham-Kum…
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Flute Solo - Level 5 - Digital Download SKU: A0.703665 Composed by Eric Bingham-Kumpf. Concert,Contemporary. Individual part. 3 pages. Eric Bingham-Kumpf #4795949. Published by Eric Bingham-Kumpf (A0.703665). Flute Solo.
$4.50
4.14 €
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Flute
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Eric Bingham-Kumpf
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A Flute with Attitude
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Eric Bingham-Kumpf
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SheetMusicPlus
A Little Piece Of Heaven for Flute Choir
Flute ensemble
Flute, Woodwind Choir or Ensemble, Flute Choir - Advanced Intermediate - Digital Dow…
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Flute, Woodwind Choir or Ensemble, Flute Choir - Advanced Intermediate - Digital Download By Avenged Sevenfold. Arranged by Lisa Ochoco. Score, Set of Parts. 31 pages. Published by Lisa Ochoco
Flute choir meets heavy metal!<br> <br> Avenged Sevenfold is one of my absolute favorite heavy metal bands. I don't usually hear a flute choir when I listen to their songs, or mostly any heavy metal songs for that matter, but A Little Piece of Heaven is so creative, so musical, and so funny, that I couldn't help it. Also, Oingo Boingo headed up the instrumental parts of the original song, which is evident.<br> <br> If you are unfamiliar with heavy metal, you don't need to know anything about this song, other than it's incredibly unique and has to be played with an attitude. Accentuate the down beats, lay off the full vibratos, keep pushing the tempo - it never should slow down, and channel your inner rocker.<br> <br> This song was the brainchild of the late James "The Rev" Sullivan. With the help of Oingo Boingo musicians, the song was scored to include an orchestra, full wind section, and choir. This arrangement is less than half the length of the original song, but it still clocks in at around 3 1/2 minutes.<br> <br> This arrangement is scored for 4 flutes, alto, bass, contrabass, and upright string bass or keyboard. It is essential that there is a strong bass line. The upright bass part could also be played by any bass clef C instrument, like a euphonium, trombone, or tuba. If you are lucky enough to know a drummer, that would help a great deal too. I did not include a drum part, only because I am not knowledgeable enough at writing for drums and would rather leave it out than mess it up!<br> <br> I hope you and your group will enjoy playing this song as much as I enjoyed arranging it. And I hope your audience will like it too!
$17.00
15.65 €
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Flute ensemble
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Avenged Sevenfold
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A Little Piece Of Heaven for Flute Choir
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Lisa Ochoco
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SheetMusicPlus
Another One Bites The Dust for Flute Choir
Flute ensemble
Flute Choir - Advanced Intermediate - Digital Download By Queen. Arranged by Lisa Ochoc…
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Flute Choir - Advanced Intermediate - Digital Download By Queen. Arranged by Lisa Ochoco. Score, Set of Parts. 27 pages. Published by Lisa Ochoco
This is a song that no one will expect a flute choir to play. That said, why not have a flute choir play it? This arrangement will require 1 or 2 people stamping their feet and clapping their hands throughout the whole piece. Or, you could have a drummer do his or her thing.
Play this in the right style - that is, leave your sweet vibrato behind and play this percussively and with an attitude that will make Freddie Mercury proud - and this will be a winner with your audience.
$14.00
12.88 €
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Flute ensemble
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Queen
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Another One Bites The Dust for Flute Choir
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Lisa Ochoco
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SheetMusicPlus
"Ide!" for solo flute
Flute
Flute Solo - Digital Download SKU: A0.997531 Composed by Victor Somma. 20th Century…
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Flute Solo - Digital Download SKU: A0.997531 Composed by Victor Somma. 20th Century,Contemporary. Individual part. 7 pages. Victor Somma #5725027. Published by Victor Somma (A0.997531). The word Ide means go in archaic Portuguese, and in this tense suggests an imperatively dictated order. This caught my attention while reading the New Testament and noticed that Jesus used this imperative a few times with his disciples. This order was sometimes for his disciples to be like sheep among wolves, no matter the social or physical consequences of what they were about to do, other times the commendment was simply to spread love and grace around the world. For the New Testament, man's relationship with his Creator thus suggests a decision to be made by man himself to go beyond what can be seen as reality, as if human beings had to have the courage to go without fear beyond its limits, and only then could it experience a transcendent spiritual reality. A faith that involves the attitude of man, who by pure grace manages, if he so chooses, to go beyond. This piece was composed in 2013 and the recorded in 2015. This video was lost but now I've found it...
$12.99
11.95 €
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Flute
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Victor Somma
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"Ide!" for solo flute
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Victor Somma
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SheetMusicPlus
Machaut: La Messe de Nostre Dame for Flute Quartet
Flute Quartet: 4 flutes
Woodwind Ensemble,Woodwind Quartet Alto Flute,Bass Flute - Level 2 - Digital Download S…
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Woodwind Ensemble,Woodwind Quartet Alto Flute,Bass Flute - Level 2 - Digital Download SKU: A0.1260536 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 86 pages. Jmsgu3 #853678. Published by jmsgu3 (A0.1260536). INSTRUMENTATION: 2 ALTO FLUTES, 2 BASS FLUTES1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen.Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.98 €
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Flute Quartet: 4 flutes
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Guillaume de Machaut, 1300-1377
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Machaut: La Messe de Nostre Dame for Flute Quartet
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jmsgu3
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SheetMusicPlus
Machaut: La Messe de Nostre Dame for Flute Quartet - Score Only
Flute Quartet: 4 flutes
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259387 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259387 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #852663. Published by jmsgu3 (A0.1259387). INSTRUMENTATION: 2 Alto flutes, 2 Bass Flutes1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen.Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.97 €
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Flute Quartet: 4 flutes
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Guillaume de Machaut, 1300-1377
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Machaut: La Messe de Nostre Dame for Flute Quartet - Score Only
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jmsgu3
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SheetMusicPlus
梆笛å”å¥æ›² Concerto For Bamboo Flute and Orchestra
Flute
Flute Solo - Level 4 - Digital Download SKU: A0.961987 Composed by 馬水龅
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Flute Solo - Level 4 - Digital Download SKU: A0.961987 Composed by é¦¬æ°´é¾ Ma Shui Long. 20th Century,Contemporary. Individual part. With 2013-07-22. 32 pages. SpringAutumnmusic #431429. Published by SpringAutumnmusic (A0.961987). 《梆笛å”å¥æ›²ã€‹ 1981年，《梆笛å”å¥æ›²ã€‹ï¼Œæ¢†ç¬›èˆ‡ç®¡å¼¦æ¨‚團 「梆笛å”å¥æ›²ã€åˆ†ç‚ºå…©å€‹æ¨‚ç« ï¼ŒæŽ¡ç”¨é€£æ¨‚ç« å½¢å¼ã€‚ç¬¬ä¸€æ¨‚ç« ï¼šé–‹å§‹èŽŠåš´é›„æ¸¾çš„ç®¡çµƒåºå¥(第一主題)是表ç¾æ¼¢æ°‘æ—å …å¿ä¸æ‹”的精神。接著導入輕快活潑的第二主題，由梆笛主å¥ï¼Œå‘ˆç¾ç´”樸的民風與樂觀進å–的態度。由第一主題åŠç¬¬äºŒä¸»é¡Œï¼Œå¯ä»¥ç™¼è¦ºå…¶é–“çš„é—œè¯æ€§ï¼Œå› 為第二主題是由第一主題縮影ã€è®ŠåŒ–而來的。åŒæ™‚，第二主題也æˆç‚ºé€™å€‹æ¨‚ç« é–‹å±•çš„ä¸»è»¸ã€‚ ç¬¬äºŒæ¨‚ç« ï¼šè½‰ç‚ºå„ªé›…çš„æ…¢æ¿ï¼Œç¬¬ä¸€æ¨‚ç« ä¸çš„第一主題層次é‡ç¾åœ¨ä½ŽéŸ³å¼¦æ¨‚部分，引展出梆笛嶄新的樂æ€ï¼›æ¬éœã€è©³å’Œï¼Œåƒé¦–詩篇，緩緩的æ述出漢民æ—æ‚ é 的文化與寬å®åšå¤§çš„氣度。終曲與尾è²å†ç¾äº†ç¬¬ä¸€æ¨‚ç« ä¸çš„第一ã€äºŒä¸»é¡Œï¼Œä½†ç•¥åŠ 變化，使其交互發展，並é€æ¼¸çš„將之推至本曲的最高潮。 ※本曲1981年應ä¸åœ‹å»£æ’å…¬å¸å§”託創作之作å“，åŒå¹´æ–¼å°åŒ—國父紀念館舉行世界首演，由張大å‹æŒ‡æ®å°åŒ—世紀交響樂團擔任演出。 Completed in 1981, <Concerto For Bamboo Flute and Orchestra> is composed of two continuous movements. The first movement begins with a solemn prelude for wind and string instruments, establishing the first theme which expresses the fortitude of the Han Chinese spirit. The second theme, mainly performed by the bangdi flute, is lively and fast, expressing the purity and rusticity of folk culture with an eager, optimistic attitude. As a condensed variation of the first theme, the second theme's relationship to the first is evident, and becomes the heart of the first movement.
$20.99
19.32 €
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Flute
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é¦¬æ°´é¾ Ma Shui Long
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梆笛å”å¥æ›² Concerto For Bamboo Flute and Orchestra
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SpringAutumnmusic
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SheetMusicPlus
Ottinger Reiter-Marsch (Flute & Clarinet Duet)
Flute, Clarinet (duet)
Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 3 - Digital Download SKU: A0…
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Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 3 - Digital Download SKU: A0.956621 Composed by J Strauss II. Arranged by Catriona Melville-Mason. Concert,Romantic Period,Standards. Score and parts. 7 pages. C Melville-Mason #6481195. Published by C Melville-Mason (A0.956621). An intermediate-level arrangement of a Strauss march, for mixed woodwind duet of flute and clarinet in B-flat.In his lifetime, Austrian composer Johann Strauss II (1825 – 1899) was dubbed ‘The Waltz King’, reflecting his prolific output of this type of dance music. He also composed polkas, quadrilles, marches, operettas and a ballet. During the 1848 upheavals in the Austrian Empire, Johann II opted to side with the revolutionaries. This allegiance had an adverse effect on his career, as well as deepening the rift between him and his father, so in due course Johann wrote several marches with titles that might encourage the establishment to forget his past pro-revolutionary sympathies. The Ottinger Reiter-Marsch was first published in 1850. Strauss claimed that the work had been commissioned for a regiment who specifically requested the dedication to General Franz von Ottinger. At the time, Ottinger was not very popular, largely because of his punitive attitude towards former revolutionaries.
$4.50
4.14 €
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Flute, Clarinet (duet)
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J Strauss II
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Ottinger Reiter-Marsch
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C Melville-Mason
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SheetMusicPlus
Amplitude: Flute
Concert band
Concert Band - Digital Download SKU: AX.00-PC-0017009_F1 Flute. Composed by …
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Concert Band - Digital Download SKU: AX.00-PC-0017009_F1 Flute. Composed by Vince Gassi. Rock. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017009_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017009_F1). UPC: 038081505510.Amplitude rhymes with attitude and that's just what this new rock chart has plenty of! And because you ordered by midnight, you also get a heap o' drivin' rhythm, an infectiousA beat, and a way cool tune. 'Nuff said! (2:25).
$3.00
2.76 €
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Concert band
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Vince Gassi
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Amplitude: Flute
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Ottinger Reiter-Marsch - Oboe (Flute) and Bassoon Duet
Instrumental Duet Bassoon,Flute,Instrumental Duet,Oboe - Level 3 - Digital Download SKU…
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Instrumental Duet Bassoon,Flute,Instrumental Duet,Oboe - Level 3 - Digital Download SKU: A0.956627 Composed by J Strauss II. Arranged by Catriona Melville-Mason. Concert,Romantic Period,Standards. Score and parts. 7 pages. C Melville-Mason #6487635. Published by C Melville-Mason (A0.956627). This arrangement of a Strauss march is intended for double reed duo of oboe and bassoon, but the upper part is also playable by flute.In his lifetime, Austrian composer Johann Strauss II (1825 – 1899) was dubbed ‘The Waltz King’, reflecting his prolific output of this type of dance music. He also composed polkas, quadrilles, marches, operettas and a ballet. During the 1848 upheavals in the Austrian Empire, Johann II opted to side with the revolutionaries. This allegiance had an adverse effect on his career, as well as deepening the rift between him and his father, so in due course Johann wrote several marches with titles that might encourage the establishment to forget his past pro-revolutionary sympathies. The Ottinger Reiter-Marsch was first published in 1850. Strauss claimed that the work had been commissioned for a regiment who specifically requested the dedication to General Franz von Ottinger. At the time, Ottinger was not very popular, largely because of his punitive attitude towards former revolutionaries.
$4.50
4.14 €
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J Strauss II
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Ottinger Reiter-Marsch - Oboe
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C Melville-Mason
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SheetMusicPlus
Variations on a Theme in D Flat
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.1335323 Composed by Kendra Brown.…
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Concert Band - Level 2 - Digital Download SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323). The main theme is inspired by the introduction of the piece. Delicate and child-like. The ostinato in the beginning of the piece that double reeds have displays the feeling of a “child-like†waltz. The pattern is in 3 but it should be played as if it is in 6/8, with emphasis on beats 1 and 3. There should be weight to the sound but it should not be heavy. Sometimes in life, (as both teens and adults) we tend to get caught up in stress or worries and we forget to take a break, relax and destress a little. This piece reminds us to go back to our childlike roots. As the theme in Section A expands, it takes a turn in Section B where the tempo picks up. (Players are encouraged to have as much fun as they can with this part.) At and after the exposed bassoon part at m.50, in the words of my old high school band director, “Let it rip potato chip!†(Meaning give it all you’ve got and have fun). Brass are encouraged to play the dynamics as written in this section but listen to each other. Section C is a bridge to the 7/8 in Section D. Section D, reintroduces the theme in the form of a trumpet solo while brass and some of the woodwinds have the ostinato. Be careful euphonium & tuba because you’re missing a beat on purpose! Section E is the “Medley†of all the parts that were previously played with only tuba playing in the relative minor so it sticks out at the bottom of the ensemble. This is symbolic of the piece itself, showing that the pressures of life can be overcome by keeping a good attitude and persevering through those tough times that you encounter. Section F is another “bridge†beginning with the flute solo reiterating the theme one last time before the “descent and climb†(starting at m.137) to the final destination: Section G. Section G should be played like an overture. Full and with joy and a “coming alive-ness†to it therefore bringing life to the once dead emotions that once were. The ending with the oboe/bassoon duet should be played as quietly as possible & as in tune as possible.
$10.00
9.2 €
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Concert band
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Kendra Brown
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Variations on a Theme in D Flat
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Kendra Brown
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SheetMusicPlus
Fugue Op.99 N.4b for String Quartet
String Quartet: 2 violins, viola, cello
Woodwind Ensemble,Woodwind Quartet - Level 4 - Digital Download SKU: A0.963569 Comp…
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Woodwind Ensemble,Woodwind Quartet - Level 4 - Digital Download SKU: A0.963569 Composed by Max Reger. Arranged by Cristiano Vecchi. 20th Century,Instructional,Romantic Period,Standards. 51 pages. Cristiano Vecchi #6529595. Published by Cristiano Vecchi (A0.963569). Originally a piano work, this fugue shows the Reger's mastery in counterpoint with a chromatic subject that remembers the Bachian fugue in B minor, but with a passionate romantic attitude in the more dynamic second part where continuous modulations realize a language very next to the atonal Expressionism.Version for Violin I (either Flute or Oboe), Violin II, Viola, Cello (or Bassoon). Extra parts: 1) A.Fl., Vc., Vla., En.Horn, Cl.Bb, Cl.A; 2) Vla., Vc., Bass Fl., En.Horn, Cl.Bb, Cl.A.; 3) Vc., Bsn., Bass Cl., Bass Fl. Cl.A; 4) Bass Cl.Other possible combinations are: 2 Violas & 2 Cellos, Cello Quartet, Clarinet Quartet, Double Reed Quartet, Woodwind Quartet, 2 Flutes & 2 Bassoon.Duration: 2'40.SCORE and PARTSMP3 also available on this website.My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$4.99
4.59 €
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String Quartet: 2 violins, viola, cello
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Max Reger
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2) Vla
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Fugue Op.99 N.4b for String Quartet
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Cristiano Vecchi
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SheetMusicPlus
Equinox
Brass Quintet: 2 trumpets, horn, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1149129 By John Col…
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1149129 By John Coltrane. By John Coltrane. Arranged by Keith Terrett. 20th Century,Blues,Jazz,Multicultural,Standards,World. 11 pages. Keith Terrett #749258. Published by Keith Terrett (A0.1149129). An arrangement of John Coltrane's classic Equinox for Brass Quintet with optional drum kit. Equinox is a minor blues jazz standard by American jazz saxophone player and composer John Coltrane. Originally released on Coltrane's Sound[ played in C# minor with a slow swing feel. However, it is usually played in the key of C Minor and often covered on the flute Coltrane’s wife Naima named the song Equinox. The equinox occur twice a year, when the tilt of the Earth’s axis is inclined neither away from nor towards the sun. John Coltrane was born on September 23, 1926, the day of the official autumn equinox of that year. The release of Equinox was delayed until 1964 when Atlantic issued the album Coltrane’s Sound. Before he recorded it, Coltrane performed Equinox several times in live venues, including a session with Miles Davis’ rhythm section and at the 1960 Monterey Jazz Festival. Unfortunately, the other Atlantic recordings of Equinox were lost in the 1978 warehouse fire before they were released.Unlike Naima and My Favorite Things, Equinox would not become part of Coltrane's repertoire. Coltrane's attitude in writing Equinox is described by Dr Lewis Porter as Coltrane was a serious blues player and his blues pieces reflect the desire to get back to a primal mood, and away from the emotionally lighter, harmonically more complicated and complex blues of the boppers. Equinox is introduced by McCoy Tyner and Elvin Jones with a Latin rhythmic passage which shifts into the slower tempo of the theme. The composition evokes a sense of mystery. Coltrane then enters on the horn (a tenor), his playing slow and pensive. The theme is repeated for two choruses and then stating the theme twice. He then proceeds with an improvisation of unusual emotional depth - reminiscent of a preacher exhorting his congregation. Elvin Jones make dramatic use of drum rolls and cymbal crashes throughout the song to maintain the sense of mystery. McCoy Tyner comps with a light feel.
$14.99
13.8 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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John Coltrane
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Equinox
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Keith Terrett
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SheetMusicPlus
Down by the Riverside - Woodwind Quintet arranged in Trad. New Orleans Brass Band Style
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1226025 By African - American Spiritual. By Traditional Spiritual. Arranged by Dennis Ruello. 20th Century,Historic,Jazz,Spiritual,Traditional. 23 pages. Chicory Music #822026. Published by Chicory Music (A0.1226025). Gospel music has infiltrated the New Orleans jazz repertoire since the very early days of jazz. Although gospel songs were traditionally played by jazz bands at funerals or church, it is now common that these songs are also played in secular venues. “Down by the Riverside†is an example of such a song, adapted by jazz musicians to fit the New Orleans jazz or brass band style. It has been a staple in New Orleans jazz since at least the early 1920s. This arrangement for Woodwind Quintet plus optional Acoustic Bass and Drum Set is written in the style of a New Orleans Brass Band, the kind of tune you might hear at a Second Line Parade or Jazz Funeral. Play this piece with the attitude: Laissez les bons temps rouler ( Let the good times roll ). Performance Time: Approx. 2 minutes 40 seconds
$15.99
14.72 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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African - American Spiritual
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or Jazz Funeral
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Down by the Riverside - Woodwind Quintet arranged in Trad. New Orleans Brass Band Style
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Chicory Music
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SheetMusicPlus
Machaut: La Messe de Nostre Dame for 2 English Horns & 2 Bassoons - Score Only
Flute, Oboe, Clarinet, Bassoon
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1258034 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1258034 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851272. Published by jmsgu3 (A0.1258034). Instrumentation: English Horn Duo & Bassoon Duo.1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.97 €
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Flute, Oboe, Clarinet, Bassoon
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Guillaume de Machaut, 1300-1377
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Bassoon Duo
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Machaut: La Messe de Nostre Dame for 2 English Horns & 2 Bassoons - Score Only
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jmsgu3
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SheetMusicPlus
Mercy
Flexible Wind Ens - Intermediate - Digital Download SKU: F2.FM459 Composed by Juan …
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Flexible Wind Ens - Intermediate - Digital Download SKU: F2.FM459 Composed by Juan Maria Solare. Flexible Wind Quartet. Score and parts. 12 pages. Forton Music - Digital #FM459. Published by Forton Music - Digital (F2.FM459). ISBN 9790570483587.For Flexible Wind Ensemble. Flute1/Clarinet 1, Oboe 2/Clarinet 2, Instrument in F/Clarinet 3, Bassoon or Bass Clarinet 4. 'Mercy' is an obsessively expressive Adagio (so to say, a Samuel Barber's equivalent for woodwinds) with a homophonic texture, like a four part chorale. Rhythmically, this piece offers no problems. While the first part requires more experienced players, parts 2, 3 and 4 are relatively easy to play. Most groups would be able to master this piece after only a couple of rehearsals. Some would say that mercy is a virtue, others (following Nietzsche) that it is a weakness. Do not seek in this piece a one-to-one musical transcription of merciful feelings, but rather concentrate on the smoothness and tender sound quality associated with it. Rather than 'pity', mercy is about empathy, togetherness and support - this attitude can also show while performing music.
$9.95
9.16 €
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Juan Maria Solare
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Mercy
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Forton Music - Digital
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SheetMusicPlus
Fair Katrinelje and Pif-Paf-Poltrie (from the Brothers Grimm Song Cycle)
Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331…
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Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Soundtrax #11219. Published by Novel Soundtrax (A0.800331). This work by Sarah Wallin is a vocal text setting for soprano, flute, cello, and piano, completed in 2008. According to Dr. Edward David Zeliff, Fair Katrinelje... is very interesting, clever, witty, and captures the quirky little scenario of this poor fellow trying so hard to line up a bride by having to go through the firewall of her entire family and then having enough umph left over to get her attention as well. It's very Stravinskyish, and the charm and humor comes through. The story of Fair Katrinelje and Pif-Paf-Poltrie is a lesser-known fairy tale found in the Children's and Household Tales of Jacob and Wilhelm Grimm, the famous Brothers Grimm. Fair Katrinelje and Pif-Paf-Poltrie is a comedic dialogue. Our hero, Pif-Paf-Poltrie, is out to seek the hand of his beloved, the Fair Katrinelje, in marriage. Being the gentleman that he is, he approaches in turn each member of his beloved's family to ask their permission. Father Hollenthe, Mother Malcho, Brother High-and-Mighty, and Sister Käsetraut all respond in turn similarly – essentially, If it's all right with everyone else, it's all right with me. The challenge for the vocalist is to convey the essence and the hilarity of the dialogue by highlighting, with the mannerisms of the voice, the attitudes and characteristics of each character speaking. Above each character's lines, it is made clear whom it is that is speaking and the emotional context within which it is being spoken. The vocalist has complete freedom to effect these roles in whatever manner and to whatever degree is deemed appropriate, provided the musical integrity of the work is kept intact.
$15.00
13.8 €
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Sarah Wallin Huff
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Fair Katrinelje and Pif-Paf-Poltrie
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Novel Soundtrax
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SheetMusicPlus
Rockatude (Woodwind Ensemble)
Woodwind Ensemble Bass Clarinet,Bassoon,Flute,Oboe - Level 3 - Digital Download SKU: A0…
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Woodwind Ensemble Bass Clarinet,Bassoon,Flute,Oboe - Level 3 - Digital Download SKU: A0.1365741 By Paul Barker Music. By Paul Barker. 21st Century,Contemporary,Contest,Festival,Pop. 25 pages. Paul Barker Music #950085. Published by Paul Barker Music (A0.1365741). Experience heightened rock and attitude with the latest special edition of the musical spectacle, Rockatude for Woodwind Ensemble. Infused with an extra dose of energy, this special edition is designed to elevate your concert to new heights with its bold themes and driving rhythms. Perfect for schools, colleges, and professional ensembles alike, Rockatude promises a monumental finale!Also available for String Orchestra, Full Orchestra and Full Orchestra featuring Lead Guitar. Duration: 2:30Level: Intermediate (UK Grade 4+ & USA 2+)Occasion: Large Concerts - Festivals - Celebrations - FinaleInstrumentation: Woodwind EnsembleÂ
$9.95
9.16 €
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Paul Barker Music
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Rockatude
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Paul Barker Music
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SheetMusicPlus
The Settling Years: (Piano/Choral Score)
Choral SATB
SATB choir and piano or wind quintet and piano - Medium - Digital Download SKU: MQ.4286…
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SATB choir and piano or wind quintet and piano - Medium - Digital Download SKU: MQ.4286-E Composed by Libby Larsen. Choral score. 52 pages. E. C. Schirmer Music Company - Digital #4286-E. Published by E. C. Schirmer Music Company - Digital (MQ.4286-E). English.This piece is a three-part collection based on poetry by American pioneers. The texts are full of a kind of raw energy, swashbuckling attitude, and profundity of heart and commitment characteristic of those settlers west of the Hudson. I had also looked at the more erudite essays of Coleridge-Taylor, Thoreau, and Emerson but chose the rougher stanzas because the primitive voices, the pioneers, were profound, simply in the way they expressed the nature of their experiences. The first piece, 'Comin’ to Town,' is about cowboys after a month on the range—bawdy, rowdy, and raucous. The second, 'Beneath These Alien Stars,' is about the bonding of the human spirit to the land. The third piece, 'A Hoopla,' depicts a barn dance and vocalists circle ‘round the instruments, stomp, clap, and generally perform with abandon, vigor, and boisterousness. The Settling Years was commissioned and premiered by The Singing Sergeants and the United States Air Force Band for the 150th anniversary of the Music Educators National Convention.-Libby LarsenInstrumental Parts include: Flute, Oboe, Clarinet, Horn, Bassoon, and Piano.
$5.60
5.15 €
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Choral SATB
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Libby Larsen
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The Settling Years:
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
The Settling Years: 1. Comin' to Town (Piano/Choral Score)
Choral SATB
SATB choir, wind quintet, and piano - Medium - Digital Download SKU: MQ.8560-E Comp…
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SATB choir, wind quintet, and piano - Medium - Digital Download SKU: MQ.8560-E Composed by Libby Larsen. Instrument part. 28 pages. E. C. Schirmer Music Company - Digital #8560-E. Published by E. C. Schirmer Music Company - Digital (MQ.8560-E). English.This piece is a three-part collection based on poetry by American pioneers. The texts are full of a kind of raw energy, swashbuckling attitude, and profundity of heart and commitment characteristic of those settlers west of the Hudson. I had also looked at the more erudite essays of Coleridge-Taylor, Thoreau, and Emerson but chose the rougher stanzas because the primitive voices, the pioneers, were profound, simply in the way they expressed the nature of their experiences. The first piece, 'Comin’ to Town,' is about cowboys after a month on the range—bawdy, rowdy, and raucous. The second, 'Beneath These Alien Stars,' is about the bonding of the human spirit to the land. The third piece, 'A Hoopla,' depicts a barn dance and vocalists circle ‘round the instruments, stomp, clap, and generally perform with abandon, vigor, and boisterousness. The Settling Years was commissioned and premiered by The Singing Sergeants and the United States Air Force Band for the 150th anniversary of the Music Educators National Convention.-Libby LarsenInstrumental Parts include: Flute, Oboe, Clarinet, Horn, Bassoon, and Piano.
$3.25
2.99 €
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Choral SATB
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Libby Larsen
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The Settling Years: 1. Comin' to Town
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Key West Sunrise for horn, harp, vibraphone, cello, and bassoon
Large Ensemble Bassoon,Cello,Harp,Horn,Vibraphone - Level 4 - Digital Download SKU: A0.…
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Large Ensemble Bassoon,Cello,Harp,Horn,Vibraphone - Level 4 - Digital Download SKU: A0.1010610 Composed by Jing Liu. 20th Century,Contemporary,Jazz. Score and parts. 8 pages. Jing Liu #550749. Published by Jing Liu (A0.1010610). Submitted for 2015 Areon Flutes International Chamber Music Composition Competition I heard someone describe Key West as a conglomeration of the weirdest, most eccentric individuals in America. Add in the quirky shops, the feral roosters roaming the streets, the beautiful city beaches, and the relaxed island attitude prevalent in the Keys, and you’ve got something truly special. I’ve been to Key West twice, and decided to write this piece to capture the indescribable aura this place emits. The unconventional instrumentation was chosen to represent a group of random people come together, yet thriving in perfect harmony. Key West Sunrise starts slow and atmospheric, watching the sun peak over the horizon. The horn, cello, and bassoon sustain long notes while the vibraphone and harp provide flourishes of activity, before rooster calls rudely interrupt. And then we’re off-the morning is in full force, with jazzy ostinatos in the vibe, glisses in the harps, and the main theme being passed around. It builds and builds, and ends on a strong note-but with the feeling that there’s more to come. Because in Key West, there always is. JL, August 2014.
$9.99
9.19 €
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Jing Liu
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Key West Sunrise for horn, harp, vibraphone, cello, and bassoon
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Jing Liu
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SheetMusicPlus
Schärfe. Schatten
Flute (Piccolo), oboe, clarinet in Bb, A and Eb, horn, bassoon and piano - difficult - Dig…
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Flute (Piccolo), oboe, clarinet in Bb, A and Eb, horn, bassoon and piano - difficult - Digital Download SKU: S9.Q19872 For wind quintet and piano. Composed by Benjamin Schweitzer. This edition: score and parts. Downloadable, score and parts. Duration 8 minutes. Schott Music - Digital #Q19872. Published by Schott Music - Digital (S9.Q19872). Benjamin Schweitzer presents his first work for this combination. Willing to try out something new, he adds to the typical character of the wind instruments the sound of the piano. The work is made up of two movements, each movement of several parts. Complex interwoven passages are set against stringently composed sections. The composer says of his piece: 'the combination of shortness and an ease of attitude with the complexity of a major chamber music work relates, in a certain way, the piece to the late works of Elliott Carter.'Benjamin Schweitzer präsentiert sein erstes Werk für diese Formation. Experimentierfreudig erweitert er den typischen Charakter der Bläser um den Klang des Klaviers. Das Werk gliedert sich in zwei Sätze, jeder Satz in mehrere Teile. Komplex-verflochtene Passagen stehen stringent-komponierten Abschnitten gegenüber.
$30.99
28.52 €
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Benjamin Schweitzer
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Schärfe. Schatten
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Schott Music - Digital
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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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