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Strange Music
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2901
Piano Trio No. 2 "Strange Rims" (piano score - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861895 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861895 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 74 pages. Mark O'Connor Musik International #6206123. Published by Mark O'Connor Musik International (A0.861895). Piano Trio No. 2 Strange Rims (piano score – pno, vln, cel) MO166APiano Score (parts available)Music by Mark O’Connor70 pages - 27:00 minutes in lengthI.II.III.Piano Trio No. 2 Strange Rims in 3 movements was composed in 2005, and was the 1st piece I composed after relocating to New York City. It was composed during a 40-day bus tour around the country as well as at my new apartment in midtown New York City. The complexity and difficulty of the music reflects some of the transitions to the new urban big city life I encountered in New York coming from a more sedate lifestyle in amongst the avocado groves of north San Diego county. I had a hunch that my composing could change direction somewhat during this time of transition and reflect a different character. In anticipation of this new stage, decided to compose one of the more technically difficult ensemble works I have written to date. I pushed the boundaries of my own style and ability in order to compose something unique for piano in this piece. I had in mind a brilliant pianist Soyeon Lee from Korea who inspired the composition with her virtuoso technique, and her unique personality. The musical direction was further directed by one of the strangest music tours I have been on with a cast of characters containing some who did not get along at all and quit the tour, while others got along too well and created a different kind of havoc. With a pianist from the Pacific Rim as one source of inspiration, while the wheels on the strange bus tour kept turning on the American highways, the title Strange Rims captured the many layers I was living and seeing at the time. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2005 Composed by Mark O’ConnorMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO166ACopyright © 2005 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$18.00
16.17 €
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Mark O'Connor
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Piano Trio No. 2 "Strange Rims"
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio No. 2 "Strange Rims" (violin part - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861896 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861896 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 29 pages. Mark O'Connor Musik International #6206133. Published by Mark O'Connor Musik International (A0.861896). Piano Trio No. 2 Strange Rims (violin part – piano, vln, cel) MO166BViolin Part (score and parts available)Music by Mark O’Connor24 pages - 27:00 minutes in lengthI.II.III.Piano Trio No. 2 Strange Rims in three movements was composed in 2005, and was the 1st piece I composed after relocating to New York City. It was composed during a 40-day bus tour around the country as well as at my new apartment in midtown New York City. The complexity and difficulty of the music reflects some of the transitions to the new urban big city life I encountered in New York coming from a more sedate lifestyle in amongst the avocado groves of north San Diego county. I had a hunch that my composing could change direction somewhat during this time of transition and reflect a different character. In anticipation of this new stage, decided to compose one of the more technically difficult ensemble works I have written to date. I pushed the boundaries of my own style and ability in order to compose something unique for piano in this piece. I had in mind a brilliant pianist Soyeon Lee from Korea who inspired the composition with her virtuoso technique, and her unique personality. The musical direction was further directed by one of the strangest music tours I have been on with a cast of characters containing some who did not get along at all and quit the tour, while others got along too well and created a different kind of havoc. With a pianist from the Pacific Rim as one source of inspiration, while the wheels on the strange bus tour kept turning on the American highways, the title Strange Rims captured the many layers I was living and seeing at the time. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2005 Composed by Mark O’ConnorMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO166BCopyright © 2005 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$12.00
10.78 €
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Mark O'Connor
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Piano Trio No. 2 "Strange Rims"
#
Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio No. 2 "Strange Rims" (cello part - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861897 Composed by …
(+)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861897 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 29 pages. Mark O'Connor Musik International #6206137. Published by Mark O'Connor Musik International (A0.861897). Piano Trio No. 2 Strange Rims (cello part – piano, vln, cel) MO166CCello Part (score and parts available)Music by Mark O’Connor23 pages - 27:00 minutes in lengthI.II.III.Piano Trio No. 2 Strange Rims in three movements was composed in 2005, and was the 1st piece I composed after relocating to New York City. It was composed during a 40-day bus tour around the country as well as at my new apartment in midtown New York City. The complexity and difficulty of the music reflects some of the transitions to the new urban big city life I encountered in New York coming from a more sedate lifestyle in amongst the avocado groves of north San Diego county. I had a hunch that my composing could change direction somewhat during this time of transition and reflect a different character. In anticipation of this new stage, decided to compose one of the more technically difficult ensemble works I have written to date. I pushed the boundaries of my own style and ability in order to compose something unique for piano in this piece. I had in mind a brilliant pianist Soyeon Lee from Korea who inspired the composition with her virtuoso technique, and her unique personality. The musical direction was further directed by one of the strangest music tours I have been on with a cast of characters containing some who did not get along at all and quit the tour, while others got along too well and created a different kind of havoc. With a pianist from the Pacific Rim as one source of inspiration, while the wheels on the strange bus tour kept turning on the American highways, the title Strange Rims captured the many layers I was living and seeing at the time. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2005 Composed by Mark O’ConnorMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO166CCopyright © 2005 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$12.00
10.78 €
#
Mark O'Connor
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Piano Trio No. 2 "Strange Rims"
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Mark O'Connor Musik International
#
SheetMusicPlus
Royal Winter Music
Guitar
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Compo…
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Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital
My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.
$19.99
17.96 €
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Guitar
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Hans Werner Henze
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Royal Winter Music
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Schott Music - Digital
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SheetMusicPlus
The Girl From Ipanema (garota De Ipanema)
Choral SSAATTBB
Voice, Choir, Mixed choir - Advanced Intermediate - Digital Download By As performed …
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Voice, Choir, Mixed choir - Advanced Intermediate - Digital Download By As performed and recorded by the Swingles. Arranged by Joanna Forbes L'Estrange. Score. 14 pages. Published by Alexander L'Estrange
Mixed choir SSAATTBB - Advanced Intermediate - Digital Download<br> <br> As performed and recorded by The Swingles. Arranged by Joanna Forbes L'Estrange. Score. 13 pages. Published by Joanna Forbes L'Estrange.<br> <br> NEW from singer-songwriter Joanna Forbes L'Estrange (former soprano/MD of The Swingles). Jobim’s most popular song in a sexy, Swingles-style a cappella arrangement is now available for your choirs and a cappella groups to sing. Plenty of fun to be had imitating guitar, shaker, muted trumpets and double bass as well as singing in Portuguese and English! There’s also an opportunity for a singer to display his/her jazz scat solo skills.<br> <br> Check out more of Joanna's compositions and arrangements at www.joannaforbeslestrange.com and follow L'Estrange Music on Facebook.
$4.50
4.04 €
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Choral SSAATTBB
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As performed and recorded by the Swingles
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The Girl From Ipanema
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Alexander L'Estrange
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SheetMusicPlus
Heart Of A Stranger (C Major)
Piano, Voice
Piano,Vocal,Voice - Digital Download SKU: A0.529585 Composed by Robert J. Sherman. …
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Piano,Vocal,Voice - Digital Download SKU: A0.529585 Composed by Robert J. Sherman. Arranged by Original Piano/Vocal Arrangement by Robert J. Sherman. Broadway,Children,Contest,Festival,Instructional,Musical/Show. Score. 5 pages. Sherman Theatrical Entertainment Ltd. #117873. Published by Sherman Theatrical Entertainment Ltd. (A0.529585). Hear Of A Stranger is from the musical The Penguin Pirate and A Spoonful of Sherman (OCR). It’s early evening aboard the Penguin Pirate ship and young stowaway, “Nick†has been put to work swabbing the deck. Suddenly “Holly†emerges topside. Nick finds Holly both annoying and, at the same time, strangely attractive. This song is Nick’s attempt to reconcile these two foreign and disparate feelings of annoyance and attraction. It’s all very new and strange emotional territory for the young teenager. When printing, pease scale to fit for standard US Letter and A4 size.
$3.99
3.58 €
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Piano, Voice
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Robert J
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Heart Of A Stranger
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Sherman Theatrical Entertainment Ltd.
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SheetMusicPlus
Heart Of A Stranger - G Major
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.556056 Composed by Robert J. Sh…
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Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.556056 Composed by Robert J. Sherman. Arranged by Original Piano/Vocal Arrangement by Robert J. Sherman. Broadway,Instructional,Jazz,Musical/Show. Score. 5 pages. Sherman Theatrical Entertainment Ltd. #165528. Published by Sherman Theatrical Entertainment Ltd. (A0.556056). Heart Of A Stranger is from the musical The Penguin Pirate and A Spoonful of Sherman (OCR). It’s early evening aboard the Penguin Pirate ship and young stowaway, “Nick†has been put to work swabbing the deck. Suddenly “Holly†emerges topside. Nick finds Holly both annoying and, at the same time, strangely attractive. This song is Nick’s attempt to reconcile these two foreign and disparate feelings of annoyance and attraction. It’s all very new and strange emotional territory for the young teenager. When printing, please scale to fit for standard US Letter and A4 size.
$3.99
3.58 €
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Piano, Vocal and Guitar
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Robert J
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Heart Of A Stranger - G Major
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Sherman Theatrical Entertainment Ltd.
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SheetMusicPlus
Heart Of A Stranger (A Major)
Piano, Voice
Piano,Vocal,Voice - Digital Download SKU: A0.529584 Composed by Robert J. Sherman. …
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Piano,Vocal,Voice - Digital Download SKU: A0.529584 Composed by Robert J. Sherman. Arranged by Original Piano/Vocal Arrangement by Robert J. Sherman. Broadway,Children,Contest,Festival,Instructional,Musical/Show. Score. 5 pages. Sherman Theatrical Entertainment Ltd. #117872. Published by Sherman Theatrical Entertainment Ltd. (A0.529584). Heart Of A Stranger is from the musical The Penguin Pirate and A Spoonful of Sherman (OCR). It’s early evening aboard the Penguin Pirate ship and young stowaway, “Nick†has been put to work swabbing the deck. Suddenly “Holly†emerges topside. Nick finds Holly both annoying and, at the same time, strangely attractive. This song is Nick’s attempt to reconcile these two foreign and disparate feelings of annoyance and attraction. It’s all very new and strange emotional territory for the young teenager. When printing, please scale to fit for standard US Letter and A4 size.
$3.99
3.58 €
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Piano, Voice
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Robert J
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Heart Of A Stranger
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Sherman Theatrical Entertainment Ltd.
#
SheetMusicPlus
Strange Music
Melody line, (Lyrics) and Chords
C Instrument,Chords,Lyrics,Melody,Piano and Keyboard - Interactive Download SKU: HX.411…
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C Instrument,Chords,Lyrics,Melody,Piano and Keyboard - Interactive Download SKU: HX.411483 By Edvard Grieg. This edition: Interactive Download,scorch. Broadway,Musical/Show. Lead Sheet / Fake Book. 1 pages. Hal Leonard - Digital #786980. Published by Hal Leonard - Digital (HX.411483).
$3.99
3.58 €
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Melody line, (Lyrics) and Chords
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Edvard Grieg
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Strange Music
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Hal Leonard - Digital
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SheetMusicPlus
Knights of the strange
Electric guitar and accordion - difficult - Digital Download SKU: S9.Q43166 Duo …
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Electric guitar and accordion - difficult - Digital Download SKU: S9.Q43166 Duo version for electric guitar and accordion. Composed by Chaya Czernowin. This edition: score and parts. Downloadable, Score and parts. Duration 6 minutes. Schott Music - Digital #Q43166. Published by Schott Music - Digital (S9.Q43166). Knights of the strange is a work of music poetry, where a few words highlight the speculative/poetic connections between dreams, reality and reflection. The duo version is like an independent plant which comes from another climate inside the jungle of the tutti version. Both versions are dedicated to my son Ko, as he leaves home for college. The title is taken from a book Ko created when he was four. The piece also includes some spoken phrases which are very mundane exchanges at home. Chaya Czernowin.
$41.99
37.72 €
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Chaya Czernowin
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Knights of the strange
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Schott Music - Digital
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SheetMusicPlus
Strange Man
2 Euphoniums and 2 Tubas
Tuba quartet (EETT) - Grade 5 - Digital Download SKU: CX.CM0247 Composed by Robert …
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Tuba quartet (EETT) - Grade 5 - Digital Download SKU: CX.CM0247 Composed by Robert Schumann. Arranged by Robert Wilkinson. Quartet music. 9 pages. Published by Cimarron Music Press - Digital (CX.CM0247). From Album for the Young, Op. 68.
$17.00
15.27 €
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2 Euphoniums and 2 Tubas
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Robert Schumann
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Strange Man
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Cimarron Music Press - Digital
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SheetMusicPlus
Strange Rag
Piano solo
Piano - Grade 4 - Digital Download SKU: FX.FX070889 Composed by Francis Demange. Ja…
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Piano - Grade 4 - Digital Download SKU: FX.FX070889 Composed by Francis Demange. Jazz. Piano Part. FLEX Editions - Digital Sheet Music #FX070889. Published by FLEX Editions - Digital Sheet Music (FX.FX070889).
$4.95
4.45 €
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Piano solo
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Francis Demange
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Strange Rag
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FLEX Editions - Digital Sheet Music
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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)
$23.99
21.55 €
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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
Alla Turca Jazz
Harp
Harp - Digital Download Fantasia on the Rondo from the Piano Sonata in A major K. 331 by…
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Harp - Digital Download Fantasia on the Rondo from the Piano Sonata in A major K. 331 by Wolfgang Amadeus Mozart, arranged for harp by Ekaterina Afanasieva (2015). Composed by Fazil Say. Arranged by Ekaterina Afanasieva. This edition: single sheet. Eingangsmelodie, Handy- Klingelton, Mozart. Downloadable. Op. 5b. Duration 4 minutes. Schott Music - Digital #Q46259. Published by Schott Music - Digital
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazil Say\'s arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work\'s improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra. It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart\'s interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation. The very popular piece was now arranged for harp by Ekaterina Afanasieva.
$6.99
6.28 €
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Harp
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Fazil Say
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Alla Turca Jazz
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Schott Music - Digital
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SheetMusicPlus
Perfect Strangers - Original Version (Intermediate/Advanced Level)
Drums
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Drums
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Deep Purple
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Tomplay
Perfect Strangers (Intermediate Level)
Drums
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Drums
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Deep Purple
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Tomplay
Perfect Strangers (Easy Level)
Drums
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Drums
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Deep Purple
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Tomplay
Perfect Strangers (Beginner Level)
Drums
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Drums
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Deep Purple
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Tomplay
Biaute ... estrange
3 violas - difficult - Digital Download SKU: S9.Q20934 Four Machaut Transcriptio…
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3 violas - difficult - Digital Download SKU: S9.Q20934 Four Machaut Transcriptions. Composed by Heinz Holliger. This edition: performance score. Viola Library. Downloadable, Performance score. Duration 21 minutes. Schott Music - Digital #Q20934. Published by Schott Music - Digital (S9.Q20934). The arrangements of this collection document an increasing distance of the arranger from the original. Ballade IV and Ballade XXVI play with real pitches and the transfer into the weightlessness of natural harmonics. The famous Hoquetus David is atomized into motivic particles while the isorhythmic structure is maintained. The concluding In(ter)ventio is a contemporary objection of the arranger who, in a virtuoso manner, analyses the air of improvisation and the constructive strictness of a quarter-tone prolation canon by using material of the Complainte.
$31.99
28.73 €
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Heinz Holliger
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Biaute ... estrange
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Schott Music - Digital
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SheetMusicPlus
Poor Wayfaring Stranger
Choral SATB
SATB choir, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.15-3982H…
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SATB choir, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.15-3982H Arranged by John Purifoy. Educational, Concert, Spiritual. Octavo. 12 pages. Heritage Music Press - Digital #e15/3982H. Published by Heritage Music Press - Digital (LX.15-3982H). John Purifoy’s sophisticated concert setting of Poor Wayfaring Stranger features rich and haunting harmonies with long, expressive melodic lines. The tenor and bass parts underpin the melody with echoing countermelodies creating forward motion in conjunction with the long musical lines in the soprano and alto lines.
$2.50
2.25 €
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Choral SATB
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Poor Wayfaring Stranger
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Heritage Music Press - Digital
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SheetMusicPlus
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