| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. 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). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eyesight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402070 Composed by Steven Stucky. -. ...(+)
Choral SATB choir, piano
SKU: PR.342402070
Composed by Steven
Stucky. -. Ars Nova
Chamber Singers, Boulder
CO. Performance Score.
With Standard notation.
Composed 7-Feb. 8 pages.
Duration 3 minutes.
Theodore Presser Company
#342-40207. Published by
Theodore Presser Company
(PR.342402070). ISBN
9781491111253. UPC:
680160643226. Octavo
inches. Text: Archibald
R. Ammons. Archibald
Ammons. Text by A.R.
Ammons. To benefit
Chorus America, Stucky
allowed himself to be
auctioned off as a prize
- the high bidder would
receive a new work from
the composer. After a few
years and not really
hearing anything, Stucky
suddenly found himself up
against a deadline. He
reached back to a
favorite poem by A.R.
Ammons, Eyesight, which,
he says, Won't let...his
reader rest till the very
last word...one of those
sudden insights that
leave us
breathless.. This
piece has an odd history.
A few years ago, I agreed
to be one of
the“prizesâ€
in an auction to benefit
Chorus America: the
highest bidder wouldget a
new piece from me, while
their money went to the
organization. Thewinning
bid came from a
collection of several
professional choruses
anddirectors. But I was
always a little vague
about the details, and,
hearingnothing more about
it for a few years,
forgot the whole
thing.One day I received
a message from Thomas
Edward Morgan, directorof
the Ars Nova Chamber
Singers in Boulder: they
had scheduled thepremiere
of my new piece for a few
weeks later, and could
they have themusic,
please? I needed a text,
quickly, and (as usual) I
was in a Los Angeleshotel
room, not at home with my
books. So I turned to the
internet andsoon tracked
down my favorite poet,
A.R. Ammons
(1926-2001).Once I
stumbled on
“Eyesight,†I
remembered having loved
the poemyears before.
Archie must have loved
it, too, because he
included it bothin his
Collected Poems 1951-1971
and in the later Selected
Poems. It haseverything
you want in an Archie
Ammons poem: what Edward
Hirschcalled his
“offbeat, sideways,
unpredictable
radiance,†his
“homespunglory.â
It has one of his
trademark conversations
with a mountain
(perhapsfrom his native
North Carolina), it has
the fluid motion from one
line tothe next
(enjambment, if you want
to get technical) that
won’t let him
orhis reader rest till
the very last word of the
very last line, and it
has in thatlast line one
of those sudden insights
that leave us breathless:
“some thingsthat go
are gone.â€I miss
Archie, but he’s
not gone. I’m
grateful for the
wonderful poems heleft
us, and I’m
grateful that he was
always generous and kind
when I hadthe chutzpah to
add my music to his. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Essentials of Music Theory -- Software, Version 3 Network Version, Complete Volume Théorie de la musique Alfred Publishing
(For 5 usersâ??$40 each additional user). By Andrew Surmani, Karen Farnum Surma...(+)
(For 5 usersâ??$40 each
additional user). By
Andrew Surmani, Karen
Farnum Surmani, and
Morton Manus. Reference
Textbooks; Software;
Textbook - General;
Theory. Essentials of
Music Theory. Published
by Alfred Music
Publishing
$599.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Partita No. 2 Piccolo [Conducteur] Theodore Presser Co.
Chamber Music Piccolo SKU: PR.114422450 Composed by Johann Sebastian Bach...(+)
Chamber Music Piccolo
SKU: PR.114422450
Composed by Johann
Sebastian Bach. Arranged
by Nicola Mazzanti. Sws.
Full score. 20 pages.
Duration 17 minutes.
Theodore Presser Company
#114-42245. Published by
Theodore Presser Company
(PR.114422450). ISBN
9781491134986. UPC:
680160685974. 9 x 12
inches. Bachâs
colossal Partita No. 2
for Solo Violin has been
crowned by many masters
as one of musicâs
greatest achievements,
and even its famous
Chaconne movement alone
is a mountain many
performers dare not
scale. While the
literature of several
other instruments has
been enriched by
transcriptions of the
Chaconne, Mazzantiâs
heroic adaptation of the
complete Partita is the
culmination of many
yearsâ work, and the
only transcription
specifically for the
piccoloâs unique
range. THE
INSPIRATIONEver since my
childhood, Johann
Sebastian Bachâs
solo violin music (like
his works for solo cello)
has always held a charm
and mystery for me.
Thereâs something
about this repertoire
that sparks an
inextinguishable
questioning in my musical
and human soul.It is
music without spatial
limits or temporal cages,
a music as essential as
it is masterfully
complex, in which the
solitary voice of man
meets the
all-encompassing voice of
God. It is a music whose
vertical and horizontal
dimensions, already
admirably fused, are
faceted into new and
mysterious realities. For
every violinist, the
study of these
compositions is at the
apex of tenacious
technical study and
interpretative
effort.Violinist Joshua
Bell has said the
Ciaccona (Bach did write
the Partitaâs
movement titles in
Italian) is ânot
just one of the greatest
pieces of music ever
written, but one of the
greatest achievements of
any man in history.
Itâs a spiritually
powerful piece,
emotionally powerful,
structurally
perfect.âTranscribin
g and performing
Bachâs PARTITA NO.
2, BWV 1004 on piccolo
was a feat that took
years of work. The famous
Ciaccona movement is, of
course, the piece that
alone occupied most of
this time. How does one
honor and elevate such
high music with such a
âsmallâ
instrument, devoid of the
enormous expressive
potential of the violin,
devoid of its chords and
its polyphony? How might
I transform the piccolo
into an instrument with,
like the violin,
full-bodied low notes and
subtle high notes? Above
all, why undertake such a
demanding and
extraordinary journey?The
first reason is obvious:
by transcribing,
studying, and performing
such an admirable piece,
we assimilate it, it
becomes part of us, it
enormously enriches our
musical interior.In
addition, it forces us
technically to expand the
colors, agility, and
flexibility of the
instrument; it makes us
think in a polyphonic
way.Finally, the daily
study, especially of the
Ciaccona, is an
extraordinary gymnasium
in which to consolidate
and strengthen our
general technique.THE
TRANSCRIPTIONThe whole
Partita was transcribed
in the key of A minor, a
fifth above the original
in D minor. This was
necessary for the lowest
note of the violin (G) to
correspond to the lowest
note of the piccolo (D).
This version exploits the
full range of the
piccolo, from the D of
the first octave to the B
of the third octave.
However some octave
adjustments were
needed.The chords,
particularly in the
Sarabanda and the
Ciaccona, have been left
with the same notational
system used by Bach in
his version for violin. I
chose to respect
Bachâs presentation
and did not transcribe
these into grace notes
breaking the chords. I
advocate that we must at
least try to think of
this music in its
vertical dimension,
trying to make the notes
resonate as if they were
being played together,
deciding the speed of the
arpeggio based on musical
needs.While some woodwind
editions of Bachâs
string solos do indicate
broken chords as grace
notes, this implies that
the most important note
is necessarily the
highest one, while
sometimes it is precisely
in the lower pitches that
the theme is voiced.In
this piccolo adaptation,
many of Bachâs
original articulations
have been respected. Some
have been changed, when
needing to adapt them to
the specific needs of
flute playing.The two
passages in the Ciaccona
where Bach indicates
âarpeggioâ were
rendered trying to
respect the most
consolidated and virtuous
violin traditions, and at
the same time the
possibilities that the
piccolo offers us. For
this purpose, in some
cases, different
revoicings of the chords
have been used.I thank
all those who patiently
listened to me and were
close to me during this
period, for their
observations and advice.
In particular, I thank my
daughter Sara for her
assistance and skill in
entering this edition
into music writing
software. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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