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Voix Chorale SATB 6 831 Chorale 3 parties 2 635 Chorale 2 parties 1 691 Chorale TTBB 1 499 Chorale SSAA 897 Voix seule 647 Chorale Unison 576 Chorale 542 Voix duo, Piano 483 Voix haute 254 Voix Soprano, Piano 187 Voix duo 181 Voix Baryton, Piano 116 Voix Alto, Piano 109 Voix Tenor, Piano 98 Voix Tenor 38 Voix moyenne, Piano 37 Voix basse, Piano 36 Voix Soprano 28 Voix, Guitare 26 Voix Moyenne 25 Chorale SSAATTBB 22 Chorale SSATB 17 Voix Mezzo-Soprano, Piano 15 Chorale SSATTB 11 Chorale SSAB, Piano 6 Chorale SSATBB 5 Chorale SSAB a cappella 5 Voix haute, Piano 4 Chorale SSAATB 4 Soli, choeur mixte et accompagnement 4 Chorale, Orgue 3 Voix basse 3 Chorale SATBB 3 Chorale SAATB A Cappella 2
Vents Flûte traversière 1 849 Clarinette 1 545 Saxophone (partie séparée) 1 300 Flûte traversière et Piano 1 171 Saxophone Alto 1 109 Saxophone 1 083 Quatuor de Saxophones: 4 saxophones 1 026 Saxophone Tenor 1 011 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 891 Clarinette et Piano 875 Flûte, Hautbois, Clarinette, Basson 793 Hautbois, Piano (duo) 755 Saxophone Alto et Piano 671 2 Saxophones (duo) 619 2 Flûtes traversières (duo) 545 Quatuor de Clarinettes: 4 clarinettes 534 Saxophone Tenor et Piano 534 Quintette de Saxophone: 5 saxophones 473 2 Clarinettes (duo) 405 Clarinette (partie séparée) 397 Hautbois (partie séparée) 380 Quatuor de Flûtes : 4 flûtes 285 Ensemble de Clarinettes 249 Saxophone Soprano et Piano 241 Flute (partie séparée) 232 Ensemble de saxophones 219 Flûte à Bec 193 Flûte et Guitare 187 Flûte, Clarinette (duo) 174 Ensemble de Flûtes 159 2 Hautbois (duo) 147 3 Clarinettes (trio) 145 Saxophone Baryton, Piano 138 3 Saxophones (trio) 128 Hautbois 128 Trio de Flûtes: 3 flûtes 125 Quintette de Clarinettes: 5 clarinettes 103 Hautbois, Basson (duo) 87 Instruments en Mib 83 Flûte, Violon 80 Saxophone Soprano 80 2 Flûte à bec (duo) 76 Quatuor de Flûtes à bec 75 Cor anglais, Piano 71 Clarinette, Guitare (duo) 66 Harmonica 60 Quintette de Flûte : 5 flûtes 59 Flûte, Violoncelle 56 Hautbois, Clarinette (duo) 56 Clarinette, Violon (duo) 53 Flûte, Hautbois, Clarinette (trio) 53 Flûte à bec Soprano 52 Ocarina 45 Clarinette, Basson (duo) 42 Saxophone, Clarinette (duo) 42 Clarinette Basse, Piano 37 Flûte, Hautbois (duo) 33 Flûte, Clarinette et Basson 31 Clarinette, Violoncelle (duo) 30 Flûte à bec Alto 29 Flûte, Alto (duo) 29 Saxophone Baryton 27 Clarinette et Alto 27 Cor Anglais 27 Flûte, Clarinette, Piano (trio) 26 Flûte, Hautbois, Basson 26 Hautbois, Clarinette, Basson (trio d'anches) 26 Flûte, Violoncelle, Piano (trio) 25 Hautbois, Flûte 24 Flûte, Violon et Violoncelle 24 Flûte, Trombone (duo) 23 Saxophone et Guitare 22 Flûte, Trompette (duo) 22 2 Saxophones, Piano 21 Cor anglais, Guitare (duo) 21 Flûte, Violon, Piano 20 2 Flûtes traversières, Piano 18 Clarinette, Trompette (duo) 18 Clarinette, Harpe (duo) 17 Hautbois, Guitare (duo) 17 2 Clarinettes, Piano 17 Flûte, Clarinette, Cor, Basson (Quartet) 16 Piccolo 15 2 Cors Anglais Et Pianoforte 14 Hautbois, Violoncelle 14 Clarinette Basse 14 Flûte à bec Tenor 13 Flûte, Saxophone (duo) 13 Clarinette, Trombone (duo) 13 5 Flûtes à bec 13 Flûte, Basson et Piano 12 Hautbois, violon (duo) 12 Ensemble De Flûte à bec 12 3 Flûtes à bec (trio) 11 Saxophone et Piano 10 Saxophone, Violon (duo) 10 Saxophone et Orgue 10 Flute, harpe et violon 10 Ensemble à vent 9 Flûte à bec Soprano, Piano 8 Hautbois, Trompette (duo) 8 Flûte et Trio à cordes 8 Quintette de Clarinette: Clarinette, Quatuor à Cordes 8 Flûte à bec Alto, Piano 8 Flûte irlandaise 8 Piccolo, Piano 8 Flûte, Hautbois, Violon 7 Flûte, Clarinette, Violon (trio) 7 Flûte, Harpe et Violoncelle 7 Clarinette, Violoncelle, Piano (trio) 6 3 Hautbois 6 Flûte traversière, Orgue (duo) 6 2 Hautbois, Piano 5 Hautbois et alto (duo) 4 Flûte à Bec, Piano 4 Hautbois, Basson et Piano 4 Cornemuse 4 Clarinette, Basson, Piano (trio) 4 Flûte, Violoncelle, Guitare 3 Flute, Cor (duo) 3 Clarinette, Orgue 3 Hautbois, Harpe 3 Flûte, Alto et Piano 3 Flûte, trombone et piano 3 Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle 3 Clarinette, Tuba 2 2 Clarinettes, Basson 2 Clarinette, Orchestre 2 Saxophone et violoncelle 2 Flûte, Alto et Violoncelle 2 Saxophone, Basson (duo) 2 Flûte, Hautbois, Piano (trio) 2 Hautbois, trombone (duo) 2 Flûte, Violon, Guitare 2 4 Hautbois 2 Saxophone et Harpe 2 Flûte à bec Alto, Basse continue 2 Flûte traversière, Orchestre 1 Flûte, Tuba (duo) 1 Clarinette, Alto et Piano (trio) 1 2 Flûtes à bec, Piano 1 Cor anglais et Harpe (duo) 1 2 Flûtes traversières, Harpe 1 Flûte, Violon, Violoncelle et Piano 1 Hautbois, Violon, Piano 1 Flûte et Quatuor à Cordes 1 Flûte à bec, Harpe 1 Harmonica, Piano 1 Flûte de Pan 1 Hautbois, Violin, Alto et Violoncelle (Quatuor) 1 Hautbois et Orchestre 1 Flûte, alto et harpe 1 Hautbois, Clarinette et Piano (Trio) 1 Clarinette, trompette et piano 1 Clarinette, Contrebasse (duo) 1 Flûte à bec, Guitare (duo) 1
Cuivres Trompette 1 502 Trombone 1 173 Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 1 029 Trompette (partie séparée) 938 Trombone (partie séparée) 757 Cor 724 Trompette, Piano 636 Trombone et Piano 576 Quatuor de Cuivres : 2 trompettes, trombone, tuba 541 Cor et Piano 357 Quatuor de Cuivres 275 Cor (partie séparée) 228 2 Trompettes (duo) 220 2 Trombones (duo) 217 Tuba 208 Quatuor de Cuivres: 2 trompettes, Cor, trombone 154 Tuba et Piano 140 Bass Clef Instruments 138 Tuba (partie séparée) 136 2 Cors (duo) 133 Trompette, Trombone (duo) 115 Euphonium 104 Ensemble de Trompettes 100 Quatuor de cuivres: 4 trombones 96 Instruments en Sib 87 Euphonium, Piano (duo) 79 Ensemble de Trombones 77 Cor anglais, Piano 71 Quatuor de cuivres: 4 cors 56 Trio de Cuivres 55 Trompette, Saxophone (duo) 41 2 Euphoniums et 2 Tubas 37 2 Tubas (duo) 36 Trompette, Cor (duo) 31 3 Trombones (trio) 28 Trombone, Tuba (duo) 27 Cor Anglais 27 Ensemble de Cors 26 2 Euphoniums (duo) 25 Cor anglais, Guitare (duo) 21 Trompette, violon (duo) 19 Quatuor de cuivres: 4 trompettes 17 3 Trompettes (trio) 16 2 Cors Anglais Et Pianoforte 14 Cor, Tuba (duo) 13 Instruments en Fa 12 Euphonium, Tuba (duo) 12 Trompette, Tuba (duo) 12 Tuba et Orgue 11 2 Trompettes, Clavier (piano ou orgue) 11 4 Tubas 11 Cor, Violoncelle (duo) 10 Trombone, violoncelle (duo) 8 Tuba ou Euphonium ou Saxhorn 8 Clarinette, Cor (duo) 7 Trombone basse et Piano 6 Trombone basse 6 Trompette, Basson (duo) 6 Cornet A Pistons 5 Trompette, Violoncelle (duo) 5 3 Cors (trio) 5 Trombone, Orgue 5 Trombone, Cor (duo) 5 2 Cors, Piano 4 Quatuor de cuivres: 2 trompettes, 2 trombones 4 Cor et Basson (duo) 3 Quintette de Cuivres: 2 trompettes, Cor, 2 trombones 3 Trombone, Violon (duo) 3 Trompette, Trombone, Piano 3 Cor et Orgue 2 Trompette, Violoncelle et Piano 2 2 Trombones, Piano 2 Cor, Trompette, Trombone (trio) 2 Trombone, Alto (duo) 2 Trompette, Euphonium (duo) 2 Cor anglais et Harpe (duo) 1 Cor et Harpe 1 Ensemble de Tubas 1 Trompette, Harpe 1 Trombone et orchestre 1 4 Euphoniums 1
Cordes Quatuor à cordes: 2 violons, alto, violoncelle 3 841 Violon 2 158 Violon et Piano 1 471 Violoncelle 1 349 Alto seul 991 Violoncelle, Piano 908 Harpe 812 Alto, Piano 789 Violon, Violoncelle (duo) 765 Violon (partie séparée) 690 Trio à Cordes: violon, alto, violoncelle 634 2 Violons (duo) 574 Quintette à cordes: 2 violons, alto, violoncelle, basse 386 2 Violoncelles (duo) 352 2 Harpes (duo) 337 Contrebasse (partie séparée) 309 Violon, Alto (duo) 298 Alto (partie séparée) 273 2 Altos (duo) 251 Contre Basse 183 Trio à Cordes: 2 violons, violoncelle 174 Alto, Violoncelle (duo) 136 Contrebasse, Piano (duo) 129 Violoncelle (partie séparée) 116 4 Violoncelles 93 Violon, Guitare (duo) 87 Piano Trio: Violon, Alto, Piano 73 Trio à cordes: 3 violins 72 Violoncelle , Guitare (duo) 59 Quatuor à cordes: 4 violons 58 2 Contrebasses (duo) 57 Trio à cordes 45 Trio à Cordes: 3 violoncelles 41 Harpe, Flûte (duo) 41 Harpe, Violon (duo) 37 Violoncelle, Contrebasse (duo) 37 Trio à Cordes: 2 violons, alto 36 Ensemble de Violons 30 Ensemble d'Altos 28 4 Contrebasses 27 Alto, Guitare (duo) 26 Quatuor à cordes : 4 altos 25 2 Violons, Piano 23 Harpe, Violoncelle (duo) 22 Alto et Harpe 20 Quintette à cordes: 2 violons, 2 altos, violoncelle 20 Harpe (partie séparée) 18 Harpe, Voix 18 Violon, Basson (duo) 14 Trio à cordes: 3 altos 11 Alto et Basson 10 Quintette à cordes : 2 violons, alto et 2 violoncelles 8 Flûte, Contrebasse (duo) 8 Violoncelle, Orgue 7 Harpe, Violon, Violoncelle 6 2 Violoncelles, Piano 6 Violoncelle, Orchestre 6 Ensemble de Violoncelles 5 Harpe et Piano 4 2 Altos, Piano 3 Violon, Tuba (duo) 2 3 Contrebasses 1 Harpe et mandoline 1 Violon, Violoncelle, Clarinette 1 2 Violons et Basse continue 1 Harpe, Trombone (duo) 1 Violon, Clarinette, Piano (trio) 1 3 Harpes 1 Alto, Orgue 1
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Ballade for Piano and Orchestra No.1
Ballade for Piano and Orchestra No.1 # Piano et Orchestre # Contemporain # Joseph Hull # Ballade for Piano and Orchestr # Genesis # SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - SKU: A0.1069109 Composed by Joseph Hull. C...(+)
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
Concerto
Concerto # Piano et Orchestre # AVANCÉ # Contemporain # Gyorgy Ligeti
# Concerto # Schott Music -
Digital # SheetMusicPlus
Piano and orchestra -
difficult -
For piano and orchestra.
Composed by Gyorgy Ligeti
(1923-2006). This edition:
solo part. Downloadable.
Duration 24 minut...(+)
Piano and orchestra -
difficult -
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)