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Vous avez sélectionné:
Gyorgy Ligeti
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67 partitions trouvées
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Hommage à György Ligeti - Score Only
Hommage à György Ligeti - Score Only
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Orchestre de chambre
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AVANCÉ
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Amos Elkana
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Hommage à György L
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Amos Elkana
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1371596 Composed by Amos Elkana. 21st Century,Contemporary. 31 pages. Amos Elkana #955848. Published by Amos Elkan...
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Chamber Orchestra - Level 5 - SKU: A0.1371596 Composed by Amos Elkana. 21st Century,Contemporary. 31 pages. Amos Elkana #955848. Published by Amos Elkana (A0.1371596). This piece is composed for the same exact instrumentation as Ligeti's own Chamber Concerto. I have always admired György Ligeti. I spent many hours studying his music and especially his Chamber Concerto for 13 instrumentalists. Ligeti died while I was working on this piece and I decided to make this work my homage to him. Hommage à György Ligeti was composed using a compositional method that is inspired by the idea of Fractals. A series of four numbers (5,6,4,4) dictate the micro and macro structure of the work. This method of composition can organize not only the structure of a piece but also its pitch material, rhythmic material and more but, even if strictly applied, it leaves much room for intuition on the part of the composer.
$44.00 ≈
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Poeme Symphonique
Poeme Symphonique
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Contemporain
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Gyorgy Ligeti
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Poeme Symphonique
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Schott Music - Digital
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SheetMusicPlus
100 metronoms - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: score. Downloadable. Duration 20 minutes. Schott Music - Digita...
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100 metronoms - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: score. Downloadable. Duration 20 minutes. Schott Music - Digital #Q54926. Published by Schott Music - Digital
The formal thinking behind the piece is based on the interaction between individually determined periodic rhythms and a cumulative polyrhythmic overall structure. Although the overall rhythmic structure is on an indeterminate level intermediate - the result of adding individual periods of different length is at any given time random -, it is again determinate on the higher level of the temporal development of the overall from.
This overall form consists of the three phases: uniformity - gradual structuring - and uniformity, whereby uniformity in the initial phase arises form the collective blur of the individual periods, and in the final phase is a results of the periodicity of the one remaining ticking metronome. There are no distinct divisions between the three phases: the rhythmical process leads smoothly and gradually from one phase into the next. This appears to be a continuous process but consists of individual, discontinuous moments as each metronome stop suddenly. In the sparsely instrumented final phase with only a few metronomes left ticking, this discontinuity becomes audible, most obviously when the last metronome stops.
- Gyorgy Ligeti
$13.99 ≈
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Sonata
Sonata
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Guitare
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Kostas Tosidis
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Sonata
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Schott Music - Digital
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SheetMusicPlus
Guitar - difficult - Digital Download For guitar. Composed by Gyorgy Ligeti (1923-2006). Arranged by Kostas Tosidis. This edition: Sheet music. Guita...
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Guitar - difficult - Digital Download For guitar. Composed by Gyorgy Ligeti (1923-2006). Arranged by Kostas Tosidis. This edition: Sheet music. Guitar Archive. Downloadable. Duration 9 minutes. Schott Music - Digital #Q24805. Published by Schott Music - Digital
Originally composed by Gyorgy Ligeti for solo violoncello and established in the cello repertoire, the sonata is now available in an arrangement for guitar (2013) by Kostas Tosidis. Tosidis transcribes contemporary solo cello literature for the guitar to add to the guitar repertoire and explore technical as well as interpretative possibilities.
$9.99 ≈
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Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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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)
$23.99 ≈
22.14€
En suspens
En suspens
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Piano seul
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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En suspens
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Schott Music - Digital
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SheetMusicPlus
Piano - difficult - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Op. Vol. 2. Schott Music - Digit...
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Piano - difficult - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Op. Vol. 2. Schott Music - Digital #Q41168. Published by Schott Music - Digital
Widmung / Dedication: dediee a Gyorgy Kurtag.
$3.99 ≈
3.68€
Sippal, dobbal, nadihegeduvel
Sippal, dobbal, nadihegeduvel
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Voix Mezzo-Soprano, Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Sippal, dobbal, nadihegeduvel
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Schott Music - Digital
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SheetMusicPlus
Mezzo soprano and 4 percussionists - Digital Download (With Pipes, Drums, Fiddles / Mit Pfeifen, Trommeln, Schilfgeigen). Composed by Gyorgy Ligeti (...
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Mezzo soprano and 4 percussionists - Digital Download (With Pipes, Drums, Fiddles / Mit Pfeifen, Trommeln, Schilfgeigen). Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 14 minutes. Schott Music - Digital #Q5967. Published by Schott Music - Digital
This solo sonata was written between 1948 and 1953. The two opposing movements Dialogo and Capriccio follow the generally accepted slow-fast principle, with the second movement being inspired, according to Ligeti's own statement, by Paganini's Capricci.
$12.99 ≈
11.99€
Sonate
Sonate
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Violoncelle
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AVANCÉ
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Gyorgy Ligeti
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Sonate
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Schott Music - Digital
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SheetMusicPlus
Cello - difficult - Digital Download For cello solo. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Contemporary music, Cello, Son...
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Cello - difficult - Digital Download For cello solo. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Contemporary music, Cello, Sonata. Downloadable. Duration 9 minutes. Schott Music - Digital #Q17116. Published by Schott Music - Digital
This solo sonata was written between 1948 and 1953. The two opposing movements Dialogo and Capriccio follow the generally accepted slow-fast principle, with the second movement being inspired, according to Ligeti's own statement, by Paganini's Capricci.
$11.99 ≈
11.07€
Magany
Magany
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Chorale
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Gyorgy Ligeti
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Magany
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SABar) - advanced - (Solitude). Composed by Gyorgy Ligeti (1923-2006). This edition: choral score. Zeitgenossische Musik, Chor, Kammerc...
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Mixed choir (SABar) - advanced - (Solitude). Composed by Gyorgy Ligeti (1923-2006). This edition: choral score. Zeitgenossische Musik, Chor, Kammerchor. Schott Chamber Choir. Downloadable. Duration 3 minutes. Schott Music - Digital #Q8806. Published by Schott Music - Digital
Hungarian - English - German.
Ligeti wrote this piece during his studies, influenced by the style of his role models Bela Bartok and Zoltan Kodaly. Time, dynamics and tempo changes provide delightful contrasts in the both modern and folk-song choir. The work is performable in Hungarian, German and English.
$5.99 ≈
5.53€
Ejszaka * Reggel
Ejszaka * Reggel
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Chorale
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AVANCÉ
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Ejszaka * Reggel
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Schott Music - Digital
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SheetMusicPlus
Mixed choir - advanced to difficult - (Night * Morning). Composed by Gyorgy Ligeti (1923-2006). This edition: choral score. Downloadable. Duration 4 ...
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Mixed choir - advanced to difficult - (Night * Morning). Composed by Gyorgy Ligeti (1923-2006). This edition: choral score. Downloadable. Duration 4 minutes. Schott Music - Digital #Q8774. Published by Schott Music - Digital
Hungarian - English - German.
Ligeti illustrated the transition from low midnight to bright day initially with an eight-voice double canon, then in an increasingly motetic style. With onomatopoeia, like the cock crow, the ticking of a clock and the peal of bells, a great effect in the concert is guaranteed.
$5.99 ≈
5.53€
Continuum
Continuum
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Clavecin
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AVANCÉ
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Classique
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Gyorgy Ligeti
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Continuum
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Schott Music - Digita
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SheetMusicPlus
Harpsichord - difficult - Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Duration 4 minutes. Schott Music - Digital...
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Harpsichord - difficult - Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Duration 4 minutes. Schott Music - Digital #Q2630. Published by Schott Music - Digita
Ein St.ck, das man in Stresssituationen wohl besser nicht h.rt. ".Continuum&ldquo. von Gy.rgy Ligeti ist eines der ber.hmtesten Werke der 1960er Jahre, ein Klassiker der Moderne. Entspannen kann man sich dabei nicht. Auf der st.ndigen Suche nach einem festen Haltepunkt wird das Ohr zunehmend verwirrt und ger.t, wie der ebenfalls geforderte Spieler, in Stress. Der klimperkastenartige Klang des Cembalos tr.gt den Rest dazu bei, dass der Zuh.rer binnen kurzer Zeit anf.ngt, wenn auch vielleicht nicht enerviert, so doch zumindest nerv.s zu werden.
$16.99 ≈
15.68€
Clocks and Clouds
Clocks and Clouds
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Gyorgy Ligeti
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Clocks and Clouds
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Schott Music - Digital
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SheetMusicPlus
4 Sopran-, 4 Mezzosopran-, 4 Altstimmen (ad lib. zwölf Soli) Orchester: 5 (1. auch Altfl. · 3.–5. auch Picc.) · 3 · 5 (5. auch Baß-Kla...
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4 Sopran-, 4 Mezzosopran-, 4 Altstimmen (ad lib. zwölf Soli) Orchester: 5 (1. auch Altfl. · 3.–5. auch Picc.) · 3 · 5 (5. auch Baß-Klar.) · 4 (4. auch Kontrafag.) – 0 · 2 · 0 · 0 – Glspl. · Vibr. – Cel. · 2 Hfn. – Str. (0 · 0 · 4 · 6 · 4) Women's Choir (in 12 voices) and Orchestra - difficult - SKU: S9.Q40687 For 12-part female choir and orchestra. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 13 minutes. Schott Music - Digital #Q40687. Published by Schott Music - Digital (S9.Q40687). Onomatopoeia.Starre Rhythmik trifft auf weiche Lautmalerei: György Ligetis energiegeladenes Werk für Orchester und 12-stimmigen Frauenchor kombiniert die Gegensätze Natur und Technik – jetzt als Studienpartitur zum Chorwerk.
$23.99 ≈
22.14€
Trio
Trio
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Gyorgy Ligeti
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Trio
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Schott Music - Digital
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SheetMusicPlus
Violin, horn (F/B) and piano - difficult - SKU: S9.Q22808 Composed by Gyorgy Ligeti. This edition: score and parts. Downloadable, Score and parts. Durat...
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Violin, horn (F/B) and piano - difficult - SKU: S9.Q22808 Composed by Gyorgy Ligeti. This edition: score and parts. Downloadable, Score and parts. Duration 22 minutes. Schott Music - Digital #Q22808. Published by Schott Music - Digital (S9.Q22808). This work, regarded as a homage to Brahms, has a key position within Ligeti’s oeuvre. It is especially notable for the pithy way in which the memorable thematic material is shaped into precisely defined formal structures. The Trio starts with a quote from Beethoven’s Sonata ‘Les Adieux’, though Ligeti, typically, puts his own slant onto the famous horn fifths.This edition in normal music setting complements the facsimile edition of the work.
$57.99 ≈
53.52€
Sketches
Sketches
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Piano seul
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AVANCÉ
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Erik Nielsen
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Erik Nielsen
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Sketches
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Middle Branch Music
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1276549 By Erik Nielsen. By Erik Nielsen. Arranged by Erik Nielsen. 21st Century,Classical,Contemporary. Score. 20 pages....
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Piano Solo - Level 5 - SKU: A0.1276549 By Erik Nielsen. By Erik Nielsen. Arranged by Erik Nielsen. 21st Century,Classical,Contemporary. Score. 20 pages. Middle Branch Music #868278. Published by Middle Branch Music (A0.1276549). Several years ago I heard some of the piano Etudes of Gyorgy Ligeti. I was very impressed with how Ligeti constructed such rich music on such a small scale and thought it would be a fun challenge for me to attempt something similar. Writing for piano has always been a challenge for me, both because of the instrument itself and because of the previous literature, which has seemed rather daunting. However, by trying to concentrate solely on the character and needs of each movement I had an easier time than I had feared and really enjoyed the process. The results bear no outward resemblance to the Ligeti works, at least not to me, but the work has its own integrity and character. By providing as “bookends†a Prologue and Epilogue that used the same material I tried to give some structure to the work as a whole. That and the way I linked the tonal centers of the successive movements provide what unity there is. For me, however, the title is accurate and I view these little pieces as miniatures, ones that gave me a lot of pleasure to write and will I hope give listeners pleasure as well.
$9.99 ≈
9.22€
2 Preludes and Intermezzo from "Le Grand Macabre"
2 Preludes and Intermezzo from "Le Grand Macabre"
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Gyorgy Ligeti
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2 Preludes and Intermezzo from
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Schott Music - Digital
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SheetMusicPlus
12 car horns/6 door bells (3 players) - advanced - SKU: S9.Q22587 For 12 car horns/6 door bells (3 players). Composed by Gyorgy Ligeti. This edit...
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12 car horns/6 door bells (3 players) - advanced - SKU: S9.Q22587 For 12 car horns/6 door bells (3 players). Composed by Gyorgy Ligeti. This edition: performance score. Downloadable, Performance score. Duration 2 minutes. Schott Music - Digital #Q22587. Published by Schott Music - Digital (S9.Q22587). Ligeti's two-act opera in four scenes, 'Le Grand Macabre', is intense, brilliant music theatre between parody and grave seriousness, between folly and wisdom. His one and only opera, which is exceptional in the entire 20th century, is full of absurdities. Therefore, it is no wonder that the 'Overture' is a prelude for 12 car horns. Three players operate four horns each by using their hands and feet according to the precise notation. As endless as the possibilities to perform this curiosity with the help of our separate edition may seem, as great is its entertainment value.Lâ€Ouverture†de l'opéra Le Grand Macabre est un prologue pour 12 klaxons. Trois musiciens utilisent chacun 4 klaxons avec les mains et les pieds, selon une notation précise. Aussi infinies que paraissent les possibilités de représenter cette curiosité à l’aide de notre édition séparée, aussi grande est sa valeur de divertissement.
$10.99 ≈
10.14€
Trio
Trio
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Gyorgy Ligeti
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Trio
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Schott Music - Digital
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SheetMusicPlus
Violin, horn (F/B) and piano - difficult - SKU: S9.Q2909 Composed by Gyorgy Ligeti. This edition: score. Downloadable, Score. Duration 22 minutes. Schot...
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Violin, horn (F/B) and piano - difficult - SKU: S9.Q2909 Composed by Gyorgy Ligeti. This edition: score. Downloadable, Score. Duration 22 minutes. Schott Music - Digital #Q2909. Published by Schott Music - Digital (S9.Q2909). Im Hinblick auf einige später komponierte Werke kommt dem Horntrio, als Hommage á Brahms bezeichnet, eine Schlüsselfunktion zu. Spektakulär an diesem Werk ist, allgemein gesagt, die Arbeit mit prägnanten thematischen Gestalten und fest umrissenen Formen. Das Trio beginnt mit einem Zitat, aber in charakteristischer Verbiegung: die berühmten traditionellen Hornquinten aus Beethovens Sonate Les Adieux. Ligeti macht sie zum Zentralthema seines Werkes, nicht nur im 1. Satz, sondern auch in einer zur Fünferfolge erweiterten Form, die das Thema der Schlusspassacaglia bildet.
$33.99 ≈
31.37€
Hamburg Concerto
Hamburg Concerto
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Gyorgy Ligeti
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Hamburg Concerto
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Schott Music - Digital
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SheetMusicPlus
Horn solo and chamber orchestra (with 2 basset horns and 4 obligatory natural horns) - difficult - SKU: S9.Q42470 Horn solo and chamber orchestra (wi...
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Horn solo and chamber orchestra (with 2 basset horns and 4 obligatory natural horns) - difficult - SKU: S9.Q42470 Horn solo and chamber orchestra (with 2 basset horns and 4 obligatory natural horns). Composed by Gyorgy Ligeti. This edition: piano reduction with solo part. Il Corno. Downloadable, Piano reduction with solo part. Duration 15 minutes. Schott Music - Digital #Q42470. Published by Schott Music - Digital (S9.Q42470). In his Hamburg Concerto Ligeti, inspired by the tonal possibilities of the natural horn, explores alternatives to the well-tempered tonal system. In the orchestra piece he juxtaposes the solo horn with four differently tuned natural horns in the chamber orchestra version.2 (2. auch Picc.) · 1 · 2 Bassetthr. (1. auch Klar. in B, 2. auch Klar. in Es) · 1 - 4 Naturhr. · 1 · 1 Tenorpos. · 0 - P. S. (hg. Beck. · Crot. [aufgehängt] · 4 Bongos · Schellentr. · kl. Tr. · gr. Tr. · Röhrengl. · Rin · Glsp. · Xyl. · Vibr. · Marimb.) (2 Spieler) - Str. (5 · 4 · 3 · 2 · 1 oder 1 · 1 · 1 · 1 · 1).
$45.99 ≈
42.45€
Concerto
Concerto
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Violon et Piano
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AVANCÉ
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Violin and orchestra - difficult - SKU: S9.Q41724 For violin and orchestra. Composed by Gyorgy Ligeti. This edition: piano reduction with solo pa...
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Violin and orchestra - difficult - SKU: S9.Q41724 For violin and orchestra. Composed by Gyorgy Ligeti. This edition: piano reduction with solo part. Violin Library. Downloadable, Piano reduction with solo part. Duration 28 minutes. Schott Music - Digital #Q41724. Published by Schott Music - Digital (S9.Q41724). This work, composed in 1990 at the suggestion of the violinist Saschko Gawriloff, is in the tradition of great virtuoso violin concertos. Originally consisting of three movements, the work was revised by Ligeti into a five-movement work in 1992.2 (1. auch Altfl. u. Sopranblfl., 2. auch Picc.) · 1 (auch Sopran-Okarina in C) · 2 (1. auch Es-Klar. u. Sopranino-Okarina in hoch F, 2. auch Bassklar. und Alt-Okarina in tief G) · 1 (auch Sopran-Okarina in C) - 2 · 1 · Tenorpos. · 0 - 3 P. S. (Glsp. · Xyl. · Vibr. · Marimba · Gong · Crot. · 2 hg. Beck · Tamt. · Tamb. · kl. Tr. · gr. Tr. · Peitsche · 2 Woodbl. · Röhrengl. · 2 Lotosfl.) (2 Spieler) - Str. (5 [davon 1 mit Skordatur] · 0 · 3 [davon 1 mit Skordatur] · 2 · 1).
$63.99 ≈
59.06€
Little Studies Volume 1
Little Studies Volume 1
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Piano seul
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AVANCÉ
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Panagiotis Theodossiou
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Panagiotis Theodossiou
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https://www
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Little Studies Volume 1
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Panagiotis Theodossiou
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.886645 Composed by Panagiotis Theodossiou. Arranged by Panagiotis Theodossiou. Concert,Contemporary,Instructional,Standar...
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Piano Solo - Level 5 - SKU: A0.886645 Composed by Panagiotis Theodossiou. Arranged by Panagiotis Theodossiou. Concert,Contemporary,Instructional,Standards. Score. 20 pages. Panagiotis Theodossiou #2928151. Published by Panagiotis Theodossiou (A0.886645). Little Studies, for piano solo (1998 – 2002). 12 Studies,( 1st and 2nd volume) each of different style, character and technical demands using at the beginning a very simple tonic idiom, growing gradually to apply composition with symmetry of intervals, jazz harmony and free serialism. Parts of the work has been performed by Valeria Athanasiadou at Athenaeum Concert Hall, Athens in 2002.Ι.a. First Steps, for the Five Fingersb. Gnome, for the Staccatto ( to Gyorgy Ligeti)c. Clouds, for the Tenutaed. Gallop, for the Crossing Handse. A Knight’s Fanfare, for the Chordsf. Sentiments, for the sonority (to Bernard Hermmann)II.a. Nocturne, for the Sostenuto Pedal (to Keith Jarret)b. Sorrow, for Multiple Layersc. Step by Step, for the Wristd. Riddle, for the Subtle Dynamics (to Anton Webern)e. Fire Dance, for the Large Intervals (to Arnold Scoenberg)f. Jazzy, for the Swing Feeling (to Thelonius Monk and Cecil Taylor) https://www.youtube.com/watch?v=qt_UFYkamQA .
$10.00 ≈
9.23€
Mysteries of the Macabre
Mysteries of the Macabre
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Orchestre de chambre
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AVANCÉ
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Gyorgy Ligeti
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Mysteries of the Macabre
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Schott Music - Digital
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SheetMusicPlus
Solo-trumpet in C or Koloratursoprano and chamber orchestra - difficult - SKU: S9.Q3051 Three aria from the opera Le Grand Macabre. Composed by G...
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Solo-trumpet in C or Koloratursoprano and chamber orchestra - difficult - SKU: S9.Q3051 Three aria from the opera Le Grand Macabre. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 9 minutes. Schott Music - Digital #Q3051. Published by Schott Music - Digital (S9.Q3051). English • German.I composed my opera Le Grand Macabre from 1974 to 1997. The Mysteries of the Macabre are arrangements of three coloratura arias of the chief of the “Secret Political Police†which have been arranged (beautifully!) for chamber ensemble by Elgar Howarth. My friend Howarth had conducted the world premiere of the opera in Stockholm in 1978 and some of the further productions. The half-nonsense text is an immediate – however more accurate – continuation of the idea of my works Aventures and Nouvelles Aventures, but there is no chromatics in the music any more.1 (auch Picc.) · 1 · 1 (auch Baßklar.) · 1 (auch Kontrafag.) – 1 · 1 · 1 (ad lib. auch Kontrabaßpos.) · 0 – P.S. (kl. Tr. · gr. Tr. · Tomt. · 4 Bong. · hg. Beck. · Beckenpaar · 4 Tempelbl. · Schellentr. · Crot. · Kast. · Tamt. · Glspl. · Mar. · Guero · Lotosfl. · 1 Blatt festes Pack-papier · Signalpf. · Trillerpf. · Woodbl.) – Klav. (auch Cel.) · Mand. – Str. (1 · 1 · 1 · 1 · 1).
$27.99 ≈
25.83€
"Dance Scenes" for wind quintet
"Dance Scenes" for wind quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Panagiotis Theodossiou
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"Dance Scenes" for w
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Panagiotis Theodossiou
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.886693 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and...
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.886693 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 49 pages. Panagiotis Theodossiou #3575033. Published by Panagiotis Theodossiou (A0.886693). Dance Scenes, for wind quintet, Hear the Voice inside You … (2003). Written in a strict and abstract dodecaphonic style, follows the form of a theme and 12 variations- miniatures (in the style of Webern) with an epilogue. There is an emphasis between the intervallic and motivic interrelations of the initial tone row and the planning of the work. In its 2008 version has 4 mouvements:I.Riddle (to Yannis Christou)II.Gnome (to Gyorgy Ligeti)III.Fire Dance (to Arnold Scoenberg)IV.Choreograpical Variations (to Anton Webern and Igor Stravinsky) It has a chorographical character and is dedicated to the composers above, following their compositional style.
$25.00 ≈
23.07€
Nonsense Madrigals
Nonsense Madrigals
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Gyorgy Ligeti
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Nonsense Madrigals
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Schott Music - Digital
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SheetMusicPlus
6 male voices (AATBarBarB) a cappella - difficult - SKU: S9.Q23935 6 Stücke nach Texten von William Brighty Rands und Lewis Carroll sowie einer en...
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6 male voices (AATBarBarB) a cappella - difficult - SKU: S9.Q23935 6 Stücke nach Texten von William Brighty Rands und Lewis Carroll sowie einer englischen Struwwelpeter-Übersetzung (Heinrich Hoffmann). Composed by Gyorgy Ligeti. This edition: score. Downloadable, Score. Duration 14 minutes. Schott Music - Digital #Q23935. Published by Schott Music - Digital (S9.Q23935). English.
$35.99 ≈
33.22€
Ejszaka
Ejszaka
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Chorale SATB
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Ejszaka
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Schott Music - Digital
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SheetMusicPlus
(Night). Composed by Gyorgy Ligeti (1923-2006). Downloadable. Duration 2:40. Schott Music - Digital #Q564875. Published by Schott Music - Digital...
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(Night). Composed by Gyorgy Ligeti (1923-2006). Downloadable. Duration 2:40. Schott Music - Digital #Q564875. Published by Schott Music - Digital
$3.99 ≈
3.68€
Ricercare
Ricercare
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Orgue
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Ricercare
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Schott Music - Digital
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SheetMusicPlus
Organ - advanced - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Schott Music - Digital #Q22794. P...
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Organ - advanced - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Schott Music - Digital #Q22794. Published by Schott Music - Digital
$17.99 ≈
16.60€
Drei Phantasien
Drei Phantasien
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Chorale SATB
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Drei Phantasien
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (each 4 SATB) - difficult - Composed by Gyorgy Ligeti (1923-2006). This edition: choral score. Schott Chamber Choir. Downloadable. Duratio...
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Mixed choir (each 4 SATB) - difficult - Composed by Gyorgy Ligeti (1923-2006). This edition: choral score. Schott Chamber Choir. Downloadable. Duration 11 minutes. Schott Music - Digital #Q5652. Published by Schott Music - Digital
German.
$15.99 ≈
14.76€
Sonata
Sonata
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Alto seul
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Sonata
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Schott Music - Digital
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SheetMusicPlus
Viola - difficult - Digital Download For viola solo. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Zeitgenossische Musik, Bratsch...
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Viola - difficult - Digital Download For viola solo. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Zeitgenossische Musik, Bratsche, Viola. Downloadable. Duration 22 minutes. Schott Music - Digital #Q17117. Published by Schott Music - Digital
'Apparently the viola is just a somewhat larger violin, simply tuned a fifth lower. In reality though, there is a world of difference between the two instruments.' - The composer lends weight to his argument with this impressive 'real' viola piece: extreme high notes are avoided, indeed, one movement is played exclusively on the C string.
$16.99 ≈
15.68€
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