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The End
Not classified 14,410

Piano & keyboards
Piano solo 9,117
Piano, Voice 4,358
Easy Piano 3,087
Piano, Vocal and Guitar 2,301
Organ 992

C Instruments 963
Piano Accompaniment 347
1 Piano, 4 hands 277
Accordion 156
Piano Trio: piano, violin, cello 154
Big Note Piano 112
2 Pianos, 4 hands 93
Piano Quartet: piano, violin, viola, cello 71
Piano (band part) 65
Piano Quartet: piano, 2 violins, cello 33
Organ, Piano (duet) 24
Piano Quintet: piano, 2 violins, viola, cello 17
Harpsichord 15
Organ, Trumpet (duet) 15
1 Piano, 6 hands 7
Melody line, Piano 6
Keyboard 4
2 Accordions 2
2 Pianos, 8 hands 2
Accordion ensemble 1
Accordion, Piano 1

+ 21 instrumentations

- Retract

Guitars
Guitar notes and tablatures 1,952
Guitar 848
Melody line, (Lyrics) and Chords 717
Ukulele 408
Bass guitar 254

Lyrics and Chords 238
Dulcimer 106
Guitar (band part) 99
2 Guitars (duet) 87
Piano, Guitar (duet) 64
Mandolin 45
4 Guitars (Quartet) 35
Banjo 28
3 Guitars (trio) 19
Electric Bass (band part) 18
2 Dulcimers (duet) 18
Guitar Ensemble 13
Guitar, Violin, Cello (trio) 5
Mandolin, Guitar (duet) 5
Baritone Ukulele 4
Ukulele Ensemble 3
Band Scores 3
2 Mandolins (duet) 3
Mandolin, Piano (duet) 3
Plectrum Orchestra 1
2 Ukuleles 1
Lap Steel Guitar 1

+ 22 instrumentations

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Voice
Choral SATB 5,068
Choral 2-part 2,245
Choral 3-part 1,768
Vocal duet, Piano 964
Choral Unison 855

Choral TTBB 776
Choral SSAA 479
Vocal duet 278
Soprano voice, Piano 127
Voice solo 120
Choral 53
Tenor voice, Piano 45
High voice 27
Medium voice, Piano 26
Choral SSAATTBB 22
Alto voice, Piano 19
Tenor voice 11
Baritone voice, Piano 10
Choral SSATB 10
Low voice, Piano 10
Mezzo-Soprano voice, Piano 7
Low voice 6
Choral SSATTB 5
Soli, Mixted choir and accompaniment 5
Soprano voice 4
Choral SSAB, Piano 4
Choral SATBB 2
Choral SSATBB 1
Choral SATTBB A Cappella 1
Vocal duet, Organ 1
Voice, Guitar 1
Choral SSAATB 1

+ 27 instrumentations

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Woodwind
Saxophone Quartet: 4 saxophones 1,043
Flute and Piano 987
Saxophone (band part) 937
Flute, Oboe, Clarinet, Bassoon 789
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 759

Clarinet 707
Flute 693
Oboe, Piano (duet) 665
Clarinet and Piano 637
Alto Saxophone and Piano 540
2 Saxophones (duet) 525
Alto Saxophone 499
Tenor Saxophone and Piano 473
Saxophone Quintet: 5 Saxophones 433
Clarinet Quartet: 4 clarinets 426
2 Flutes (duet) 392
Soprano Saxophone and Piano 362
Saxophone 359
2 Clarinets (duet) 313
Descant (Soprano) Recorder 311
Oboe (band part) 288
Treble (Alto) Recorder 232
Flute Quartet: 4 flutes 227
Harmonica 224
Clarinet (band part) 218
Flute, Clarinet (duet) 208
3 Saxophones (trio) 202
Clarinet Ensemble 170
3 Clarinets (trio) 168
Baritone Saxophone, Piano 162
Saxophone ensemble 139
Tenor Saxophone 126
Clarinet Quintet: 5 clarinets 123
Oboe, Bassoon (duet) 123
Clarinet, Violin (duet) 122
2 Oboes (duet) 114
Flute Trio: 3 flutes 112
Oboe 107
Clarinet, Bassoon (duet) 102
Flute ensemble 102
Oboe, Clarinet (duet) 98
Flute (band part) 96
Flute, Violoncello 91
2 Recorders (duet) 86
English horn, Piano 84
Flute and Guitar 80
Clarinet, Cello (duet) 75
Oboe, Cello 74
Flute, Violin 72
Recorder 71
Flute, Viola (duet) 70
Flute Quintet : 5 flutes 70
Flute, Clarinet and Bassoon. 69
2 Flutes, Piano 62
Clarinet and Viola 58
Saxophone, Clarinet (duet) 57
Bass Clarinet, Piano 53
Flute, Clarinet, Piano (trio) 53
Soprano Saxophone 51
Flute, Oboe, Clarinet (trio) 50
Treble (Alto) Recorder, Piano 48
Flute, Cello, Piano (trio) 45
Oboe and viola (duet) 41
Oboe, Clarinet, Bassoon (trio) 41
Clarinet, Trumpet (duet) 38
2 Clarinets, Piano 37
Flute, Violin, Piano 37
Recorder Quartet 36
Flute, Oboe, Bassoon 36
Oboe, Flute 35
Flute, Oboe (duet) 32
Baritone Saxophone 32
Flute, Violin and Violoncello 31
Clarinet, Cello, Piano (trio) 29
Oboe, Violin (duet) 28
Flute, Viola and Piano 28
Flute, trombone and piano 28
Clarinet, Guitar (duet) 26
Flute, Saxophone (duet) 25
English Horn 24
Flute, Bassoon, and Piano 24
Flute, Oboe, Piano (trio) 24
5 Recorders 22
Flute, Trumpet (duet) 21
Flute, Clarinet, Horn and Bassoon (Quartet) 20
Flute, Violin, Violoncello and Piano 18
Clarinet, Tuba 18
Oboe, Trombone (duet) 17
Tenor Recorder 16
Recorder, Piano 16
Flute, Tuba (duet) 16
Flute, Trombone (duet) 16
Descent (Soprano) Recorder, Piano 14
Clarinet, Harp (duet) 12
3 Oboes 11
Eb Instruments 10
3 Recorders (trio) 9
Bass Clarinet 9
Clarinette, Viola and Piano (trio) 8
Recorder Ensemble 8
Clarinet, trumpet and piano 8
Clarinet, Bassoon, Piano (trio) 8
Pennywhistle 7
Oboe, Violin, Piano 7
Flute, harp and violin 7
Clarinet, Trombone (duet) 7
Piccolo 7
2 Saxophones, Piano 7
Oboe, Clarinet and Piano (Trio) 6
English Horn, Guitar (duet) 6
Ocarina 6
Oboe, Cello and Piano 6
2 Clarinets, Bassoon 6
Piccolo, Piano 6
Flute, Cello, Guitar 5
Saxophone and Piano 5
4 Oboes 5
Oboe, Guitar (duet) 5
Flute and Strings Trio 5
Flute, Harp and Cello 5
Oboe, Bassoon and Piano 5
Flute, Oboe, Violin 4
Saxophone and Guitar 4
Flute, Clarinet, Violin (trio) 4
Oboe, Harp 4
Bagpipe 4
Clarinet, Double bass (duet) 4
Oboe ensemble 4
Saxophone and Organ 3
Oboe, Violin, Viola and Violoncello (Quartet) 2
2 Flutes, 2 Clarinets (Quartet) 2
Flute, Viola and Cello 2
Flute, Violin, Guitar 2
2 English horns and Pianoforte 2
Clarinet, Organ 2
Flute, Viola and harp 2
Clarinet Quintet: Clarinet, String Quartet 2
Wind ensemble 2
Treble (Alto) Recorder, Basso continuo 1
Pan Flute 1
2 Oboes, Piano 1
Oboe and Orchestra 1
Harmonica, Piano 1
English horn, Harp (duet) 1
Flute, Orchestra 1
Flute, Organ (duet) 1
Clarinet, Saxophone, Piano 1
Descant (Soprano) Recorder, Basso continuo 1
2 Flutes, Basso continuo 1
2 Flutes and Harp 1
Recorder, Guitar (duet) 1
Saxophone, Bassoon (duet) 1

+ 147 instrumentations

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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 926
Trumpet 722
Trombone and Piano 631
Trumpet, Piano 580
Brass quartet : 2 trumpets, trombone, tuba 539

Trombone 492
Trumpet (band part) 426
Trombone (band part) 392
French Horn and Piano 383
French horn 328
Brass Quartet 279
Brass Quartet: 2 trumpets, horn, trombone 236
Tuba 210
Tuba and Piano 202
2 Trombones (duet) 200
2 Trumpets (duet) 191
French horn (band part) 153
Brass Quartet: 4 trombones 132
Trumpet, Trombone (duet) 111
Euphonium, Piano (duet) 105
2 French horns (duet) 105
Tuba (band part) 92
Trumpet ensemble 90
English horn, Piano 84
Trombone ensemble 70
Brass Quartet: 4 horns 69
Trumpet, Horn (duert) 53
Trumpet, Saxophone (duet) 47
Brass Trio 46
2 Tubas (duet) 46
Brass Quartet: 4 trumpets 40
Euphonium 37
Trumpet, Tuba (duet) 35
3 Trumpets (trio) 29
Horn Ensemble 26
2 Euphoniums and 2 Tubas 25
3 Trombones (trio) 25
English Horn 24
Trombone, Violin (duet) 23
Brass Quartet: 2 trumpets, 2 trombones 22
Horn, Cello (duet) 19
4 Tubas 19
Trumpet, Cello (duet) 18
Trumpet, Bassoon (duet) 16
Tuba and Organ 13
Trombone, Tuba (duet) 13
Bass Trombone and Piano 11
French horn and Basson (duet) 11
2 Euphoniums (duet) 11
Trombone, Horn (duet) 10
Bass Clef Instruments 10
Bb Instruments 10
Trumpet, Trombone, Piano 10
French Horn and Harp 7
Euphonium, Tuba (duet) 7
English Horn, Guitar (duet) 6
3 French horns (trio) 6
Bass Trombone 6
Trumpet, Cello, Piano 5
Horn, Tuba (duet) 5
Trumpet, Harp 5
2 Trumpets, Keyboard (piano or organ) 5
Tuba or Euphonium or Saxhorn 3
3 Euphoniums 3
Trombone, Organ 3
3 Tubas (trio) 3
Trumpet and Guitar 2
2 English horns and Pianoforte 2
2 French horns, Piano 2
Cornet and Piano 2
F Instruments 2
Horn and Organ 2
4 Euphoniums 1
Trombone and Orchestra 1
Trumpet, violin (duet) 1
Horn, Trumpet, Trombone (trio) 1
English horn, Harp (duet) 1
Tuba ensemble 1
Trumpet, Orchestra 1

+ 74 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 2,477
Violin and Piano 1,264
Violin 908
Cello, Piano 857
Viola, Piano 756

Violin, Cello (duet) 535
Harp 509
Cello (band part) 468
Viola 424
String Trio: violin, viola, cello 420
2 Violins (duet) 362
String Quintet: 2 violins, viola, cello, bass 302
2 Cellos (duet) 285
Cello 281
Violin, Viola (duet) 246
Double Bass 218
2 Violas (duet) 195
String Trio: 2 violins, cello 193
Violin (band part) 187
2 Harps (duet) 179
Double bass, Piano (duet) 176
Viola (band part) 162
Doublebass (band part) 125
Viola, Cello (duet) 100
Piano Trio: Violin, Viola, Piano 73
4 Cellos 70
Violin, Bassoon (duet) 67
String Trio: 3 violins 52
String Trio: 3 cellos 48
String quartet: 4 violins 40
Harp and Piano 40
Violin, Guitar (duet) 37
2 Double basses (duet) 32
Harp, Flute (duet) 28
Violin, Tuba (duet) 25
String Trio: 2 violins, viola 24
String Quartet : 4 violas 24
Cello, String Bass (duet) 24
Violin, Clarinet, Piano (trio) 24
Viola and Bassoon 22
String Trio: 3 violas 20
String Quintet: 2 violins, viola, 2 cellos 16
Cello, Guitar (duet) 15
Violin ensemble 15
Viola ensemble 13
Harp, Violin (duet) 12
Flute, Doublebass (duet) 11
Harp, Voice 11
Viola, Guitar (duet) 9
Harp, Cello (duet) 9
Viola and Harp 8
Harp, Violin, Violoncello 7
String Quintet: 2 violins, 2 violas, cello 7
String trio 6
Cello Ensemble 5
2 Violins, Piano 5
Violin, Organ 5
Violin, Basso continuo 4
2 Violas, Piano 3
Violin, Cello, Clarinet 3
Harp (band part) 2
4 Harps 2
Harp and mandolin 2
3 double basses 2
Cello, Orchestra 2
Viola and orchestra 2
Cello, Organ 2
Harp, Trombone (duet) 2
Violoncello, Basso continuo 1
4 Double Basses 1
2 Cellos, Piano 1
Violin, Trumpet and Piano 1
2 Violins and Basso 1
Autoharp 1
3 Harps 1

+ 70 instrumentations

- Retract

Percussion & orchestra
Concert band 4,501
Orchestra 1,055
String Orchestra 981
Jazz Ensemble 627
Brass ensemble 597

Handbells 541
Chamber Orchestra 274
Marching band 267
Drums 238
Jazz combo 183
Percussion (band part) 182
Percussion Ensemble 152
Drum (band part) 113
Marimba 48
Xylophone 37
Xylophone, Piano 27
Percussion 26
Vibraphone 21
Timpani (band part) 10
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 9
2 Xylophones 8
Timpani 5
Orchestra, Violin 4
Brass Quintet: other combinaisons 4
3 Marimbas 2
Piano and Orchestra 2

School Ensemble 2
Vibraphone and Marimba 2
Xylophone (band part) 1
Big band 1
Snare drums 1
Voice and Orchestra 1
Cajon 1
2 Snare Drums (duet) 1
Conga 1
2 Marimbas 1

+ 31 instrumentations

- Retract

Others
Music Theory 15
Musical course - Solfege 1

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The End

Piano and Orchestra

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Concerto

Concerto #Piano and Orchestra #ADVANCED #Contemporary #Gyorgy Ligeti #Concerto #Schott Music - Digital #SheetMusicPlus

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...(+)

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 ≈ $33.21

Konzert fur Piano und Orchester, Opus 15

Konzert fur Piano und Orchester, Opus 15 #Piano and Orchestra #Giovanni Sgambati #Konzert fur Piano und Orcheste #Bisel Classics - Digital #SheetMusicPlus

Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel ...(+)

Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.

$32.95 ≈ $45.62