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You've selected:
CLARINET 2 Percussions et Ensemble
Sheetmusic to print
11 sheet music found
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1
Carol of the Bells (Jazz Waltz for Clarinet & Piano)
Carol of the Bells (Jazz Waltz for Clarinet & Piano)
#
Clarinet and Piano
#
INTERMEDIATE/ADVANCED
#
Christmas
#
Mykola Leontovych
#
Roger Wallace
#
Carol of the Bells
#
Roger Wallace
#
SheetMusicPlus
Clarinet,Piano - Level 4 - Digital Download SKU: A0.1333850 Composed by Mykola Leontovych. Arranged by Roger Wallace. Christmas,Jazz. Score and part. 10 ...
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Clarinet,Piano - Level 4 - Digital Download SKU: A0.1333850 Composed by Mykola Leontovych. Arranged by Roger Wallace. Christmas,Jazz. Score and part. 10 pages. Roger Wallace #920117. Published by Roger Wallace (A0.1333850). Clarinet Solo with Piano Accompaniment. Can also be played by Soprano Sax/Trumpet. Package includes parts for Flute/Oboe/Violin and Pitched Percussion (ex: Marimba). Can be performed with optional repeats.Playing Time Options:Without repeats: 2:06With one repeat: 2:52With both repeats: 3:36The audio sample represents a Clarinet solo.This arrangement is also available for many other ensembles and soloists.Look for more arrangements by Roger Wallace.
$3.99 ≈
3.59€
HiJinx! for Bb Clarinet and Orchestra (10')
HiJinx! for Bb Clarinet and Orchestra (10')
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Contemporary
#
Judith Cloud
#
#
HiJinx! for Bb Clarinet and Or
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Judith Cloud
#
SheetMusicPlus
Large Ensemble Clarinet,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.981232 Composed by Judith Cloud. Contemporary. Score and parts. 88 pa...
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Large Ensemble Clarinet,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.981232 Composed by Judith Cloud. Contemporary. Score and parts. 88 pages. Judith Cloud #6710237. Published by Judith Cloud (A0.981232). Composer NotesHiJinx! was commissioned by clarinetist Peter Wright in the spring of 2013. It is a mostly humorous piece aimed at entertaining the audience and the members of the orchestra. I also intended it to be a suitable companion to the Rossini Introduction, Theme and Variations, also featured on the Jacksonville Symphony's 2014-15 season opener. Keenly aware of Peter's fine soloistic abilities I approached organization of the work around quotations from well known clarinet solos. The work was composed between December and March with Peter's mischievous personality constantly in mind, thus the inclusion of random quotations from opera, chamber music and popular song.HiJCloud: HiJinx!List of themes as occurring in the score: 1. Crusell Concerto for Clarinet #3, Allegro Risoluto2. After Debussy Première Rhapsodie3. Prokofiev Peter and the Wolf4. Honegger Pacific 2315. Hummel Sonata for piano, op. 81, Finale6. Bartok The Miraculous Mandarin7. Martin & Blane Clang, clang, clang went the trolley8. Bartok The Miraculous Mandarin 9. Brown & Freed Singin' in the Rain10. Strauss Till Eulenspiegels lustige Streiche11. Rameau Chansons de nos plaisirs from Acanthe et Céphise12. Hugo Friedhofer: Dudley's theme from the film The Bishop's Wife13. Mozart Voi che sapete from Le Nozze di Figaro14. Thomas Je suis Titania from Mignon15. Paganini Rossini MOSE-Fantasia16. Humperdinck Hansel und Gretel 17. Warren & Dubin The Gold Diggers' Song (We're in the Money) 18. Bernard Herrmann Psycho slasher music 19. Warren & Dubin The Gold Diggers' Song (We're in the Money)20. (Next rhythmic and harmonic reference is from Prince: Kiss)21. After Debussy Première Rhapsodie22. Nielson Concerto for Clarinet and Orchestra23. Warren & Dubin The Gold Diggers' Song (We're in the Money)
$15.00 ≈
13.51€
Chanson Et Passepied
Chanson Et Passepied
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Concert band
#
INTERMEDIATE
#
Classical
#
Jeanine Rueff
#
Clint Bleil
#
Chanson Et Passepied
#
Clint Bleil
#
SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1431418 Composed by Jeanine Rueff. Arranged by Clint Bleil. Classical. 83 pages. Clint Bleil #1011889. ...
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Concert Band - Level 3 - Digital Download SKU: A0.1431418 Composed by Jeanine Rueff. Arranged by Clint Bleil. Classical. 83 pages. Clint Bleil #1011889. Published by Clint Bleil (A0.1431418). This is a wind ensemble transcription of Jeanine Rueff's work for alto saxophone and piano, Chanson et Passepied. This is a very accessible and short work for young but promising classical alto saxophonists, and can be easily put together by most high school bands. The piece starts with a slow and lyrical song section before finishing with a brisk section in 3/8.Difficulty - MediumLength - 3' 15Price - $100Instrumentation:Solo Alto SaxophoneFlute 1, 2Oboe 1, 2Bassoon 1, 2Clarinet 1, 2, 3Bass ClarinetAlto Saxophone 1, 2Tenor SaxophoneBaritone SaxophoneHorn in F 1, 2, 3, 4Trumpet in Bb 1, 2, 3Trombone 1, 2Bass TromboneEuphoniumTubaTimpaniPercussion 1 (Glockenspiel, Snare Drum)Percussion 2 (Vibraphone, Tambourine)Percussion 3 (Chimes, Bass Drum, Mark Tree)Percussion 4 (Sus. Cymbal, Triangle).
$100.00 ≈
90.07€
Denmark: The Two National Anthems
Denmark: The Two National Anthems
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Concert band
#
EASY
#
Patriotic
#
Ditlev Ludvig Rogert
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Colin Kirkpatrick
#
Denmark: The Two National Anth
#
Colin Kirkpatrick Publications
#
SheetMusicPlus
Large Ensemble - Level 2 - Digital Download SKU: A0.522130 Composed by Ditlev Ludvig Rogert (1742-1813) and Hans Ernst Krøyer (1798 -1879). Arranged b...
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Large Ensemble - Level 2 - Digital Download SKU: A0.522130 Composed by Ditlev Ludvig Rogert (1742-1813) and Hans Ernst Krøyer (1798 -1879). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 37 pages. Colin Kirkpatrick Publications #3428555. Published by Colin Kirkpatrick Publications (A0.522130). Denmark has two national anthems. The first, Der er et yndigt land (There is a lovely land) is the civil national anthem and the most frequently performed. When it was first published in 1819, the anthem had twelve verses but today it has been significantly shortened. The dotted rhythm in measure 15 (in Parts 1 and 2) is sometimes played as two equal eighth notes (quavers). The second anthem, Kong Christian stod ved højen mast (King Christian stood by the lofty mast) has equal status but is mainly used for royal and military occasions. At such times, it is either performed alone or the two anthems are played together. Known simply as Kong Christian it is traditionally sung in Denmark immediately after midnight every New Year's Eve. The audio sample contains the first, more popular anthem. These quick and easy national anthem arrangements are essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. Note that this anthem is virtually identical to the anthem of Finland. There is a minor difference in part of the melody and the repeat structure is different. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Note the parts in Kong Kristian go a bit too low for flute and oboe, so Parts 1a or 2a should be used instead. Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (flute, oboe, violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.
$8.99 ≈
8.10€
The Christmas Waltz
The Christmas Waltz
#
Flute and Piano
#
INTERMEDIATE/ADVANCED
#
Frank Sinatra
#
Roger Wallace
#
The Christmas Waltz
#
Roger Wallace
#
SheetMusicPlus
Flute,Piano - Level 4 - Digital Download SKU: A0.1149597 By Frank Sinatra. By Jule Styne and Sammy Cahn. Arranged by Roger Wallace. Christmas,Jazz. Score...
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Flute,Piano - Level 4 - Digital Download SKU: A0.1149597 By Frank Sinatra. By Jule Styne and Sammy Cahn. Arranged by Roger Wallace. Christmas,Jazz. Score and part. 11 pages. Roger Wallace #749744. Published by Roger Wallace (A0.1149597). Flute Solo with Piano Accompaniment. The Frank Sinatra favorite in a classic waltz style. Can also be played by Oboe/Violin and Pitched Percussion (ex: Marimba).Package includes parts for Clarinet/Soprano Sax/Trumpet and Alto Sax. NOTE: Audio sample clip (representing a Clarinet) begins at 2 measures before Letter A. A full length audio version can be heard in the YouTube video.This arrangement is also available for many other ensembles and soloists. Look for more arrangements by Roger Wallace.
$4.99 ≈
4.49€
The Christmas Waltz
The Christmas Waltz
#
Alto Saxophone and Piano
#
INTERMEDIATE/ADVANCED
#
Christmas
#
Frank Sinatra
#
Roger Wallace
#
The Christmas Waltz
#
Roger Wallace
#
SheetMusicPlus
Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.1149600 By Frank Sinatra. By Jule Styne and Sammy Cahn. Arranged by Roger Wallace. Christmas,Ja...
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Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.1149600 By Frank Sinatra. By Jule Styne and Sammy Cahn. Arranged by Roger Wallace. Christmas,Jazz. Score and part. 11 pages. Roger Wallace #749747. Published by Roger Wallace (A0.1149600). Alto Sax Solo with Piano Accompaniment. The Frank Sinatra favorite in a classic waltz style. Package includes parts for Clarinet/Soprano Sax/Trumpet and Flute/Oboe/Violin that can also be played by Pitched Percussion (ex: Marimba). NOTE: Audio sample clip (representing a Clarinet) begins at 2 measures before Letter A. A full length audio version can be heard in the YouTube video.This arrangement is also available for many other ensembles and soloists. Look for more arrangements by Roger Wallace.
$4.99 ≈
4.49€
The Christmas Waltz
The Christmas Waltz
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Violin and Piano
#
INTERMEDIATE/ADVANCED
#
Christmas
#
Frank Sinatra
#
Roger Wallace
#
The Christmas Waltz
#
Roger Wallace
#
SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.1149599 By Frank Sinatra. By Jule Styne and Sammy Cahn. Arranged by Roger Wallace. Christmas,Jazz. 11 p...
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Piano,Violin - Level 4 - Digital Download SKU: A0.1149599 By Frank Sinatra. By Jule Styne and Sammy Cahn. Arranged by Roger Wallace. Christmas,Jazz. 11 pages. Roger Wallace #749746. Published by Roger Wallace (A0.1149599). Violin Solo with Piano Accompaniment. The Frank Sinatra favorite in a classic waltz style.Can also be played by Flute/Oboe and Pitched Percussion (ex: Marimba).Package includes parts for Clarinet/Soprano Sax/Trumpet and Alto Sax.NOTE: Audio sample clip (representing a Clarinet) begins at 2 measures before Letter A.A full length audio version can be heard in the YouTube video.This arrangement is also available for many other ensembles and soloists.Look for more arrangements by Roger Wallace.
$4.99 ≈
4.49€
Carol of the Bells (Jazz Waltz for Soprano Sax & Piano)
Carol of the Bells (Jazz Waltz for Soprano Sax & Piano)
#
Soprano Saxophone and Piano
#
INTERMEDIATE/ADVANCED
#
Christmas
#
Mykola Leontovych
#
Roger Wallace
#
Carol of the Bells
#
Roger Wallace
#
SheetMusicPlus
Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.1333852 Composed by Mykola Leontovych. Arranged by Roger Wallace. Christmas,Jazz. Score and ...
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Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.1333852 Composed by Mykola Leontovych. Arranged by Roger Wallace. Christmas,Jazz. Score and part. 10 pages. Roger Wallace #920123. Published by Roger Wallace (A0.1333852). Soprano Sax Solo with Piano Accompaniment. Can also be played by Clarinet/Trumpet. Package includes parts for Flute/Oboe/Violin and Pitched Percussion (ex: Marimba). Can be performed with optional repeats.Playing Time Options:Without repeats: 2:06With one repeat: 2:52With both repeats: 3:36The audio sample represents a Oboe solo.This arrangement is also available for many other ensembles and soloists.Look for more arrangements by Roger Wallace.
$3.99 ≈
3.59€
Carol of the Bells (Jazz Waltz for Violin & Piano)
Carol of the Bells (Jazz Waltz for Violin & Piano)
#
Violin and Piano
#
INTERMEDIATE/ADVANCED
#
Christmas
#
Mykola Leontovych
#
Roger Wallace
#
Carol of the Bells
#
Roger Wallace
#
SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.1333849 Composed by Mykola Leontovych. Arranged by Roger Wallace. Christmas,Jazz. 10 pages. Roger Walla...
(+)
Piano,Violin - Level 4 - Digital Download SKU: A0.1333849 Composed by Mykola Leontovych. Arranged by Roger Wallace. Christmas,Jazz. 10 pages. Roger Wallace #920114. Published by Roger Wallace (A0.1333849). Violin Solo with Piano Accompaniment. Can also be played by Flute/Oboe and Pitched Percussion (ex: Marimba). Package includes parts for Clarinet/Soprano Sax/Trumpet.Can be performed with optional repeats.Playing Time Options:Without repeats: 2:06With one repeat: 2:52With both repeats: 3:36The audio sample represents a Violin solo.This arrangement is also available for many other ensembles and soloists.Look for more arrangements by Roger Wallace.
$3.99 ≈
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Automania - Galop / March - L.P. Laurendeau for Concert or Marching Band
Automania - Galop / March - L.P. Laurendeau for Concert or Marching Band
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Concert band
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INTERMEDIATE
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Louis-Philippe Laurendeau
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Ivan Marini
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Automania - Galop / March - L.
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www.dalsegno.eu
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.770383 Composed by Louis-Philippe Laurendeau. Arranged by Ivan Marini. 20th Century,Contest,Festival,Fo...
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Concert Band - Level 3 - Digital Download SKU: A0.770383 Composed by Louis-Philippe Laurendeau. Arranged by Ivan Marini. 20th Century,Contest,Festival,Folk,Holiday,Patriotic. Score and parts. 26 pages. Www.dalsegno.eu #4579941. Published by www.dalsegno.eu (A0.770383). (en/fr)Galop (march-like dance) composed by Canadian L.P. Laurendeau and arranged for modern band by Ivan Marini.The title refers to the automobile mania that swept in the USA and Canada during the first years of the 20th century.Grade 2 1/2, suitable for smaller ensembles and marching bands too.Galop (danse rapide) composé par le Québécois L.P. Laurendeau et adapté pour la moderne orchestre d'harmonie par Ivan Marini.Le titre fait référence à la manie automobile qui a balayé les États-Unis et le Canada au cours des premières années du XXe siècle.Grade 2 1/2, convenant aussi aux petits ensembes et aux défilées.Full Score and Condensed Score.Card size Parts for:Piccolo, Flute 1+2, Oboe (or Soprano Sax)Clarinet 1+2, Bass Clarinet, Alto Sax 1+2, Tenor Sax, Baritone SaxBb Trumpet 1+2+3, F/Eb Horn 1+2, Trombone 1+2+3Euphonium BC (also Bassoon) and TC, TubaTimpani, Bells, Percussion (SD, BD, Cym.)Other arrangements, missing parts or custom settings available at simply request.Duration: ca. 2'15'' minutes, 26 pages. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
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Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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21.61€
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CLARINET 2 Percussions et Ensemble
