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Melo Music
Not classified 10,706

Piano & keyboards
Piano solo 9,011
Big Note Piano 3,155
Easy Piano 2,987
Piano, Voice 2,365
Organ 1,806

C Instruments 1,200
Piano, Vocal and Guitar 933
Piano Accompaniment 356
1 Piano, 4 hands 263
Piano Trio: piano, violin, cello 115
Piano (band part) 104
Accordion 86
Keyboard 61
2 Pianos, 4 hands 52
Piano Quartet: piano, violin, viola, cello 37
Piano Quintet: piano, 2 violins, viola, cello 17
Piano Quartet: piano, 2 violins, cello 15
1 Piano, 6 hands 14
Harpsichord 9
Organ, Piano (duet) 8
Organ, Trumpet (duet) 8
2 Pianos, 8 hands 4
Accordion, Voice 2
Solo instrument and Organ 2
Accordion ensemble 2
All Instruments 2
Melody line, Piano 1
2 Accordions 1

+ 23 instrumentations

- Retract

Guitars
Melody line, (Lyrics) and Chords 37,739
Guitar 1,280
Guitar notes and tablatures 1,058
Ukulele 314
Guitar (band part) 201

Piano, Guitar (duet) 150
Dulcimer 149
Bass guitar 109
2 Guitars (duet) 77
Mandolin 62
Banjo 41
Lyrics and Chords 40
4 Guitars (Quartet) 22
Lap Steel Guitar 13
Guitar Ensemble 13
2 Dulcimers (duet) 12
2 Ukuleles 11
3 Guitars (trio) 9
Mandolin, Guitar (duet) 4
Electric Bass (band part) 3
Guitar, Violin, Cello (trio) 2
3 Dulcimers (trio) 1
Lute 1
Dobro 1
2 Mandolins (duet) 1

+ 20 instrumentations

- Retract

Voice
Choral SATB 2,325
Choral 3-part 953
Choral 2-part 859
Voice solo 452
Choral Unison 374

Choral TTBB 253
Choral SSAA 246
Vocal duet, Piano 229
Tenor voice, Piano 103
Soprano voice, Piano 102
Alto voice, Piano 99
Baritone voice, Piano 90
Vocal duet 85
High voice 39
Tenor voice 35
Soprano voice 28
Choral 16
Medium voice, Piano 13
Choral SSAATTBB 11
Choral SSATB 9
Low voice, Piano 6
Low voice 5
Medium Voice 3
Soli, Mixted choir and accompaniment 3
Choral SSATTB 3
Mezzo-Soprano voice, Piano 2
Choral SSAB, Piano 2
Soprano voice, Orchestra 1
Choral SATTBB A Cappella 1

+ 24 instrumentations

- Retract

Woodwind
Flute and Piano 1,122
Clarinet and Piano 1,028
Oboe, Piano (duet) 957
Clarinet 837
Saxophone (band part) 810

2 Saxophones (duet) 802
Flute 789
Saxophone Quartet: 4 saxophones 723
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 708
Alto Saxophone and Piano 678
Flute, Oboe, Clarinet, Bassoon 654
2 Flutes (duet) 530
Tenor Saxophone and Piano 519
Saxophone Quintet: 5 Saxophones 504
Alto Saxophone 501
2 Clarinets (duet) 396
Tenor Saxophone 365
Clarinet Quartet: 4 clarinets 359
Oboe (band part) 312
Soprano Saxophone and Piano 253
Eb Instruments 232
Oboe 218
Flute, Clarinet (duet) 202
2 Oboes (duet) 200
Baritone Saxophone, Piano 194
2 Recorders (duet) 182
3 Saxophones (trio) 169
Saxophone 168
Clarinet, Violin (duet) 149
Oboe, Bassoon (duet) 147
Saxophone, Clarinet (duet) 141
Oboe, Clarinet (duet) 136
Flute (band part) 133
Clarinet (band part) 120
Flute Quartet: 4 flutes 118
3 Clarinets (trio) 112
Clarinet Quintet: 5 clarinets 100
Flute, Violin 96
Clarinet, Trumpet (duet) 95
Descant (Soprano) Recorder 88
Clarinet, Bassoon (duet) 84
Flute, Violoncello 82
English horn, Piano 81
Flute Trio: 3 flutes 79
Clarinet, Cello (duet) 78
Saxophone ensemble 77
Flute, Viola (duet) 77
Soprano Saxophone 76
Oboe, Cello 76
Clarinet Ensemble 74
Clarinet, Harp (duet) 74
Clarinet and Viola 73
Recorder 72
Flute, Oboe, Clarinet (trio) 63
Baritone Saxophone 62
Flute Quintet : 5 flutes 61
Oboe, Flute 59
Flute, Saxophone (duet) 57
Treble (Alto) Recorder 56
Flute ensemble 56
Bass Clarinet, Piano 56
Flute, Oboe (duet) 54
Recorder Ensemble 54
Flute, Clarinet and Bassoon. 48
Flute, Trumpet (duet) 45
2 Flutes, Piano 44
Oboe, Clarinet, Bassoon (trio) 44
Recorder Quartet 41
Flute and Guitar 40
Oboe, Violin (duet) 39
Flute, Oboe, Bassoon 33
Flute, Violin, Piano 30
3 Recorders (trio) 30
English Horn 29
Oboe and viola (duet) 28
Flute, Trombone (duet) 28
Harmonica 28
Flute, Bassoon, and Piano 27
Tenor Recorder 27
Ocarina 24
5 Recorders 22
Flute, Cello, Piano (trio) 19
Flute, Clarinet, Piano (trio) 19
Saxophone and Harp 18
Oboe, Harp 16
Clarinet, Cello, Piano (trio) 16
2 Clarinets, Piano 15
Bass Clarinet 14
Clarinet, Guitar (duet) 13
Flute, Clarinet, Horn and Bassoon (Quartet) 12
Clarinet, Bassoon, Piano (trio) 11
Clarinet, Trombone (duet) 11
Flute, Viola and Piano 11
Flute, harp and violin 11
Oboe, Cello and Piano 10
Flute, Oboe, Piano (trio) 10
Flute, Violin and Violoncello 10
Clarinet, Double bass (duet) 9
Descent (Soprano) Recorder, Piano 8
Clarinette, Viola and Piano (trio) 7
Oboe, Violin, Piano 7
Piccolo 7
Oboe, Bassoon and Piano 7
Treble (Alto) Recorder, Piano 7
Oboe, Clarinet and Piano (Trio) 7
Saxophone and Piano 7
Flute, trombone and piano 6
Flute and Strings Trio 6
Clarinet, Tuba 6
Piccolo, Piano 5
2 Saxophones, Piano 5
Oboe, Trombone (duet) 5
Flute, Organ (duet) 5
2 Oboes, Piano 4
Flute, Tuba (duet) 4
Clarinet, trumpet and piano 4
Saxophone and Guitar 4
Oboe, Trumpet (duet) 3
Flute, Basso continuo 3
Flute, Guitar, Piano 3
Oboe, Violin, Viola and Violoncello (Quartet) 3
3 Oboes 3
Bagpipe 3
Pennywhistle 3
Flute, Violin, Violoncello and Piano 3
Saxophone and Organ 2
Oboe, Guitar (duet) 2
2 English horns and Pianoforte 2
Flute, Viola and harp 2
Melodica 2
Flute, Harp and Cello 2
4 Oboes 2
Clarinet, Organ 2
Recorder, Piano 2
2 Clarinets, Bassoon 1
Oboe ensemble 1
Wind ensemble 1
Recorder, Harp 1
Flute and String Quartet 1
Recorder, Guitar (duet) 1
2 Flutes and Harp 1
2 Oboes, 2 Horns and 2 Bassoons 1
Pan Flute 1
Clarinet Quintet: Clarinet, String Quartet 1
Treble (Alto) Recorder, Basso continuo 1
Flute, Clarinet, Violin (trio) 1
Clarinet Quartet: Clarinet, Violin, Viola, Cello 1
English Horn, Guitar (duet) 1
2 Recorders, Piano 1
Flute, Oboe, Violin 1

+ 145 instrumentations

- Retract

Woodbrass
Trumpet 802
Trombone and Piano 743
Brass Quintet: 2 trumpets, horn, trombone, tuba 714
Trumpet, Piano 703
Trombone 574

French Horn and Piano 542
Trombone (band part) 488
French horn 447
Trumpet (band part) 423
Brass quartet : 2 trumpets, trombone, tuba 411
Tuba 373
Tuba and Piano 314
2 Trombones (duet) 255
2 Trumpets (duet) 240
Bass Clef Instruments 205
Brass Quartet 186
Trumpet, Trombone (duet) 175
Bb Instruments 165
2 French horns (duet) 158
Brass Quartet: 2 trumpets, horn, trombone 157
French horn (band part) 122
Tuba (band part) 107
Trumpet, Saxophone (duet) 99
Euphonium, Piano (duet) 96
English horn, Piano 81
Trumpet, Horn (duert) 79
2 Tubas (duet) 77
Brass Quartet: 4 trombones 52
Brass Quartet: 4 horns 41
Trombone ensemble 36
Trumpet ensemble 30
English Horn 29
Horn, Cello (duet) 29
Tuba and Organ 29
Brass Quartet: 4 trumpets 24
Horn Ensemble 24
French Horn and Harp 24
Trumpet, Harp 21
Euphonium 21
Trumpet, Cello (duet) 20
3 Trombones (trio) 20
2 Euphoniums and 2 Tubas 19
Trumpet, Bassoon (duet) 18
Brass Trio 17
4 Tubas 14
Trombone, Horn (duet) 13
2 Euphoniums (duet) 13
French horn and Basson (duet) 11
Trumpet, Tuba (duet) 11
Bass Trombone 10
3 French horns (trio) 9
Trumpet and Guitar 8
3 Trumpets (trio) 8
2 Trumpets, Keyboard (piano or organ) 6
Horn, Tuba (duet) 6
3 Tubas (trio) 6
Trumpet, Cello, Piano 6
Euphonium, Tuba (duet) 6
Trumpet, Trombone, Piano 6
Brass Quartet: 2 trumpets, 2 trombones 5
Trombone, Tuba (duet) 5
Trumpet, violin (duet) 4
Trombone, Violin (duet) 4
Bass Trombone and Piano 4
2 French horns, Piano 4
Trombone, Organ 4
2 English horns and Pianoforte 2
F Instruments 2
Horn and Organ 2
3 Euphoniums 1
Horn, Cello and Piano 1
Trombone and Orchestra 1
4 Euphoniums 1
English Horn, Guitar (duet) 1
Trumpet, Euphonium (duet) 1

+ 70 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 1,750
Violin and Piano 1,409
Cello, Piano 974
Violin 923
Viola, Piano 906

Cello 771
Harp 579
Viola 523
Violin, Cello (duet) 506
2 Violins (duet) 408
String Quintet: 2 violins, viola, cello, bass 363
String Trio: violin, viola, cello 346
Double Bass 343
Double bass, Piano (duet) 315
2 Cellos (duet) 279
Violin, Viola (duet) 271
2 Violas (duet) 238
Violin (band part) 233
2 Harps (duet) 215
String Trio: 2 violins, cello 177
Viola (band part) 173
Doublebass (band part) 171
Viola, Cello (duet) 110
Harp, Flute (duet) 94
Cello (band part) 68
Violin, Bassoon (duet) 67
2 Double basses (duet) 64
Piano Trio: Violin, Viola, Piano 55
4 Cellos 53
Violin, Guitar (duet) 45
Harp, Violin (duet) 43
String Trio: 3 violins 42
Viola and Bassoon 36
String Trio: 3 cellos 31
Cello, String Bass (duet) 24
String Quintet: 2 violins, viola, 2 cellos 24
String quartet: 4 violins 23
Harp, Cello (duet) 22
Viola and Harp 18
String Trio: 3 violas 16
String Quartet : 4 violas 15
Violin, Clarinet, Piano (trio) 15
Cello, Guitar (duet) 13
Violin ensemble 13
Harp, Voice 12
String Quintet: 2 violins, 2 violas, cello 12
Viola ensemble 12
Flute, Doublebass (duet) 9
String Trio: 2 violins, viola 9
Cello, Organ 8
Autoharp 8
Harp, Violin, Violoncello 5
Viola, Guitar (duet) 5
Violin, Tuba (duet) 5
Violin, Trumpet and Piano 4
Harp, Trombone (duet) 4
2 Cellos, Piano 4
2 Violins, Piano 4
2 Violas, Piano 4
4 Double Basses 4
3 Harps 3
Viola, Organ 3
4 Harps 3
Harp and mandolin 2
Violoncello, Basso continuo 2
Violin, Organ 2
Cello Ensemble 1
Harp and Piano 1
3 double basses 1
Violin, Cello, Clarinet 1

+ 65 instrumentations

- Retract

Percussion & orchestra
Concert band 5,664
String Orchestra 1,032
Orchestra 395
Handbells 380
Jazz Ensemble 316

Brass ensemble 199
Drum (band part) 117
Chamber Orchestra 104
Marching band 57
Jazz combo 55
Percussion (band part) 51
Drums 44
Marimba 44
Xylophone 40
Percussion Ensemble 37
Xylophone, Piano 24
2 Xylophones 19
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 17
Vibraphone 16
School Ensemble 5
Percussion 4
Brass Quintet: other combinaisons 2
Timpani (band part) 2
Flexible Instrumentation 2
Woodwind Quintet 2
Piano and Orchestra 2

Xylophone or Marimba or Vibraphone 1
2 Marimbas 1
Vibraphone and Marimba 1
Orchestra, Violin 1

+ 25 instrumentations

- Retract

Others
Musical course - Solfege 3
Music Theory 1

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Melo Music

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 ≈ 21.57€

Concerto No. 25 C major

Concerto No. 25 C major #Piano and Orchestra #Classical #Wolfgang Amadeus Mozart #Concerto No. 25 C major #Ernst Eulenburg & Co. GmbH - Digital #SheetMusicPlus

Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score...(+)

Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21383. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21383). Key: C major.His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works. Piano Concerto No. 25 is Mozartâ€™s longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.

$12.99 ≈ 11.68€