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Wind:
Not classified 13,793

Piano & keyboards
Piano solo 1,973
Piano, Vocal and Guitar 659
Piano, Voice 508
Easy Piano 298
C Instruments 105

Piano Accompaniment 89
Accordion 61
Organ 53
Big Note Piano 51
1 Piano, 4 hands 40
Piano (band part) 38
Piano Trio: piano, violin, cello 11
2 Pianos, 4 hands 8
Organ, Piano (duet) 4
Piano Quartet: piano, violin, viola, cello 4
Melody line, Piano 3
Accordion, Voice 2
Organ, Trumpet (duet) 1
2 Pianos, 8 hands 1
Piano Quintet: piano, 2 violins, viola, cello 1

+ 15 instrumentations

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Guitars
Guitar notes and tablatures 414
Melody line, (Lyrics) and Chords 246
Guitar 142
Ukulele 121
Lyrics and Chords 112

Bass guitar 109
Guitar (band part) 62
Banjo 16
Piano, Guitar (duet) 14
Mandolin 13
Electric Bass (band part) 12
Dulcimer 11
Guitar Ensemble 8
4 Guitars (Quartet) 6
Band Scores 4
Ukulele Ensemble 4
Baritone Ukulele 3
2 Guitars (duet) 1
3 Guitars (trio) 1

+ 14 instrumentations

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Voice
Choral SATB 557
Choral 3-part 268
Choral 2-part 149
Choral TTBB 98
Choral 70

Choral SSAA 51
Voice solo 49
Choral Unison 38
Vocal duet 19
High voice 11
Soprano voice, Piano 8
Vocal duet, Piano 8
Low voice, Piano 5
Soli, Mixted choir and accompaniment 4
Medium voice, Piano 3
Choral SSATB 3
Baritone voice, Piano 2
Choral SSAATTBB 2
Tenor voice 2
Soprano voice 2
Children choir 1
Alto voice, Piano 1
Choral SSATBB 1
Soprano voice, Orchestra 1
Tenor voice, Piano 1
Voice, Guitar 1
Low voice 1
Mezzo-Soprano voice, Piano 1
Baritone voice 1

+ 24 instrumentations

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Woodwind
Saxophone Quartet: 4 saxophones 7,376
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 6,867
Flute, Oboe, Clarinet, Bassoon 5,597
Clarinet Quartet: 4 clarinets 3,598
Saxophone Quintet: 5 Saxophones 2,023

Flute Quartet: 4 flutes 1,805
3 Saxophones (trio) 1,672
3 Clarinets (trio) 1,652
Clarinet Ensemble 1,388
Flute Trio: 3 flutes 1,098
Saxophone ensemble 1,046
Clarinet Quintet: 5 clarinets 807
Flute ensemble 671
Flute, Clarinet and Bassoon. 586
Flute, Oboe, Clarinet (trio) 550
Saxophone (band part) 517
Flute, Oboe, Bassoon 446
Oboe, Clarinet, Bassoon (trio) 396
Flute Quintet : 5 flutes 356
2 Flutes (duet) 316
Clarinet (band part) 290
Oboe, Piano (duet) 279
Clarinet 279
Flute 274
Flute, Clarinet (duet) 206
3 Oboes 194
Flute and Piano 193
2 Clarinets (duet) 191
Saxophone 172
2 Saxophones (duet) 152
Alto Saxophone 140
Clarinet and Piano 105
Oboe (band part) 98
2 Clarinets, Bassoon 95
Flute (band part) 92
Alto Saxophone and Piano 91
Tenor Saxophone and Piano 75
4 Oboes 63
Flute, Clarinet, Horn and Bassoon (Quartet) 61
Oboe 60
Tenor Saxophone 53
Recorder 47
Wind ensemble 44
Oboe, Bassoon (duet) 37
Saxophone, Clarinet (duet) 34
Soprano Saxophone and Piano 31
Clarinet, Bassoon (duet) 31
Flute, Bassoon, and Piano 29
Recorder Quartet 24
Flute, Clarinet, Piano (trio) 22
Oboe, Clarinet (duet) 21
Clarinet, Bassoon, Piano (trio) 21
Flute, Saxophone (duet) 20
Flute, Oboe (duet) 18
2 Oboes (duet) 18
Soprano Saxophone 16
3 Recorders (trio) 16
Oboe, Flute 14
Baritone Saxophone, Piano 14
2 Recorders (duet) 13
Harmonica 13
Flute and Guitar 13
English horn, Piano 13
Bass Clarinet, Piano 10
Clarinet, Violin (duet) 10
Eb Instruments 9
Flute, Violin and Violoncello 9
Flute, French horn (duet) 8
Piccolo 8
2 Flutes, Piano 7
Oboe ensemble 7
2 Clarinets, Piano 7
Flute, Violin 7
Clarinet, Guitar (duet) 7
2 Oboes and Basson 6
Descent (Soprano) Recorder, Piano 5
Flute, Oboe, Piano (trio) 5
Bass Clarinet 5
Ocarina 5
2 Flutes, 2 Clarinets (Quartet) 4
5 Recorders 4
Oboe, Bassoon and Piano 4
Clarinet Quintet: Clarinet, String Quartet 4
Flute, trombone and piano 3
Clarinet, Cello, Piano (trio) 3
Pennywhistle 3
Piccolo, Piano 3
Flute, Viola (duet) 3
Flute, Trumpet (duet) 3
2 Saxophones, Piano 2
Recorder Ensemble 2
Clarinet and Viola 2
Oboe, Cello 2
Flute, harp and violin 2
Flute, Violin, Piano 2
Flute, Orchestra 2
Saxophone and Piano 2
English Horn 2
Clarinet, Cello (duet) 2
Clarinet, Trumpet (duet) 2
Saxophone and Guitar 2
Baritone Saxophone 2
Descant (Soprano) Recorder 2
Flute, Violoncello 2
English Horn, Guitar (duet) 1
Flute, Harp and Cello 1
Flute and Strings Trio 1
Clarinet, Harp (duet) 1
2 Harmonicas 1
Clarinet, Orchestra 1
Flute, Cello, Piano (trio) 1
2 clarinets, 2 bassoons 1
Clarinet, Trombone (duet) 1
Oboe, Violin (duet) 1
Flute, Clarinet, Violin (trio) 1
Flute, Viola and harp 1
Tenor Recorder 1
2 Oboes and English horn 1
Flute, Viola and Piano 1
Flute, Violin, Violoncello and Piano 1
Recorder, Piano 1
Flute, Oboe, Violin 1

+ 117 instrumentations

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Woodbrass
Trombone (band part) 353
Trumpet (band part) 289
Trumpet 175
Brass Quintet: 2 trumpets, horn, trombone, tuba 175
French horn (band part) 153

Trombone 141
Tuba (band part) 95
French horn 88
Trumpet, Piano 64
Brass quartet : 2 trumpets, trombone, tuba 64
Trombone and Piano 49
French Horn and Piano 37
Tuba 34
2 Trombones (duet) 25
2 Trumpets (duet) 21
Brass Quartet: 2 trumpets, horn, trombone 20
Tuba and Piano 20
Euphonium 18
Brass Quartet 15
Trumpet, Trombone (duet) 14
Bass Clef Instruments 14
English horn, Piano 13
2 French horns (duet) 11
Bb Instruments 10
Horn Ensemble 10
Trumpet, Saxophone (duet) 8
Trombone ensemble 8
Brass Quartet: 4 trombones 7
Brass Quartet: 4 horns 7
Cornet 6
Euphonium, Piano (duet) 6
2 Tubas (duet) 5
2 Euphoniums and 2 Tubas 4
3 Trombones (trio) 4
Tuba or Euphonium or Saxhorn 4
Euphonium, Tuba (duet) 3
4 Tubas 3
3 Trumpets (trio) 3
Brass Trio 3
Trumpet ensemble 2
2 Trumpets, Keyboard (piano or organ) 2
Trumpet, Trombone, Piano 2
English Horn 2
Tuba ensemble 2
Bass Trombone and Piano 2
English Horn, Guitar (duet) 1
Brass Quartet: 4 trumpets 1
Trumpet, Bassoon (duet) 1
Bass Trombone 1
Clarinet, Horn (duet) 1
Trumpet, Orchestra 1
F Instruments 1

+ 47 instrumentations

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Strings
String Quartet: 2 violins, viola, cello 384
Violin and Piano 182
Violin 142
Violin (band part) 116
Doublebass (band part) 98

Viola 89
Cello, Piano 68
Cello (band part) 67
Viola, Piano 62
Cello 60
Harp 59
String Trio: violin, viola, cello 56
Viola (band part) 48
2 Violins (duet) 41
Violin, Cello (duet) 35
String Quintet: 2 violins, viola, cello, bass 32
2 Cellos (duet) 24
Violin, Guitar (duet) 18
2 Violas (duet) 18
String Quintet: 2 violins, 2 violas, cello 10
Violin, Viola (duet) 10
String Trio: 2 violins, cello 9
Double Bass 9
Harp, Flute (duet) 7
String Trio: 3 violins 6
4 Cellos 5
Viola, Cello (duet) 5
Double bass, Piano (duet) 5
2 Harps (duet) 4
Harp, Violin (duet) 3
String quartet: 4 violins 3
Piano Trio: Violin, Viola, Piano 3
Harp, Voice 3
Viola ensemble 2
String Trio: 3 cellos 2
2 Double basses (duet) 2
Harp and Piano 2
Violin ensemble 2
Cello, Guitar (duet) 2
2 Violins, Piano 1
Viola, Guitar (duet) 1
String Trio: 3 violas 1
Harp, Violin, Violoncello 1
String trio 1
Harp and Organ 1
Cello, String Bass (duet) 1
Harp, Orchestra 1

+ 42 instrumentations

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Percussion & orchestra
Concert band 3,982
Orchestra 716
Jazz Ensemble 311
Woodwind Quintet 290
Handbells 226

Chamber Orchestra 186
Brass ensemble 171
Percussion (band part) 154
String Orchestra 153
Woodwind Quartet: any 4 woodwinds 115
Drums 104
Marching band 84
Jazz combo 58
Drum (band part) 58
Percussion Ensemble 48
Percussion 41
Timpani (band part) 26
Woodwind Trio: any 3 woodwinds 15
Big band 10
Marimba 8
Flexible Instrumentation 6
School Ensemble 5
Brass Quintet: other combinaisons 5
Timpani 5
Xylophone 4
Vibraphone 3
Piano and Orchestra 1

Xylophone, Piano 1
Voice and Orchestra 1

+ 24 instrumentations

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Others
Musical course - Solfege 1

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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)

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