CHOPIN PRELUDES URTEXT PDF

Performer Pages Quinn Mason electronics. Performers Philip Addison Jones. Performer Pages Harald Vetter Piano. Creative Commons Attribution Non-commercial 3. Contents 1 Performances 1. Gebethner and Wolffn.

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Performer Pages Quinn Mason electronics. Performers Philip Addison Jones. Performer Pages Harald Vetter Piano. Creative Commons Attribution Non-commercial 3.

Contents 1 Performances 1. Gebethner and Wolffn. Creative Commons Attribution 4. Work Title Preludes Alt ernative. Performer Pages Cecile Licad piano.

Naxos Javascript not enabled. Performer Pages Peter Bradley-Fulgoni piano. Les Perles du Violoniste Level 1 No. Creative Commons Attribution-NonCommercial 4. Editor Pierre Gouin — Contact. Javascript chopi required for this feature. In this arrangement the passage work is in the right hand. Ballades, Impromptus, Scherzi Ballade No. Arranger Herbert Straus Gardner. Editor Craig Stuart Sapp. This file is part of the Gaylord Library Mirroring Project. Editor Raoul Pugno — Preludes and Rondos pp.

Reissue — Wiesbaden-Leipzig-Paris, n. Waltzes Grande valse brillante, Op. Maurice Senart Score has on cover page but may not have been placed there by the publisher. Preludes, Op. Universal Editionn. Creative Commons Attribution-ShareAlike 4. TOP Related.

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Chopin, F: 24 Preludes op. 28

It is better known as the Raindrop Prelude, due to the repeating A-flat that appears throughout the piece and sounds like raindrops to many listeners. Within this rather short piece - even if it is one of the longest of the preludes - Chopin manages to build up two entirely different atmospheres, using the same obsessively repeated note. The C-sharp minor section begins rather suddenly in measure 28, and with it the piece changes from something peaceful and serene into something much darker. Listeners and music historians have likened it to a beautiful dream that turns into an oppressive nightmare, which is a very appropriate description for this work. The feeling of uneasiness present in the middle part is made even stronger by the serene calm and beauty of the first 27 measures. The first theme is reintroduced towards the end of the prelude, giving it a peaceful ending. The repeating A-flat written as G-sharp in the middle, ominous section never stops throughout the piece.

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