Prelude No. 17

The score should get cleaned to get a perfectly reprintable version, but I'm lazy. If I get asked for it from many people I may take the time. This file is part of the Sibley Mirroring Project. Editor Herrmann Scholtz Editor Karl Klindworth — I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too small e.

You may ask me for a manually cleaned version. View at Internet archive. Editor Theodor Kullak — Albert Ross Parsons — Instructive Ausgabe , Vol. Schlesinger'sche Buch-und Musikhandlung , Co-issue - New York: Re-sampled to dpi, cleaned up, and deskewed. Editor Carl Mikuli Complete Works for the Piano , Vol.

Preludes and Rondos pp. Converted to black and white tif files, de-skewed, re-sampled to dpi, and set uniform margins. Editor Raoul Pugno — Universal Edition , n. Editor Claude Debussy — Editor Rafael Joseffy Preludes LMC 34 pp. Editor Alfred Cortot Maurice Senart , Includes comments in French by Laurent Ceillier The English translation published by David Ponsonby is under copyright worldwide. Editor Alfredo Casella Editor Karl Klauser — Editor Carl Mikuli — Dover Publications , Short and light, with alternating triplet and non-triplet semiquavers in the right hand, over arpeggiated chords in the left.

In 6 8 time, a brisk prelude with continuous quavers. Presents a technical challenge with its rapid hold-and-release of quavers against crotchets in the right hand, involving chromatic movement.

A lengthy prelude featuring an A—B—A structure with continuous single-note quaver movement in the left hand and chords and a nocturne -like melody in the right. Recalls the fourth movement of Chopin's second sonata with its brevity and rapid chords with only a rest at the end of the prelude. The main melody is repeated three times; the melody in the B section, is much more dark and dramatic. Starts with six heavily accented chords before progressing to an impromptu -like passage. Vladimir de Pachmann said of it, "The sixteenth is my great favorite!

It is le plus grand tour de force in Chopin. It is the most difficult of all the preludes technically, possibly excepting the nineteenth. In this case, presto is not enough.

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It should be played prestissimo, or, better still, vivacissimo. The favourite of Clara Schumann. Mendelssohn wrote of it, "I love it! I cannot tell you how much or why; except perhaps that it is something which I could never at all have written.

Scene on the Place de Notre-Dame de Paris. Technical challenges lie chiefly in the irregular timing of the three runs, each faster than its predecessor, played simultaneously by each hand one octave apart. A fortissimo five-octave arpeggio echoes downward into the depths of the bass registers, where the final struggle takes place and culminates with the double- fortissimo chord finale.

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A virtuosic prelude, consists of widely spaced, continuous triplet-quaver movement in both hands that stretch up to fourteen notes. Wings, wings, that I may flee to you, o my beloved! Often called the "Chord" prelude. Brief, with large slow crotchet chords in the right hand predominating, against crotchet octaves in the left.

It was originally written in two sections of four measures, although Chopin later added a repeat of the last four measures at a softer level, with an expressive swell before the final cadence. Used as a theme for variations by Ferruccio Busoni , and later, without the repeated bars, by Sergei Rachmaninoff in his Variations on a Theme of Chopin , a set of 22 variations in a wide range of keys, tempos and lengths. While the right hand sings a simple melody, the left plays continuous doubled quavers characterized by chromatic movement, including chromatic nonharmonic tones , [15] taken up by the right hand also in the latter half of the piece.

In 6 8 time, it begins with a characteristic dotted rhythm with octaves in the left hand quaver, dotted quaver, semiquaver that Scriabin was later to adopt in his early Chopin-esque preludes. A melodic left hand supported by running semiquavers throughout in the right. Opens with a thundering five-note pattern in the left hand. Throughout the piece, the left hand continues this pattern as the right hand melody is punctuated by trills , scales including a rapid descending chromatic scale in thirds , and arpeggios. The piece closes with three booming unaccompanied low Ds on the piano.

The piece is used at the conclusion of a reconstructed film about the Warsaw Uprising at the Warsaw Uprising Museum. In addition, a common melodic motif can be followed in many of the preludes, which further enhances the organic unity of the set.

A key role in the cycle is played by contrast: The kaleidoscopically shifting narrative is marked by a distinct dramaturgy-the listener "journeys" through successive works and keys, from the brief C major Prelude that opens the set to the dramatic climax in the last Prelude in D minor. Here, remarkably short miniatures, such as the charming sixteen-bar A major Prelude or the agitated E flat minor Prelude , rub shoulders with lengthier compositions, such as the famous D flat major , traditionally known as the "Raindrop" Prelude.

1. Preludes (Chopin) - Wikipedia.
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4. Preludes, Op.28 (Chopin, Frédéric)?

Among the most beautiful interpretations of the cycle are the recordings by Alfred Cortot , Maurizio Pollini and Martha Argerich. In , Chopin composed the single, wonderful Prelude in C sharp minor, Op. The name "prelude" is also usually applied to the short Presto con leggierezza , from Prelude in A flat major - a composition of lesser weight and not published by Chopin; it only appeared in print in These are wholly exceptional compositions Liszt The variety of moods and impressions contained in the Preludes, Op.