![]() The Impromptu by Balakirev is based on Preludes 14 and 11. Variationen und Fuge in freier Form, BV 213, by Busoni and Variations on a Theme of Chopin, Op.22, by Rachmaninoff are based on Prelude 20 ![]() Frederick Niecks says that in the middle section of the prelude there "rises before one's mind the cloistered court of the monastery of Valldemossa, and a procession of monks chanting lugubrious prayers, and carrying in the dark hours of night their departed brother to his last resting-place.Preludes For piano Scores featuring the piano For 1 player For treble instrument (arr) For 1 player (arr) Scores with open instrumentation For cello, piano (arr) For 2 players (arr) Scores featuring the cello (arr) Scores featuring the piano (arr) For violin, piano (arr) Scores featuring the violin (arr) For orchestra (arr) Scores featuring the orchestra (arr) For 4 cellos (arr) For 4 players (arr) For guitar (arr) Scores featuring the guitar (arr) For organ (arr) Scores featuring the organ (arr) For piano (arr) For strings (arr) Scores featuring string ensemble (arr) For bassoon, piano (arr) Scores featuring the bassoon (arr) For voice, piano (arr) For voices with keyboard (arr) Scores featuring the voice (arr) For narrator, piano (arr) Scores featuring a narrator (arr) For voices with solo instruments (arr) For voice, female chorus, violin, cello, piano, organ (arr) Scores featuring the soprano voice (arr) Scores featuring female chorus (arr) For voices and chorus with strings (arr) For cello, strings (arr) For strings with soloists (arr) For flute, clarinet, strings (arr) Scores featuring the flute (arr) Scores featuring the clarinet (arr) For 2 trumpets, 2 trombones, tuba (arr) Scores featuring the trumpet (arr) Scores featuring the trombone (arr) Scores featuring the tuba (arr) For 5 players (arr) For flute, oboe, clarinet, bassoon, horn (arr) Scores featuring the oboe (arr) Scores featuring the horn (arr) For 2 violins, viola, cello, double bass, piano (arr) Scores featuring the viola (arr) Scores featuring the double bass (arr) For 6 players (arr) However, Peter Dayan points out that Sand accepted Chopin's protests that the prelude was not an imitation of the sound of raindrops, but a translation of nature's harmonies within Chopin's "génie". 15, because of the repeating A ♭, with its suggestion of the "gentle patter" of rain. Sand did not say which prelude Chopin played for her on that occasion, but most music critics assume it to be no. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. He protested with all his might – and he was right to – against the childishness of such aural imitations. He was even angry that I should interpret this in terms of imitative sounds. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. ![]() In her Histoire de ma vie, Sand related how one evening she and her son Maurice, returning from Palma in a terrible rainstorm, found a distraught Chopin who exclaimed, "Ah! I knew well that you were dead." While playing his piano he had a dream: Some, though not all, of Op. 28 was written during Chopin and George Sand's stay at a monastery in Valldemossa, Mallorca in 1838. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |