Biles dir. Electric Sound. Briot, Informatique musicale. A Fusion of Foundations, Methodologies and Applications , vol. Vattimo dir.
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This prelude was played at Chopin's funeral on organ. Cortot: Sensational memories float like perfume through my mind A virtuosic prelude, featuring polyrhythms , continuous demisemiquaver figurations in the right hand, and semiquaver triplets alternating with quavers in the left hand. Harmonically dense with a low "plodding" bass line.
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This is the shortest of the preludes with just 12 bars. 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 No. 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. It should be played prestissimo, or, better still, vivacissimo.