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Biles dir. Electric Sound. Briot, Informatique musicale. A Fusion of Foundations, Methodologies and Applications , vol. Vattimo dir.

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La Logique du plausible. Un Roi africain et sa musique de cour. Free Jazz. Debussy plays Debussy. Diminuendo in blue and crescendo in blue , in Ellington at Newport , Columbia Records. Lawrence Cook. Retrieved 19 January Willard A Palmer ed. Chopin: Preludes for the Piano.

Alfred Music Publishing. Chopin Preludes For the Piano. Edited, Revised, and Fingered by Rafael Joseffy. Schirmer Inc. Chopin twenty-four preludes opus 28 Doctor of Creative Arts thesis. University of Wollongong. Retrieved 21 January Retrieved 28 June Chopin: His Life and Music. Naperville, Illinois: Sourcebooks MediaFusion. The New York Times. Retrieved Music in Theory and Practice , Vol.

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II, pp. Schonberg, The Great Pianists , p.

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Archived from the original on 23 October Retrieved 19 July Library of Congress. Retrieved on 20 December Classical music portal. Pierre Wolff Devil's Trill Prelude. Hidden categories: Pages containing links to subscription-only content Webarchive template wayback links Articles with hAudio microformats All articles with specifically marked weasel-worded phrases Articles with specifically marked weasel-worded phrases from January All pages needing factual verification Wikipedia articles needing factual verification from March Commons category link from Wikidata Works with IMSLP links Articles with International Music Score Library Project links.

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By using this site, you agree to the Terms of Use and Privacy Policy. Problems playing these files? See media help. The opening prelude is unified by a triplet semiquaver figuration as the hands run over the keys. A slow melody over a fixed accompaniment of four-note chords played two quavers at a time. Cortot: Painful meditation; the distant, deserted sea This piece was played at the composer's funeral on organ.

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.