PDF Prelude in C minor - No. 8 from Nine Preludes op. 103

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British pianist Dominic John, who won first prize at the 22nd Brant International Piano Competition, gives us a wild ride through 25 piano Preludes traversing the chromatic scale from D-flat enharmonic C-sharp to C.

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Some of them, like the pieces by Harald Genzmer, Lera Auerbach and Nikolai Kapustin, are quite jazzy, whereas others are strictly classical. Louis Vierne I always think of as strictly an organ composer, but here his Prologue No. The others I all knew, but not necessarily these specific Preludes. One of the reasons the set works is that John is a particularly exciting and dynamic pianist. The particular Alkan Prleude chosen is one of his simpler pieces, except for the contrary motion of the left hand vs.

Keep your left brain-right brain coordination sharp! I already knew this York Bowen Prelude and love it; how richly scored those chords are, and how musically and dramatically effective it all is. This leads us into a surprisingly charming Prelude in B-flat by Lennox Berkeley, which also leans rhythmically towards jazz.

Kabalevsky is his usual lightweight but charming self, sprinkling notes around the keyboard and using upward and downward finger runs. The left hand sets up an ostinato rhythm while the right plays syncopated jazz figures against it, then it switches to a Latin beat, but again with contrary rhythmic cells thrown in for fun. What a finale! Today, I carry a box in my pocket which, mobile signal permitting, can summon a century of recorded sound and a millennium of musical thought with only a few clicks.

What would have seemed to my younger self a science fiction dream opens the byways of music history to our rambling minds. The shelves stretch now into the dim distance, but where to start? Automated algorithms suggest the next fix of the unknown — if you liked that, you might like this — but now, more than ever, we need guides to join the scattered, limitless dots.

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Or even really good performances? In the meantime, however, a delightful, clever album, and one which will certainly expand your musical horizons. One of the best-known of the set, [29] the fourth barcarolle is "tuneful, quite short, perhaps more direct than the others. Dedicated to Mme la Baronne V. Orledge calls it powerful, agitated and virile.

Koechlin brackets the sixth and seventh of the set together as a contrasting pair. Both pieces show "an economy of writing", the sixth "more moderate and tranquil in expression". Dedicated to Suzanne Alfred-Bruneau, [55] the eighth barcarolle opens in with a cheerful theme, which soon gives way to melancholy. The ninth barcarolle, in Koechlin's view, "recalls, as in a hazy remoteness, the happiness of the past".

Preludes, Op. 103: No. 8 in C Minor

The last of the set is dedicated to Magda Gumaelius. Cortot compared the first impromptu to a rapid barcarolle, redolent of "sunlit water", combining "stylised coquetry and regret". Dedicated to Mlle Sacha de Rebina, [55] the second impromptu maintains an airy tarantella rhythm. The third impromptu is the most popular of the set.

His mature style is displayed in the central section, a contemplative andante , which is followed by a more agitated section that concludes the work. Nectoux describes this impromptu as "a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale. The last work in the published set was written before numbers four and five. It was originally a harp piece, composed for a competition at the Paris Conservatoire in His is too orderly, too logical a mind to be really capricious.

Chopin's influence is marked in the first two pieces. Orledge observes that the right-hand figuration at the end of No 1 is remarkably similar to that at the end of Chopin's Waltz in E minor. Orledge writes that the second two valses-caprices are subtler and better integrated than the first two; they contain "more moments of quiet contemplation and more thematic development than before.

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Philippe Dieterlen, No 4 to Mme. Max Lyon. They were not published until , but they then became some of his most popular works.


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Copland considered them immature pieces, which "should be relegated to the indiscretions every young composer commits. The theme is presented first in the higher and then in the middle register, before flowing evenly to its conclusion. The second romance, in A minor, an exuberant piece, has a strong semiquaver figure supporting the theme, and running high into the treble and low into the bass. After a lively display, the piece ends quietly. After gentle variation, it equally gently fades to silence at the end.

The third section is an andante introducing a third theme. In the last section, an allegro, a return of the second theme brings the work to a conclusion in which Nectoux comments, the treble sings with particular delicacy. The play of fleeting curves that is its essence can be compared to the movements of a beautiful woman without either suffering from the comparison. The Mazurka was composed in the mids but not published until The Pavane was conceived and originally written as an orchestral piece.

Certainly it is one of Faure's most approachable works. Even at first hearing it leaves an indelible impression.


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The "Theme" itself has the same fateful, march-like tread, the same atmosphere of tragedy and heroism, that we find in the introduction of Brahms's First Symphony. And the variety and spontaneity of the eleven variations which follow bring to mind nothing less than the Symphonic Etudes.

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How many pianists, I wonder, have not regretted that the composer disdained the easy triumph of closing on the brilliant, dashing tenth variation. No, poor souls, they must turn the page and play that last, enigmatic and most beautiful one, which seems to leave the audience with so little desire to applaud. The piece, in G minor, contrasts a gravely noble andante moderato theme representing Penelope with a forthright theme for Ulysses. The polyphonic writing transfers effectively from the orchestral original to the piano.

When he moved on to another publisher, Hamelle ignored his earlier instructions and issued subsequent editions with titles for each piece. They are both, in Koechlin's view "in a pleasant and correct style, obviously less rich than those in the Well-Tempered Clavier, and more careful, but whose reserve conceals an incontestable mastery". Adagietto in E minor: An andante moderato , "serious, grave, at once firm and pliant, attaining real beauty" Koechlin.

It would not be listed among them were it not for the publisher's unauthorised use of the title in this case. The shortest of the set, No 8, lasts barely more than a minute; the longest, No 3, takes between four and five minutes. Andante molto moderato. Allegretto moderato. The critic Alain Cochard writes that it "casts a spell on the ear through the subtlety of a harmony tinged with the modal and its melodic freshness.

The mood is turbulent and anxious; [95] the piece ends in quiet resignation reminiscent of the "Libera me" of the Requiem.