Chopin: Preludes

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Zank, Stephen (2005). Maurice Ravel: A Guide to Research. New York: Routledge. ISBN 978-0-8153-1618-3. An ambient chiptune musical arrangement entitled "Continuum" by Rich Vreeland is played during the normal ending of the video game Fez. Rowland, David, ed. (1998). The Cambridge Companion to the Piano. Cambridge: Cambridge University Press. ISBN 978-0-521-47986-8.

Jean-Luc Ponty, Jazz fusion artist, included a version with violin improvisation on his album Storytelling Chopin, Frédéric (1988). Voynich, E. L. (ed.). Chopin's Letters. New York: Dover Publications. ISBN 978-0-486-25564-4. Recalls No. 1 in its brevity and textural uniformity. Recalls t The Prelude Op. 28, No. 15, by Frédéric Chopin, known as the "Raindrop" prelude, is one of the 24 Chopin preludes. It is one of Chopin's most famous works. [1] Usually lasting between five and seven minutes, this is the longest of the preludes. The prelude is noted for its repeating A ♭, which appears throughout the piece and sounds like raindrops to many listeners. [1] Composition [ edit ]

Complete Waltzes

Eigeldinger, Jean-Jacques (1988). Chopin: Pianist and Teacher As Seen By His Pupils. Translated by Naomi Shochet. Cambridge: Cambridge University Press. ISBN 978-0-521-36709-7.

J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzi stand supreme", and adds that "the Barcarolle Op.60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody". [175] Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes". [176] Mysłakowski, Piotr; Sikorsky, Andrzej. "Emilia Chopin". Narodowy Instytut Fryderyka Chopina. Archived from the original on 2 January 2018 . Retrieved 27 June 2021. Musician Rob Dougan composed and recorded "Clubbed To Death 2", a song which uses the prelude for most of its musical structure. In Episode 2 of the Soap Opera "Dark Shadows", Elizabeth plays Prelude, Op. 28, No. 20. on the piano. A jazz combo plays the piece with an additional interlude in the 1938 Austrian film Der Hampelmann by Karlheinz Martin in a nightclub scene featuring Hilde Krahl and Frits van DongenHedley, Arthur (2005). "Chopin, Frédéric (François)". Encyclopædia Britannica. Vol.3 (15thed.). Chicago: Encyclopædia Britannica, Inc. pp.263–264.

In 1841 Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." [192] Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of a very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." [193] He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." [194] The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. [195]

Chopin himself never played more than four of the preludes at any single public performance. [5] Nor was this the practice for the 25 years after his death. The first pianist to program the complete set in a recital was probably Anna Yesipova for a concert in 1876. [8] Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Ferruccio Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926.