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90:
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20:
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270:, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering. Most of his préludes were already finished before setting foot on Majorca, however, he did finalize them there, as referenced by him in his letters to Pleyel: "I have finished my préludes here on your little piano"
995:
Chopin himself, normally not given to composing with particular images in mind, told his pupil Mme. Dubois that the prelude is based on the sound of an old clock which strikes the eleventh hour, and just as the clock does not alter the volume of its chimes, so too should the eleven bass notes towards
428:
Individually they seem like pieces in their own right... But each works best along with the others, and in the intended order... The Chopin preludes seem to be at once twenty-four small pieces and one large one. As we note or sense at the start of each piece the various connections to and changes
416:
In a detailed analysis, musicologist
Anatole Leikin highlights a series of quotes and hidden themes centered around the Dies Irae sequence, the medieval sequence of the requiem mass. In doing so, the scholar emphasizes the unified conception of the collection, which presents itself as a profound
326:
is much closer to common harmonic practice, it is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital. An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as
1343:
1434:
minor prelude that ultimately formed part of the Op. 28 set is an unrelated piece. Kallberg's realisation of the prelude from Chopin's almost illegible sketches goes no further than where Chopin left off. The piece had its first public performance in July 2002 at the
1088:
chords in the right hand predominating, against quarter-note octaves in the left. It was originally written in two sections of four measures, although Chopin later added a repeat of the last four measures at a softer level, with an expressive swell before the final
303:"preluding". In publishing the 24 preludes together as a single opus, comprising miniatures that could either be used to introduce other music or as self-standing works, Chopin challenged contemporary attitudes regarding the worth of small musical forms.
1997:
1364:
minor, Op. 45 (sometimes listed as
Prelude No. 25), was composed in 1841. It was dedicated to Princess E. Czernicheff (Elisaweta Tschernyschewa), and contains widely extending basses and highly expressive and effective chromatic
354:
Chopin himself never played more than four of the preludes at any single public performance. 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
402:'s opinion, however, was more positive: "Chopin's Preludes are compositions of an order entirely apart... they are poetic preludes, analogous to those of a great contemporary poet, who cradles the soul in golden dreams..."
417:
meditation on the theme of death. In this perspective, the
Preludes would be conceived in pairs (the first with the second, the third with the fourth, and so on), where the first would serve as a 'prelude' to the second.
1979:
207:
164:
135:
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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,
199:
149:
120:
2514:
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major was composed in 1834 as a gift for Pierre Wolff and published in Geneva in 1918. Sometimes known as
Prelude No. 26, the piece is very short and generally bright in tone.
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At 90 measures long, this is one of the longer preludes and challenges the pianist with many hand crossing over maneuvers. In the middle section of the keyboard, the rhythmic
1314:'s now-forgotten Op. 67, composed in 1815 – a set of twenty-four preludes in all major and minor keys, starting with C major." As Schonberg says: "the openings of the
208:
163:
134:
386:
The brevity and apparent lack of formal structure in the Op. 28 set caused some consternation among critics at the time of their publication. No prelude is longer than 90
359:
for a concert in 1876. Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with
295:
Whereas the term "prelude" had hitherto been used to describe an introductory piece, Chopin's pieces stand as self-contained units, each conveying a specific idea or
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Technical challenges lie chiefly in the irregular timing of the three runs, each faster than its predecessor, played simultaneously by each hand one octave apart. A
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178:
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343:
1911:
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Opens with a thundering five-note pattern in the left hand. Throughout the piece, the left hand continues this pattern as the right hand melody is punctuated by
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53:
111:
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said that "if all piano music in the world were to be destroyed, excepting one collection, my vote should be cast for Chopin's
Preludes." Biographer
2091:
1225:. The piece closes with three booming unaccompanied low Ds on the piano. The piece is used at the conclusion of a reconstructed film about the 1944
646:
1425:, Tartini being a likely influence on Chopin. The original signature was hastily scrawled (more so than usual of Chopin's original manuscripts).
1958:
1036:
five-octave arpeggio echoes downward into the depths of the bass registers, where the final struggle takes place and culminates with the double-
429:
from the previous one, we then feel free to involve ourselves – as listeners, as players, as commentators – only with the new pleasure at hand.
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110:
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While the right hand sings a simple melody, the left plays continuous doubled eighth notes characterized by chromatic movement, including
1014:
wrote of it, "I love it! I cannot tell you how much or why; except perhaps that it is something which I could never at all have written."
1064:
A virtuosic prelude, consists of widely spaced, continuous triplet eighth-note movement in both hands that stretch up to fourteen notes.
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The main melody is repeated three times; the melody in the B section, is much more dark and dramatic. The key signature switches between
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Pianist-composers who had previously published collections of preludes for the benefit of pianists unskilled at improvisation include
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time, it begins with a characteristic dotted rhythm with octaves in the left hand (eighth, dotted eighth, and sixteenth notes) that
370:
As with his other works, Chopin did not himself attach names or descriptions to any of the Op. 28 preludes, in contrast to many of
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do appear in more than one prelude. Scholar
Jeffrey Kresky has argued that Chopin's Op. 28 is more than the sum of its parts:
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1706:
992:
chords will be played by both thumbs and care must be taken to ensure a legato and singing melody during these crossovers.
288:, who had commissioned the work for 2,000 francs (equivalent to nearly €6500 in present-day currency). The German edition (
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2027:
1855:
1428:
Chopin left this piece uncompleted and seems to have discarded it; while he worked on it during his stay on
Majorca, the E
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A lengthy prelude featuring an A–B–A structure with continuous eighth-note movement in the left hand and chords and a
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292:) was dedicated to Kessler, who ten years earlier had dedicated his own set of 24 Preludes, Op. 31, to Chopin.
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This prelude was played at Chopin's funeral on organ. Its melancholy melody is primarily given to the left hand.
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A melodic left hand, ornamented with trills, and supported by running sixteenth notes throughout in the right.
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69:
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figurations in the right hand, and triplet sixteenth notes (alternating with eighth notes) in the left hand.
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1984:
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1300:). Chopin is known to have studied Bach's music, although he is not known to have performed it publicly.
306:
Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising
2002:
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1465:
1311:
1271:
300:
257:
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30:
1476:, Chopin probably knew Moscheles's Preludes, Op. 73 (1827) and used them as a model, alongside Bach's
707:
Harmonically dense with a low "plodding" bass line. This is the shortest of the preludes with just 12
948:
284:. The French and English editions (Catelin, Wessel) were dedicated to the piano-maker and publisher
273:
The manuscript, which Chopin carefully prepared for publication, carries a dedication to the German
1894:
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267:
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Short and light, with alternating triplet and non-triplet sixteenth notes in the right hand, over
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writes that "ven on their own, the 24 Preludes would have ensured Chopin's claim to immortality."
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1527:
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in the same key, and Bach's pieces are arranged, in each of the work's two volumes, in ascending
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19:
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Recalls No. 1 in its brevity and textural uniformity. Recalls the fourth movement of Chopin's
650:
335:
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The longest and one of the best known of the twenty-four. Usually called "Raindrop
Prelude".
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2019:
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360:
347:
315:
311:
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1326:, also used the circle of fifths in his 24 Études, Op. 20, which were dedicated to Hummel.
390:(No. 17), and the shortest (No. 7) is ca. 45 sec. and No. 9 is a mere 12 bars (but 1m25s).
299:. He thus imparted new meaning to a genre title that at the time was often associated with
256:, and her children went to escape the damp Paris weather. In Majorca, Chopin had a copy of
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45:
34:
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Presents a technical challenge with its rapid hold-and-release of eighth notes against
491:
488:
398:, or, so to speak, ruins, individual eagle pinions, all disorder and wild confusions."
319:
285:
2079:
Interpreting Chopin. 24 Preludes, Op. 28. Analysis, comments and interpretive choices.
334:
Prelude No. 20 in C minor. This prelude, modified slightly, was used as the theme for
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364:
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1937:
322:, and so on (i.e. C major, A minor, G major, E minor, etc.). Since this sequence of
1310:, writes: "It also is hard to escape the notion that Chopin was very familiar with
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214:
170:
141:
41:
330:
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185:
162:
133:
109:
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is not enough. It should be played prestissimo, or, better still, vivacissimo."
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253:
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49:
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with its brevity and rapid chords with only a rest at the end of the prelude.
682:
225:
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78:
minor. These are sometimes referred to as Nos. 25, 26, and 27, respectively.
1322:
concertos are too close to be coincidental." The dedicatee of Chopin's set,
1116:
942:
655:
Z ĹĽycia narodu: Obrazy fantazyjne na tle
Preludium a Major Fryderyka Chopina
237:
28, are a set of short pieces for the piano, one in each of the twenty-four
23:
244:
Chopin wrote them between 1835 and 1839, mostly in Paris, but partially at
2022:(1994). "Small 'forms': in defence of the prelude". In Samson, Jim (ed.).
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Starts with six heavily accented chords before progressing to a virtuosic
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296:
274:
1998:"Professor reconstructs unfinished Chopin prelude from artist's notes"
1531:
1108:, a set of 22 variations in a wide range of keys, tempos and lengths.
485:
2054:
The Oxford
History of Western Music: Music in the Nineteenth Century
1500:
Brown, Maurice J. E. (1957). "The Chronology of Chopin's Preludes".
1515:
1136:, taken up by the right hand also in the latter half of the piece.
1634:
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1333:
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474:
453:
329:
38:
18:
56:. In addition, Chopin wrote three other preludes: a prelude in C
2159:
1237:
The first four measures of the Prelude No. 21 are shown below.
564:. It consists of a slow melody in the right hand that prolongs
367:
was the next pianist to record the complete preludes in 1926.
1748:. Naperville, Illinois: Sourcebooks MediaFusion. p. 268.
1000:. This instruction has been widely disregarded by pianists.
88:
2030:. Cambridge: Cambridge University Press. pp. 124–144.
1639:(Doctor of Creative Arts thesis). University of Wollongong
1439:
in Newport, Rhode Island, with the pianist Alain Jacquon.
1959:"A Chopin Manuscript: Prelude in A-flat major, op. posth"
1415:. Kallberg gave it this nickname for its similarities to
1247:
Audio playback is not supported in your browser. You can
1084:
Often called the "Chord" prelude. Brief, with large slow
363:
in 1915, when making piano rolls for the Duo-Art label.
1173:
was later to adopt in his early Chopin-esque preludes.
2525:
2056:. Oxford: Oxford University Press. pp. 333–338.
252:, where he spent the winter of 1838–39 and where he,
1912:"Memory of Poland Chopin Worklist Entry for Opus 45"
772:
time, a brisk prelude with continuous eighth notes.
2392:
2201:
560:This piece was played at the composer's funeral on
2136:: Audio Program covering Chopin's Opus 28 Preludes
2578:Compositions covering all major and/or minor keys
1217:(including a rapid descending chromatic scale in
800:in the right hand, involving chromatic movement.
1407:minor and has been subtitled "Devil's Trill" by
1980:Chopin's "Devil's Trill" reconstructed by Prof.
1671:
1669:
1656:
1654:
1270:Chopin's Op. 28 preludes have been compared to
426:
420:Despite the lack of formal thematic structure,
2006:(11 June 2002). Retrieved on 20 December 2011.
1702:
1700:
1280:. However, each of Bach's preludes leads to a
2171:
1869:
1867:
8:
1580:Biret, Idil (2007). Willard A Palmer (ed.).
1266:music written in all major and/or minor keys
405:Among more recent assessments, musicologist
318:, with each major key being followed by its
1100:, and later, without the repeated bars, by
2178:
2164:
2156:
2120:International Music Score Library Project
2111:International Music Score Library Project
2102:International Music Score Library Project
1675:
1660:
446:
327:possible introductions for other works.
2532:
1853:Vancouver Chopin Society: The Preludes.
1795:A Reader's Guide to the Chopin Preludes
1628:
1626:
1543:
1541:
1492:
1453:
436:A Reader's Guide to the Chopin Preludes
394:said: "hey are sketches, beginnings of
266:, and as in each of Bach's two sets of
26:of the first page of his Prelude No. 15
1586:. Alfred Music Publishing. p. 6.
1411:, a professor of music history at the
1369:over a rather uniform thematic basis.
223:
1805:
1803:
193:MIDI recording by Michael Angelkovich
7:
1721:"Complete Music Analysis – Preludes"
1292:), while Chopin's are arranged in a
484:The opening prelude is unified by a
2515:List of compositions by opus number
1938:"Piano Society Chopin's Works Page"
1636:Chopin twenty-four preludes opus 28
1613:. Edited, Revised, and Fingered by
1350:Chopin wrote three other preludes.
350:'s Variations on a Theme of Chopin.
1548:Michałowski, Kornel; Samson, Jim.
1096:Used as a theme for variations by
536:Has a running sixteenth-note bass
224:Problems playing these files? See
14:
2024:The Cambridge Companion to Chopin
1978:Herrup, Katharine. (30 May 2002)
2535:
1988:. Retrieved on 20 December 2011.
1771:The Mystery of Chopin's Préludes
494:as the hands run over the keys.
241:, originally published in 1839.
204:
183:
160:
131:
107:
1229:at the Warsaw Uprising Museum.
1106:Variations on a Theme of Chopin
914:sounds throughout the prelude.
681:A virtuosic prelude, featuring
647:Variations on a Theme of Chopin
514:of four-note chords played two
344:Variations on a Theme of Chopin
54:covers all major and minor keys
1583:Chopin: Preludes for the Piano
1329:
572:in the left hand that descend
16:Piano works by Frédéric Chopin
1:
2510:List of compositions by genre
2028:Cambridge Companions to Music
1611:Chopin Preludes For the Piano
1550:"Chopin, Fryderyk Franciszek"
1401:A further prelude exists in E
2583:The Devil in classical music
1875:Music in Theory and Practice
1873:Benward & Saker (2009).
1797:, Greenwood Press. p. xviii.
1288:order (with major preceding
1244:
2558:Preludes by Frédéric Chopin
2050:"The Chopinesque Miniature"
1134:chromatic nonharmonic tones
828:-like melody in the right.
510:A slow melody over a fixed
62:minor, Op. 45; a piece in A
2604:
1746:Chopin: His Life and Music
1419:'s violin sonata known as
1413:University of Pennsylvania
1376:
1346:Prelude No. 27 (autograph)
1338:Prelude No. 26 (autograph)
1263:
996:the end be played without
2433:
1277:The Well-Tempered Clavier
263:The Well-Tempered Clavier
1877:, Vol. II, pp. 217–218.
1324:Joseph Christoph Kessler
568:resolution and repeated
282:Joseph Christoph Kessler
68:major from 1834; and an
2145:Prelude in E-flat minor
1985:The Daily Pennsylvanian
1793:Kresky, Jeffrey (1994)
1769:Leikin, Anatol (2015).
1633:Meier, Marilyn (1993).
1569:(subscription required)
1379:Prelude No. 26 (Chopin)
1354:Prelude No. 25 (Op. 45)
1330:Chopin's other preludes
1249:download the audio file
2588:Music with dedications
2094:: Autograph manuscript
1957:Rausch, Robin (2017).
1719:Fred Yu (March 2010).
1437:Newport Music Festival
1385:Presto con leggierezza
1347:
1339:
1296:(with major preceding
440:
351:
290:Breitkopf & Härtel
233:Chopin's 24 Preludes,
93:
27:
2134:BBC Discovering Music
2003:Berkeley Daily Planet
1961:. Library of Congress
1558:. Oxford Music Online
1478:Well-Tempered Clavier
1466:Johann Nepomuk Hummel
1345:
1337:
1272:Johann Sebastian Bach
1201:Allegro appassionato
382:Reputation and legacy
333:
92:
22:
2000:by Catherine Lucey,
1812:"'Chopin's Funeral'"
1443:Notes and references
949:Vladimir de Pachmann
739:chords in the left.
2420:(ded. Pierre Wolff)
2141:Performance of the
1895:Harold C. Schonberg
1304:Harold C. Schonberg
1102:Sergei Rachmaninoff
594:Contains exuberant
340:Sergei Rachmaninoff
268:preludes and fugues
82:24 Preludes, Op. 28
2152:, Jeffrey Kallberg
2081:Tarnhelm editions.
1918:on 23 October 2007
1899:The Great Pianists
1858:2007-08-23 at the
1817:The New York Times
1555:Grove Music Online
1348:
1340:
1308:The Great Pianists
687:thirty-second-note
634:In the style of a
434:Jeffrey Kresky in
352:
310:, Chopin's chosen
94:
44:. His cycle of 24
33:wrote a number of
28:
2573:1841 compositions
2568:1839 compositions
2563:1834 compositions
2523:
2522:
2384:No. 24 in D minor
2379:No. 23 in F major
2374:No. 22 in G minor
2358:No. 20 in C minor
2342:No. 18 in F minor
2271:No. 11 in B major
2127:: Free scores at
2063:978-0-19-979602-1
2046:Taruskin, Richard
2037:978-0-521-47752-9
2020:Kallberg, Jeffrey
1883:978-0-07-310188-0
1755:978-1-4022-0757-0
1619:G. Schirmer, Inc.
1593:978-0-7390-4754-5
1503:The Musical Times
1422:The Devil's Trill
1253:
1235:
1234:
927:Presto con fuoco
651:Zygmunt Noskowski
209:
200:No. 23 in F major
188:
179:No. 20 in C minor
165:
136:
112:
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2538:
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2417:
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2324:
2314:
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2292:
2291:
2281:
2280:
2265:
2264:
2255:No. 9 in E major
2249:
2248:
2239:No. 7 in A major
2234:No. 6 in B minor
2229:No. 5 in D major
2224:No. 4 in E minor
2219:No. 3 in G major
2214:No. 2 in A minor
2209:No. 1 in C major
2196:
2195:
2180:
2173:
2166:
2157:
2146:
2118:: Scores at the
2109:: Scores at the
2100:: Scores at the
2067:
2048:(24 June 2009).
2041:
2007:
1995:
1989:
1976:
1970:
1969:
1967:
1966:
1954:
1948:
1947:
1945:
1944:
1934:
1928:
1927:
1925:
1923:
1914:. Archived from
1908:
1902:
1892:
1886:
1871:
1862:
1850:
1844:
1834:
1828:
1827:
1825:
1824:
1810:Eisler, Benita.
1807:
1798:
1791:
1785:
1784:
1766:
1760:
1759:
1742:Nicholas, Jeremy
1738:
1732:
1731:
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1710:
1704:
1695:
1685:
1679:
1673:
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1644:
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1621:
1609:. Introduction.
1604:
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1597:
1577:
1571:
1570:
1567:
1565:
1563:
1545:
1536:
1535:
1497:
1481:
1474:Richard Taruskin
1458:
1433:
1432:
1417:Giuseppe Tartini
1409:Jeffrey Kallberg
1406:
1405:
1397:Prelude (No. 27)
1392:
1391:
1363:
1362:
1358:The Prelude in C
1294:circle of fifths
1168:
1167:
1166:
1165:
1127:
1126:
1098:Ferruccio Busoni
1059:
1058:
1002:The favorite of
991:
990:
989:
988:
972:
971:
936:
935:
913:
912:
907:
906:
899:
898:
889:
888:
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876:
847:
846:
819:
818:
791:
790:
771:
770:
769:
768:
730:
729:
676:
675:
447:
438:
361:Ferruccio Busoni
348:Ferruccio Busoni
316:circle of fifths
211:
210:
190:
189:
167:
166:
155:
154:
138:
137:
126:
125:
114:
113:
103:No. 4 in E minor
91:
77:
76:
67:
66:
61:
60:
2603:
2602:
2598:
2597:
2596:
2594:
2593:
2592:
2548:
2547:
2546:
2542:Classical music
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2193:Frédéric Chopin
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2125:Préludes Op. 28
2098:Preludes Op. 28
2092:Préludes Op. 28
2088:
2077:Leontsky, Jan:
2074:
2072:Further reading
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1510:(1374): 423–4.
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1472:; according to
1470:Ignaz Moscheles
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1274:'s preludes in
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1227:Warsaw Uprising
1164:
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1008:Robert Schumann
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968:
945:-like passage.
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2107:Prelude Op. 45
2104:
2095:
2087:
2086:External links
2084:
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2009:
2008:
1990:
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1841:Chopin's Piano
1829:
1799:
1786:
1780:978-1409452249
1779:
1761:
1754:
1733:
1711:
1709:, Chopin Music
1696:
1692:Chopin's Piano
1680:
1665:
1650:
1622:
1615:Rafael Joseffy
1607:Huneker, James
1599:
1592:
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1516:10.2307/937215
1491:
1483:
1482:
1462:Muzio Clementi
1452:
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1398:
1395:
1377:Main article:
1374:
1373:Prelude No. 26
1371:
1355:
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1331:
1328:
1320:Chopin E minor
1316:Hummel A minor
1298:relative minor
1290:parallel minor
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1040:chord finale.
1028:
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1022:Molto allegro
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320:relative minor
286:Camille Pleyel
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98:Prelude Op. 28
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2116:Prelude B. 86
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1773:. Routledge.
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1678:, p. 143
1677:
1676:Kallberg 1994
1672:
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1663:, p. 333
1662:
1661:Taruskin 2009
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854:second sonata
851:
849:
840:
837:
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833:
830:
827:
823:
821:
812:
809:
806:
805:
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799:
798:quarter notes
795:
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685:, continuous
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574:chromatically
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512:accompaniment
509:
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493:
490:
487:
483:
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478:
476:
473:
471:
468:
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454:Tempo marking
452:
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448:
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437:
430:
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423:
418:
414:
412:
408:
403:
401:
397:
393:
389:
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379:
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373:
368:
366:
365:Alfred Cortot
362:
358:
357:Anna Yesipova
349:
345:
341:
337:
332:
328:
325:
321:
317:
313:
309:
304:
302:
301:improvisatory
298:
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81:
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71:
55:
51:
47:
43:
40:
36:
32:
25:
21:
2506:}}
2502:{{
2497:}}
2493:{{
2490:}}
2486:{{
2483:}}
2479:{{
2476:}}
2472:{{
2469:}}
2465:{{
2462:}}
2458:{{
2455:}}
2451:{{
2448:}}
2444:{{
2441:}}
2437:{{
2423:
2412:Prelude in A
2400:Prelude in C
2186:
2142:
2078:
2053:
2023:
2012:
2011:
2001:
1993:
1983:
1974:
1963:. Retrieved
1952:
1941:. Retrieved
1932:
1920:. Retrieved
1916:the original
1906:
1898:
1890:
1874:
1848:
1840:
1832:
1821:. Retrieved
1815:
1794:
1789:
1770:
1764:
1745:
1736:
1724:. Retrieved
1714:
1691:
1683:
1641:. Retrieved
1635:
1610:
1602:
1582:
1575:
1560:. Retrieved
1553:
1507:
1501:
1495:
1487:
1486:
1477:
1456:
1447:
1446:
1427:
1420:
1400:
1384:
1382:
1357:
1349:
1307:
1302:
1275:
1269:
1236:
1161:
1086:quarter-note
1037:
1031:
997:
984:
764:
658:
654:
608:Lento assai
570:block chords
540:throughout.
516:eighth notes
461:Description
443:Descriptions
435:
427:
419:
415:
404:
385:
369:
353:
324:related keys
312:key sequence
305:
294:
272:
261:
243:
232:
215:Giorgi Latso
171:Giorgi Latso
142:Giorgi Latso
29:
2446:Concertante
2363:No. 21 in B
2347:No. 19 in E
2331:No. 17 in A
2320:No. 16 in B
2309:No. 15 in D
2298:No. 14 in E
2287:No. 13 in F
2276:No. 12 in G
2260:No. 10 in C
1837:Paul Kildea
1688:Paul Kildea
1367:modulations
1260:Comparisons
1012:Mendelssohn
963:Allegretto
737:arpeggiated
683:polyrhythms
518:at a time.
407:Henry Finck
378:'s pieces.
376:Franz Liszt
254:George Sand
246:Valldemossa
150:No. 16 in B
121:No. 15 in D
2552:Categories
2474:Polonaises
2244:No. 8 in F
1965:2018-01-04
1943:2007-06-19
1823:2018-09-22
1643:21 January
1562:19 January
1488:References
1264:See also:
1038:fortissimo
1033:fortissimo
998:diminuendo
868:Sostenuto
626:Andantino
492:figuration
336:variations
226:media help
72:piece in E
70:unfinished
2467:Nocturnes
1524:0027-4666
1286:chromatic
1223:arpeggios
1183:Moderato
1117:Cantabile
943:impromptu
649:, and by
308:semitones
24:Autograph
2488:Scherzos
2481:Preludes
2460:Mazurkas
2439:Ballades
2415:♭
2408:, Op. 45
2403:♯
2366:♭
2350:♭
2334:♭
2323:♭
2312:♭
2301:♭
2290:♯
2279:♯
2263:♯
2247:♯
2187:Preludes
1901:, p. 110
1856:Archived
1744:(2007).
1707:Preludes
1431:♭
1404:♭
1390:♭
1361:♯
1171:Scriabin
1125:♭
1057:♭
970:♭
934:♭
911:♯
905:♭
902:and an A
897:♯
887:♭
875:♭
845:♭
838:Allegro
826:nocturne
817:♯
789:♯
728:♯
674:♯
645:for his
641:Used by
596:ostinati
538:ostinato
432:—
392:Schumann
338:in both
279:composer
250:Mallorca
153:♭
124:♭
75:♭
65:♭
59:♯
46:Preludes
35:preludes
2495:Waltzes
2426:Prelude
2202:Opus 28
2150:YouTube
2129:Musopen
2013:Sources
1922:19 July
1726:28 June
1221:), and
1205:D minor
1187:F major
1150:G minor
1104:in his
1091:cadence
1080:C minor
1050:Vivace
1026:F minor
782:Presto
753:B major
749:Vivace
703:E major
636:mazurka
630:A major
612:B minor
590:D major
556:E minor
532:G major
528:Vivace
506:A minor
486:triplet
480:C major
475:Agitato
422:motives
374:'s and
346:and in
297:emotion
275:pianist
2528:Portal
2453:Études
2393:Others
2060:
2034:
1881:
1777:
1752:
1590:
1532:937215
1530:
1522:
1312:Hummel
1219:thirds
1215:scales
1211:trills
1076:Largo
953:presto
810:Lento
699:Largo
552:Largo
502:Lento
464:Notes
396:Ă©tudes
2418:major
2406:minor
2369:major
2353:major
2337:major
2326:minor
2315:major
2304:minor
2293:major
2282:minor
2266:minor
2250:minor
1528:JSTOR
1448:Notes
1306:, in
1282:fugue
1128:major
1060:major
1004:Clara
973:major
937:minor
900:minor
890:major
878:major
848:minor
820:major
792:minor
731:minor
677:minor
566:tonic
562:organ
400:Liszt
314:is a
156:minor
127:major
39:piano
2058:ISBN
2032:ISBN
1924:2007
1879:ISBN
1775:ISBN
1750:ISBN
1728:2010
1645:2014
1588:ISBN
1564:2014
1520:ISSN
1468:and
1387:in A
1318:and
1006:and
892:and
709:bars
653:for
458:Key
450:No.
388:bars
277:and
258:Bach
239:keys
52:28,
42:solo
37:for
2189:by
2148:on
1512:doi
1198:24
1180:23
1154:In
1143:22
1113:21
1047:19
1019:18
960:17
835:14
807:13
779:12
757:In
746:11
718:10
342:'s
260:'s
235:Op.
50:Op.
2554::
2052:.
2026:.
1982:,
1897:,
1866:^
1839:,
1814:.
1802:^
1699:^
1690:,
1668:^
1653:^
1625:^
1617:.
1552:.
1540:^
1526:.
1518:.
1508:98
1506:.
1480:.
1464:,
1213:,
1093:.
1072:20
1010:.
923:16
908:/G
864:15
711:.
696:9
664:8
638:.
623:7
605:6
598:.
583:5
576:.
525:3
499:2
248:,
48:,
2530::
2179:e
2172:t
2165:v
2066:.
2040:.
1968:.
1946:.
1926:.
1885:.
1826:.
1783:.
1758:.
1730:.
1647:.
1596:.
1566:.
1534:.
1514::
1251:.
1162:8
1122:B
1054:E
985:8
967:A
931:B
894:C
884:D
872:D
842:E
814:F
786:G
765:8
725:C
671:F
657:.
548:4
470:1
228:.
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