Chopin, prelude 16

These musicians were both huge fans of Chopin and have plenty of insight to offer on the preludes. Prelude no. The first prelude opens with a bang — a very quick bang. Arabesques are very quick, lively and bold.

You can see the top, soprano voice, which is heard above all the other voices, playing a repetitive 2-note pattern over and over. Interwoven in there is the tenor voice, which imitates the same notes as the soprano, but in a different rhythm. I really like the subtitles for this one — the rapid notes, though pretty, feel very uneasy, like being excited but super nervous — much like you would be at a reunion of, say, old friends.

This prelude is very dark and very dissonant, and is generally one of the least favorites of the bunch. One of the harmonic techniques Chopin uses to make this feel really unstable and uneasy is his avoidance of the tonic.

This prelude is in A minor; yet we seldom if ever get the relief of hearing an A minor chord sound. Instead, we start at an E minor chord and work our way down the scale in an off-putting chromatic pattern. This is the most challenging prelude so far, due to the very fast, unrelenting left hand pattern.

That one is all doom and gloom and despair; this one is sunny and warm and open. I find it interesting that the character of these preludes are so different, yet they have some major structural similarities; for example, they both feature a busy left hand with a sparse right hand. But where that one is completely devoid of goodness, this one is more of a sad feeling, and is very musically beautiful. Notice the bass line of the chords slowly drop, little by little. To me, this one calls back to the first prelude with a delicate interlacing of many notes.

You have the challenge of getting the unusual melody to sing out while keeping the inner harmonies soft. Is it light, is it dark? It ends up blending all of these shades together, simultaneous capturing none of them, and all of them. This is another of the simpler preludes, and one of the most famous.

Youtube: No. Alexander Glazunov. Performer Pages Michael Stenov organ. Performer Pages Quinn Mason electronics. Performers MIDI. These file s are part of the Werner Icking Music Collection. Performers midi. Performers Synthesized midi. Editor First edition. Plate Originally scanned at about dpi color, converted to dpi monochrome. The score should get cleaned to get a perfectly reprintable version, but I'm lazy. If I get asked for it from many people I may take the time.

Pub lisher. Paris: Catelin , n. Plate Ad. Editor Series editors. Friedrich Chopin's Werke. Plate C. This file is part of the Sibley Mirroring Project. Editor Herrmann Scholtz Peters , n. Editor Karl Klindworth — I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too small e.

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