![]() ![]() Many others recorded outstanding interpretations of the preludes, including Nikolai Lugansky and Van Cliburn. These works are available on various types of media. Towards the end of the Prelude, an emphasis is placed on the sixteenth note accompaniment, which expands into two hands, rising upward in a chromatic pattern to the finish.Īlexis Weissenberg as well as Boris Berezovsky have recorded all the preludes written by Rachmaninoff. A repetition of the theme occurs at measure 21, and then is drastically simplified.Īn exchange of ascending and descending chromatic sequences occurs at measures 31 and 32, offset contrapuntally by the changes of the primary theme. The theme is varied in measures 9–20 in G minor, F, E flat, A flat, F, and G. Measures 1–9 establish the theme – a parallel period with a cadence in G minor – that continues throughout the piece. 23 A virtuoso showpiece that’s curiously unheralded among the composer’s piano works, this prelude is distinguished by a quick run of sixteenth. The prelude is a serially reoccurring set of repetitions and variations. Sergei Rachmaninoff Track 7 on Preludes, Op. An extended sixteenth note accompaniment is offset by a three note reoccurring melodic germ in the right hand. ![]() The E-flat major Prelude is written in a variation form. It is part of Rachmaninoff's Ten Preludes, Op. 6 is a 1903 composition by Sergei Rachmaninoff. A three note melodic germ in the treble line repeats throughout the piece. ![]()
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