 | Chopin, Frédéric - Prelude in A Major for Cello & Harp Op. 28 No. 7 Violoncelle, Harpe |
VoirPDF : Prelude in A Major (Op. 28 No. 7) for Cello & Harp (1 page - 75.65 Ko)359x⬇ VoirPDF : All (Partie séparée)s (87.23 Ko) MP3 : Prelude in A Major (Op. 28 No. 7) for Cello & Harp 164x⬇ 951x
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| Compositeur : | Chopin, Frédéric (1810 - 1849) | ||||
| Instrumentation : | Violoncelle, Harpe | ||||
| Genre : | Romantique | ||||
| Tonalité : | La majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Copyright © Mike Magatagan | ||||
| Ajoutée par magataganm, 14 Sep 2017 Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s--and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization--far from diminishing the works' expressive power--actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. Chopin reduces mazurka form to a bare minimum in the seventh Prelude (A major, Andantino). Although brief, the listener is provided with as much of that peculiar, refined passion as one finds in the composer's full-blown mazurkas. This prelude No.7 in A major is probably one of the shortest pieces in the set, and it feels like a playful dance tune. It is not surprising therefore that it is one of several piano pieces by Chopin which were adapted and orchestrated by Alexander Glazunov to create the ballet "Les Sylphides". Source: AllMusic (http://www.allmusic.com/composition/prelude-for-piano- no-7-in-a-major-op-28-7-ct-172-mc0002470050) Although originally created for Solo Piano, I created this arrangement of the Prelude in A Major (Op. 28 No. 7) for Cello & Harp. Partition centrale : | No. 7: Prélude en La majeur (12 partitions) | | |||
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