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Performer Pages Stefano Ligoratti piano. Performers MIDI. Pub lisher. Holograph manuscript, n. Editor First edition. 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. You may ask me for a manually cleaned version. Editor Eberhardt Klemm Plate E. Editor Ray Alston.
A creative and critical new centenary edition including sostenuto pedal and practical performance suggestions. Arranger Jakub Kowalewski. Arranger Kemble Stout Composition Notes on the K. Stout Arrangement. Arranger Yussef Rios. Arranger Shin-Itchiro Yokoyama. Walter Morse Rummel , piano complete. Early 20th century.
Classical Music | Piano Music
Unlike some notable collections of preludes from prior times, such as Chopin's Op. Each book was written in a matter of months, at an unusually fast pace for Debussy. There is no proof that Debussy necessarily intended the preludes to be performed as a cycle, although the musical language throughout each book is so consistent that performers usually do so. This allows performers to choose preludes with which they have the strongest affinity, or those to which their individual interpretive gifts are most suited. There is a strong tonal relationship between the preludes that suggests that the published order of the preludes is not arbitrary. However, the order of the preludes is not considered imperative, as is the case with Chopin's preludes , for example. The first complete recording of both sets was made in England in by the South African pianist Adolph Hallis.
Préludes, Livre 2 (Debussy, Claude)
Claude Debussy composed his two books of preludes during a remarkably brief period—the first, between December and February ; and the second, during roughly the same period in Debussy, in keeping with the artistic philosophy of his day, also composed each prelude with specific scene or image in mind. Yet, to partially disguise these intents from the listener and to allow his audience to discover them of their own accord, Debussy craftily placed his titles at the end of each prelude. Performance practice of the preludes varies. Early performances, even by Debussy himself, established a precedent of grouping the prelude in threes or fours, allowing performers to pick those in which they perhaps are most comfortable. However, some performers also choose to perform each book in their entirety.