![]() ![]() The challenge of this piece is to keep interest with so much repetition. This study offers us great control of our left hand, while projecting a repetitive monophonic melody. No 4Ī piece of depression, with a grand cry for help only to be defeated. This study offers us an introduction to fundamental harmonic knowledge in minor and a great way to vent agony, distress, frustration, annoyance, etc. No 20Įxtremely dramatic, with very simple harmonic movement in C minor. The key to this study is learning and playing with simplicity. This piece is as simple as it gets, and in result it is easy to express in an over dramatic way. Technically the easiest prelude, but quite emotionally challenging. He would often tell his students,Īnd would require his students to go and see many operas and other vocal recitals. Everything is based around singing, which in his opinion is the most important aspect for a musician. Liszt, and many other contemporaries, believed that exercises should be repeated until one is completely exhausted and incapable of going on, and that technique and composing are based around a symphonic sound.Ĭhopin, on the other hand, believed that technical exercises where a waste, and that all technique can be learned through scales, arpeggios, and repertoire. However, Chopin loathed Liszt's playing, and was overall disgusted by his philosophy on piano pedagogy. CHOPIN RAINDROP PRELUDE DOWNLOADHe admired Chopin tremendously, so much so he wrote the 300 page biography, “Life of Chopin” which you can download for free! One of them being the greatįranz Liszt, who many argue was the greatest pianist of all time. Frederick Niecks says that in the middle section of the prelude there "rises before one's mind the cloistered court of the monastery of Valldemossa, and a procession of monks chanting lugubrious prayers, and carrying in the dark hours of night their departed brother to his last resting-place.There were other pedagogical methods during his time. However, Peter Dayan points out that Sand accepted Chopin's protests that the prelude was not an imitation of the sound of raindrops, but a translation of nature's harmonies within Chopin's "génie". 15, because of the repeating A ♭, with its suggestion of the "gentle patter" of rain. Sand did not say which prelude Chopin played for her on that occasion, but most music critics assume it to be no. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. He protested with all his might – and he was right to – against the childishness of such aural imitations. He was even angry that I should interpret this in terms of imitative sounds. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. In her Histoire de ma vie, Sand related how one evening she and her son Maurice, returning from Palma in a terrible rainstorm, found a distraught Chopin who exclaimed, "Ah! I knew well that you were dead." While playing his piano he had a dream: Some, though not all, of Op. 28 was written during Chopin and George Sand's stay at a monastery in Valldemossa, Mallorca in 1838. ![]()
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