
Chopin Selected Preludes
Chopinās name is forevermore connected with the piano. He was a fabulous pianist, improviser, and, of course, composer with a very unique, personal style that is characterized by a sense of rubato, allusions to Polish folk music, grace and melancholy contrasted by virtuosity, pride and herioc gestures. No other cycle of works wields such an appeal as his "PrĆ©ludes op. 28". He completed them shortly before his 29th birthday, while spending a winter in Mallorca with George Sand and her children.
This collection of nine "PrĆ©ludes" appears as part of a series of popular works from the BƤrenreiter catalogue celebrating the 100th anniversary of the publishing house. The complete Urtext edition of the "PrĆ©ludes op. 28", which includes the "PrĆ©lude op. 45" (BA09610), offers Chopin's own fingerings and those of his pupils as well as supplementary historically-informed fingerings and notes on historical performance practice, specifically on the use of the pedal, ornamentation, "finger pedalingā, latent polyphony (cantilena), dynamics, rubato and tempo.
Contents
Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
Chopinās name is forevermore connected with the piano. He was a fabulous pianist, improviser, and, of course, composer with a very unique, personal style that is characterized by a sense of rubato, allusions to Polish folk music, grace and melancholy contrasted by virtuosity, pride and herioc gestures. No other cycle of works wields such an appeal as his "PrĆ©ludes op. 28". He completed them shortly before his 29th birthday, while spending a winter in Mallorca with George Sand and her children.
This collection of nine "PrĆ©ludes" appears as part of a series of popular works from the BƤrenreiter catalogue celebrating the 100th anniversary of the publishing house. The complete Urtext edition of the "PrĆ©ludes op. 28", which includes the "PrĆ©lude op. 45" (BA09610), offers Chopin's own fingerings and those of his pupils as well as supplementary historically-informed fingerings and notes on historical performance practice, specifically on the use of the pedal, ornamentation, "finger pedalingā, latent polyphony (cantilena), dynamics, rubato and tempo.
Contents













