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While the form of this Prelude may at first appear to be ternary, the actual structure is in fact a distorted version of strict ternary form. The A section is a single phrase at measures 1–16 which repeats in measures 16–32. The sixteenth-note figure that spreads throughout the work is introduced in measure 1 over a tonic pedal point.
Allegro, C minor, ends in C major, variation form with the fifth variation (in E-flat major) augmented. The minuet is a canon. The oboes carry the melody with the bassoons answering one bar later. The trio is also canonic with the response to the melody played upside down. [1] The finale is a set of variations containing a central episode in E ...
Piano Trio in C minor, MWV Q3 (Mendelssohn) Piano Trio No. 1 (Shostakovich) Piano Trio No. 2 (Mendelssohn) Piano Trio No. 3 (Brahms) Piano Trios, Op. 1 (Beethoven) Polonaises Op. 40 (Chopin) Pomp and Circumstance Marches; Popoli di Tessaglia! Prelude and Fugue in C minor, BWV 546; Prelude and Fugue in C minor, BWV 847; Prelude and Fugue in C ...
The second piece, in F major, followed on 22–25 November, also contains a slower portion coupled with a quick section. No. 3, in C minor, took more than a month to compose, dated from 3 December 1886 to 12 January 1887. With a chordal texture spread over the entire keyboard, it is reminiscent of the music of Robert Schumann. [5]
The ending, a coda in Prestissimo (very quick), = 116, is a final, sweeping reiteration of the theme that closes in a heavy E minor chord, [14] which revisits Rachmaninoff's preoccupation with bell sounds, prominent in his Piano Concerto No. 2 and Prelude in C ♯ minor (Op. 3, No. 2).
The second movement is a tempestuous scherzo (ternary form) in compound duple meter in C minor, the same key as the first movement. Donald Francis Tovey argues that Brahms puts the scherzo in the same key as the first movement because the first movement does not sufficiently stabilize its own tonic and requires the second movement to "[furnish] the tonal balance unprovided for by the end of ...
Шопена, Variatsii na temu F. Shopena), Op. 22, is a group of 22 variations on Frédéric Chopin's Prelude in C minor (Op. 28, No. 20), composed by Sergei Rachmaninoff in 1902–03. In the first edition, it is noted that 3 of the variations and the final Presto section can be omitted if the performer wishes.
The prelude continues like so for 33 bars, with different harmony and changes of key.The coda begins at the 34th bar, where a sudden change of texture and tempo occurs. In the first bar of the coda, an arpeggiated chord is followed by a rapid succession of thirty-second notes.