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The Prelude Op. 28, No. 16, the "Hades" prelude, by Frédéric Chopin, [1] is considered by many to be the most difficult of the Chopin preludes. [2] Hans von Bülow dubbed this prelude "Hades." It was composed between 1836 and 1839, published in 1839 and dedicated to Camille Pleyel who commissioned the opus 28 preludes for 2,000 francs. [3]
Chopin's 24 Preludes, Op. 28, are a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, mostly in Paris, but partially at Valldemossa, Mallorca, where he spent the winter of 1838–39 and where he, George Sand, and her children went to escape the damp Paris weather. [1]
The Prelude Op. 28, No. 15, by Frédéric Chopin, known as the "Raindrop" prelude, is one of the 24 Chopin preludes. It is one of Chopin's most famous works. [1] Usually lasting between five and seven minutes, this is the longest of the preludes.
These sets typically consist of 24 pieces, one for each of the major and minor keys (sets that comprise all the enharmonic variants include 30 pieces). Examples include Johann Sebastian Bach's The Well-Tempered Clavier and Frédéric Chopin's 24 Preludes, Op. 28. Such sets are often organized as preludes and fugues or designated as preludes or ...
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Mieczysław Tomaszewski in his description of the piece for the Frederick Chopin Institute speculates, without providing a source that the composition may have been intended for the Op. 28 Preludes and was rejected by the composer in favour of the prelude that became Op. 28, No. 17.
Frédéric François Chopin [n 1] (born Fryderyk Franciszek Chopin; [n 2] 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period, who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique ...
The prelude was originally written in two sections of four measures, ending at m. 9. Chopin later added a repeat of the last four measures at a softer level, with an expressive swell before the final cadence. [1] In addition, the prelude uses lament bass in two of the three sections, a technique commonly used to denote sadness or sorrow.