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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.
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See also 24 Preludes, Op. 34 (1932–33). In both these cases, Shostakovich adhered to Chopin's order of keys, although he was greatly influenced by Bach's The Well-Tempered Clavier and even quoted parts of that work in Op. 87. Richard Flury: 24 Preludes: piano 1952 First performance Eugen Huber, 15 March 1956 in Solothurn. [171] Tatiana Nikolayeva
The Prelude Op. 28, No. 20, in C minor by Frédéric Chopin has been dubbed the "Funeral March" by Hans von Bülow but is commonly known as the "Chord Prelude" due to its slow progression of quarter note chords. [1] It was written between 1831 and 1839. [2] The prelude was originally written in two sections of four measures, ending at m. 9.
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 ...
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.