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In 1901, Rachmaninoff wrote his Prelude in G minor.This was not published until he had completed nine more preludes in 1903, the set of 10 becoming his Op. 23. These were all in different keys, none of which was C ♯ minor, but it is not known whether he fully intended by this time to eventually complete the full complement of 24 preludes in different keys, to emulate earlier examples by Bach ...
Étude in D-sharp minor, Op. 8, No. 12, is an étude for piano composed by Alexander Scriabin in 1894. [1] Its technical challenges include numerous jumps in the left hand, repetitive chord strikes, and abundant octaves.
To indicate the specific place of a given work within a music catalogue, the opus number is paired with a cardinal number; for example, Beethoven's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed Moonlight Sonata) is "Opus 27, No. 2", whose work-number identifies it as a companion piece to "Opus 27, No. 1" (Piano Sonata No. 13 in E-flat ...
The piano part develops from free composition (movement 1) to following the orchestra using a parallel chart (movement 2) and then to sharing the same chart with the orchestra (movement 3). Piano preparation in the Concerto is rather complex and involves, among other things, a moveable plastic bridge that makes possible microtonal effects. [42]
Prelude and Fugue in C sharp Major, BWV 848, is a keyboard composition written by Johann Sebastian Bach. It is the third prelude and fugue in the first book of The Well-Tempered Clavier , a series of 48 preludes and fugues by the composer.
Erich Wolfgang Korngold composed his Piano Concerto for the Left Hand, Op. 17, in C-sharp. The Allegro de concierto by Spanish composer Enrique Granados is written in C-sharp major. Canadian composer and pianist Frank Mills originally wrote and performed his instrumental hit " Music Box Dancer " in C-sharp major; however, most modern piano ...
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Cage frequently cited Henry Cowell (1897–1965) as the primary inspiration for the prepared piano. [3] Cowell pioneered piano extended techniques for what he dubbed "string piano", involving reaching inside the piano and plucking, sweeping, scraping, thumping, and otherwise manipulating the strings directly, rather than using the keyboard.
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