 |
Product Search
|
 |
|
Article Search
|
|
|
Resources
| |
|
Home > The Wizard Of Keyboard And Piano Music Chopin
We Have Found 2 Products for your search of The Wizard Of Keyboard And Piano Music Chopin.
Displaying Items 1 - 2:
How To Play Well Known Piano Solos - 'Prelude, Op. 28, No. 15, Sostenuto (Raindrop)' by Chopin by Chris Carlin
Source: 'Well Known Piano Solos - How to Play Them, Charles W. Wilkinson, Theo. Presser Co. 1915'
It is said that during the composer's stay in the island of Majorca in quest of health this prelude, or shall we call it nocturne, was written in a monastery where he lodged on a wet day. The reiterated eighth note depicts the dripping raindrops, perhaps from the eaves of his open window. It is not difficult to conjure up in the memory the impressions of such a wet day; and we may well feel surprise that under depressing circumstances Chopin's music should sing into his ear sweet melody.
By far the more difficult is the left hand work; consequently, it should be diligently studied alone, with the pedal used very carefully. But in the left hand there is an under melody running parallel with the chief theme which needs careful working out. Besides this, a third voice part must be conscientiously studied, not over- or underheld, but as clear as a bass part standing alone. Beneath all this is the persistent drip. Above this, play the sostenuto melody with a full rich tone. Keep strictly to the phrasing, lifting the hand off after each slur, so as to begin each phrase afresh. Make a special study of the ornaments, of which there are three groups, each richer than the last one. They occur only at the fourth measure after the chief theme enters, the last marked smorzando, near the end of the prelude.
In the middle section, where the ever-present note A flat is changed to G sharp, the melodic interest is transferred to the bass. The deep voices of the brethren are heard chanting in two parts in the cloisters. As they approach the composer's window their breath might almost be felt; and as they retire behind the pillars their voices become subdued. The pedal is not marked, but most pianists would avail themselves of its valuable aid to sonority, even when sotto voce. Used twice in the measure just long enough to weld each chord to the next, it is highly advantageous. "The pedal is the breath of the pianoforte." Make your two parts sing like the double file of monks. At the ff, where they are close on the composer, one can almost see one peep curiously from his book toward the open window. Then they go round again, to return once more.
Be careful of your dissonances, B sharp, D sharp, C sharp, after the crescendo. Perhaps you may have to omit a raindrop where A sharp comes in, which will not matter so much as would a false note. Use the pedal here as a trusty friend, not as an excusing apologist. Do not hurry the single notes at the end.
The prelude must be clearly played with a broad, life-like touch and tone, for it is a noble composition, full of humanity.
About the Author
You have just read how to play Prelude No. 15 (Raindrop), by Chopin, but do you have a copy? Go to http://www.free-piano-sheet-music.net/Scores/000034-Prelude_15_Sostenuto.html to download a free copy of 'Prelude No. 15 (Raindrop), by Chopin (http://www.free-piano-sheet-music.net/Scores/000034-Prelude_15_Sostenuto.html)'.This article was brought to you by Christopher Carlin, Founder of Free Piano Sheet Music (http://www.free-piano-sheet-music.net/).
|
