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Les préludes ("Preludes" or "The Beginnings"), S.97, is the third of Franz Liszt's thirteen symphonic poems. The music was composed between 1845 and 1854, and began as an overture to Liszt's choral cycle Les quatre élémens (The Four Elements), then revised as a stand-alone concert overture, with a new title referring to a poem by Alphonse de ...
Debussy dated this prelude December 27, 1909, a day after he wrote Les collines d'Anacapri. [5] Critical music writer Victor Lederer states how the dates Debussy wrote at the top of some of his preludes are more likely the date he completed the pieces rather than the day he started writing them, given that some of them were quite long and musically complex. [6]
Harmonies poétiques et religieuses (Poetic and Religious Harmonies), S.173, is a cycle of piano pieces written by Franz Liszt at Woronińce (Voronivtsi, the Polish-Ukrainian country estate of Liszt's mistress Princess Carolyne von Sayn-Wittgenstein) in 1847, and published in 1853.
La fille aux cheveux de lin (French: [la fij o ʃəvø də lɛ̃]) is a musical composition for solo piano by French composer Claude Debussy.It is the eighth piece in the composer's first book of Préludes, written between late 1909 and early 1910.
Ce qu'a vu le vent d'ouest is one of three undated preludes in Book I by Claude Debussy (pictured). Ce qu'a vu le vent d'ouest ("What the west wind saw") is a musical composition by French composer Claude Debussy. It is the seventh piece in the composer's first book of Préludes, written between late 1909 and early
In most cases the lyrics were in German or French, but there are also some songs in Italian and in Hungarian. A single song, "Go not, happy day" after Alfred Tennyson, is in English. In several cases, Liszt took lyrics which were also set to music by Schumann. Examples are the songs "Am Rhein, im schönen Strome", "Morgens steh ich auf und ...
This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces in accordance with the image that he intended to evoke, such as in the case of La Mer, "Des pas sur la neige", or "Jardins sous la pluie".
Pentatonic scale in Debussy's "Voiles", Préludes, Book I, no. 2, mm. 43–45. [5] If interpreting the movement in light of "veils", the eerie, mysterious mood of the A section sounds veiled. The clearer, more open sound of the B section generates an impression that the veil is removed, but returns for the A′ section.