112 Preludes, Op.16

All the preludes and études including many perfectly spun miniatures. Edited by K. N. Igumnov and Y. I. Mil'shteyn. Content : PRELUDES Op. 2, No. 2 in B Major For the Left Hand, Op. 9, No. 1 in C Sharp Minor 24 PRELUDES, OP. 11 Part I No. 1 in C Major No. 2 in A Minor No. 3 in G Major No. 4 in E Minor No. 5 in D Major No. 6 in B Minor Part II No. 7 in A Major No. 8 in F Sharp Minor No. 9 in E Major No. 10 in C Sharp Minor No. 11 in B Major No. 12 in G Sharp Minor Part III No. 13 in G Flat Major No. 14 in E Flat Minor No. 15 in D Flat Major No. 16 in B Flat Minor No. 17 in A Flat Major No. 18 in F Minor Part IV No. 19 in E Flat Major No. 20 in C Minor No. 21 In B Flat Major No. 22 in G Minor No. 23 in F Major No. 24 in D Minor SIX PRELUDES, OP. 13 No. 1 in C Major No. 2 in A Minor No. 3 in G Major No. 4 in E Minor No. 5 in D Major No. 6 in B Minor FIVE PRELUDES, OP. 15 No. 1 in A Major No. 2 in F Sharp Minor No. 3 in E Major No. 4 in E Major No. 5 in C Sharp Minor FIVE PRELUDES, OP. 16 No. 1 in B Major No. 2 in G Sharp Minor No. 3 in G Flat Major No. 4 in E Flat Minor No. 5 in F Sharp Major SEVEN PRELUDES, OP. 17 No. 1 in D Minor No. 2 in E Flat Major No. 3 in D Flat Major No. 4 in B Flat Minor No. 5 in F Minor No. 6 in B Flat Major No. 7 in G Minor FOUR PRELUDES, OP. 22 No. 1 in G Sharp Minor No. 2 in C Sharp Minor No. 3 in B Major No. 4 in B Minor TWO PRELUDES, OP. 27 No. 1 in G Minor No. 2 in B Major FOUR PRELUDES, OP. 31 No. 1 in D Flat Major/C Major No. 2 in F Sharp Minor No. 3 in E Flat Minor No. 4 in C Major FOUR PRELUDES, OP. 33 No. 1 in E Major No. 2 in F Sharp Minor No. 3 in C Major No. 4 in A Flat THREE PRELUDES, OP. 35 No. 1 in D Flat Major No. 2 in B Flat Major No. 3 in C Major FOUR PRELUDES, OP. 37 No. 1 in B Flat Minor No. 2 in F Sharp Major No. 3 in B Major No. 4 in G Minor FOUR PRELUDES, OP. 39 No. 1 in F Sharp Major No. 2 in D Major No. 3 in G Major No. 4 in a Flat Major Op. 45, No. 3 in E Flat Major FOUR PRELUDES, OP. 48 No. 1 in F Sharp Major No. 2 in C Major No. 3 in D Flat Major No. 4 in C Major Op. 49, No. 2 in F Major Op. 51, No. 2 in A Minor Op. 56, No. 1 in E Flat Major Op. 59, No. 2 TWO PRELUDES, OP. 67 No. 1 No. 2 FIVE PRELUDES, OP. 74 No. 1 No. 2 No. 3 No. 4 No. 5 ETUDES Op. 2, No. 1 in C Sharp Minor TWELVE ETUDES, OP. 8 Part 1 No. 1 in C Sharp Major No. 2 in F Sharp Minor No. 3 in B Minor No. 4 in B Major No. 5 in E Major No. 6 in A Major Part II No. 7 in B Flat Minor No. 8 in A Flat Major No. 9 in G Sharp Minor No. 10 in D Flat Major No. 11 in B Flat Minor No. 12 in D Sharp Minor EIGHT ETUDES, OP, 42 No. 1 in D Flat Major No. 2 in F Sharp Minor No. 3 in F Sharp Major No. 4 in F Sharp Major No. 5 in C Sharp Minor No. 6 in D Flat Major No. 7 in F Minor No. 8 in E Flat Major Op. 49, No. 1 in E Flat Major Op. 56, No. 4 THREE ETUDES, OP. 65 No. 1 No. 2 No. 3

Kapustin’s Twenty-Four Preludes op.53 were written in 1988. Clearly influenced by Chopin in their key scheme and brevity they present us with a great variety of jazz styles: blues (prelude 11) ballad (5 & 9) jazz waltz (18) swing (17 & 19) jazz funk (7 & 12) and even an allusion to Take Five (13). In many of them the composer states a theme and then “improvises” a new melody over the underlying chord structure. The whole set projects an ebullient spontaneity and it is fast becoming one of Kapustin’s most popular works. The composer himself performing no. 11:

During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op.135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation sound and balance.

Chopin was the only great composer who wrote almost entirely for the piano and his works are of such a uniformly high quality that they are all absolutely essential in the repertoire of any aspiring pianist. The Preludes and Etudes are exquisitely beautiful examples of his genius. They are reproduced here from the authoritative Mikuli edition and available in this one-volume publication.

Five preludes arranged for piano duet by Russell Denwood. Preludes Op 3 No. 2, Op 23 Nos. 3, 5, 6, Op 32 No. 3.

5 préludes au silence (13') (8e) (collection vent de sax) pour quatuor de saxophones (aatb) (partition et parties). Par Vasseur aux éditions Leduc. Partition / Livre de chansons pour Saxophone

Cette partition LES SONS ET LES PARFUMS TOURNENT DANS L'AIR DU SOIR (EXTRAIT DES PRELUDES LIVRE I) de Debussy Claude a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB7340. Cette oeuvre d'une durée de 00:02:40 est idéale pour les musiciens pratiquant Saxophone. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Saxophone En Mib Et Piano / Partition

Gregory Stone has transcribed these three selected preludes for one piano-four hands. For much of his life George Gershwin sought to integrate the worlds of jazz and classical music. These pieces are not jazz improvisations but they do show something of the style of his own playing. Gershwin had intended to compose a set of twelve a sort of jazz Wohltemperierte Clavier but his unexpected death from a brain tumour at the age of 38 prevented this. At least seven survive (others may have ended up as songs) and this set of three as published form a satisfying unit. The first opens with a blue-note riff which forms the basis of the first theme.Contrasting material follows making use of a distinctive repeated note figure then the first idea reappears in a quasi-orchestral climax. The second prelude shows a curious kinship with Chopin???s A minor Prelude with its eerie accompaniment and hypnotic melody. The third exploits a similar major/minor ambivalence but dextrous syncopation gives it driving rhythmic energy.

Bach: Complete Organ Works Vol. 7 Orgelbüchlein - with CD-ROM - ed. by Sven Hiemke Of great practical value ?This edition has everything it takes to replace the Griepenkerl edition for practical music-making,? opined Rainer Goede (in ?kirchmusik.de?) immediately after the release of Volumes 5 and 6. If such a high degree of practical value is attested to these two volumes, then Volume 7 can proudly claim to have the highest practical value of all, since it has the greatest scope of all the volumes. After all, no organist can do without the basic repertoire of the 45 chorale preludes. Edited by Sven Hiemke, the book offers the best possible prerequisites for everyday use. The musical text is as faithful to the sources as possible, and it preserves Bach?s graphic idiosyncrasies in the beaming of eighth notes and sixteenth notes. Furthermore, the chorales are reproduced on three staves, which is fully in keeping with the practice of the Bach era ? but not with the source, however, since the composer himself notated the pieces of the ?Orgelbüchlein? on two staves, either for reasons of economy or for lack of space. The enclosed CD-ROM contains early versions and anonymous arrangements which should encourage organists to explore this repertoire in greater depth.