Rachmaninoff 10 Preludes Op.23 No.9 23-9 Presto E flat minor 拉赫曼尼諾夫 前奏曲 ラフマニノフ Score Sheet 譜 【Kero】

【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Rachmaninoff 10 Preludes Op.23
No.9 23-9 Presto in E flat minor
拉哈曼尼諾夫 拉赫曼尼諾夫 10首 前奏曲 作品23
拉哈曼尼诺夫 拉赫曼尼诺夫 10首 前奏曲 作品23
Rajmáninov Los Diez preludios Op.23
ラフマニノフ 10の 前奏曲 作品23
piano 鋼琴 钢琴 ピアノ
Classical music Música clásica クラッシック 古典音樂 古典音乐
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Rachmaninoff 10 Preludes Op.23
No.1 23-1 Largo in F sharp minor
No.2 23-2 Maestoso in B flat major
No.3 23-3 Tempo di minuetto in D minor
No.4 23-4 Andante cantabile in D major
No.5 23-5 Alla marcia in G minor
No.6 23-6 Andante in E flat major
No.7 23-7 Allegro in C minor
No.8 23-8 Allegro vivace in A flat major
No.9 23-9 Presto in E flat minor
No.10 23-10 Largo in G flat major

Ten Preludes, Op. 23, is a set of ten preludes for solo piano, composed by Sergei Rachmaninoff in 1901 and 1903. This set includes the famous Prelude in G minor.
Together with the minor, Op. 3/2 and the 13 Preludes, Op. 32, this set is part of a full suite of 24 preludes in all the major and minor keys.
Op. 23 is composed of ten preludes, ranging from two to five minutes in length. Combined, the pieces take around thirty minutes to perform.
Rachmaninoff completed Prelude No. 5 in 1901. The remaining preludes were completed after Rachmaninoff's marriage to his cousin Natalia Satina: Nos. 1, 4, and 10 premiered in Moscow on February 10, 1903, and the remaining seven were completed soon thereafter. 1900–1903 were difficult years for Rachmaninoff and his motivation for writing the Preludes was predominantly financial. Rachmaninoff composed the works in the Hotel America, financially dependent on his cousin Alexander Siloti, to whom the Preludes are dedicated.
Rachmaninoff's Ten Preludes abandon the traditional short prelude form delineated by composers such as Bach, Scriabin, and Chopin. Unlike Chopin's set, some half-page musical fragments, Rachmaninoff's Ten Preludes last for several minutes each, expanding into complex polyphonic forms with musically independent sections. The pieces perhaps represent a culmination of the Romantic idiom. The set reflects Rachmaninoff's experience as a virtuoso pianist and master composer, testing the "...technical, tonal, harmonic, rhythmic, lyrical, and percussive capabilities of the piano."
The popular minor, Op. 3, No. 2 perhaps unfairly eclipses the Op. 23 Preludes. Rachmaninoff remarked, "...I think the Preludes of Op. 23 are far better music than my first Prelude, but the public has shown no disposition to share in my belief...." The composer never played all of the Preludes in one sitting, preferring to cycle through a rotating mix of his favorites. Nonetheless, certain characteristics of the work, such as the recurrence of stepwise motion, common chords between adjacent preludes, and the bookended relationship between the first and last preludes (both marked Largo, with the latter in the parallel major of the former) suggest that the works could be played as a set. Together with Op. 32 and Op. 3, Rachmaninoff's Preludes represent all twenty-four major and minor keys.
From a performance standpoint, the ten Op. 23 Preludes exhibit wide variations in difficulty. Nos. 1, 4, 5, and 10 are conceivably in reach of the "advanced-intermediate" pianist, while the endurance and dexterity demanded by nos. 2, 3, 6, 7, 8, and – above all – 9, require more advanced skill. Nonetheless, even the "easier" preludes present subtle interpretive challenges in counterpoint, dynamic control, and timing, putting true mastery of the pieces out of reach to all but those with virtuosic skill.