Frederick Niecks says that the prelude "rises before one's mind the cloistered court of the monastery of Valdemosa, and a procession of monks chanting lugubrious prayers, and carrying in the dark hours of night their departed brother to his last resting-place. Peter Dayan points out that Sand accepted Chopin's protests that the prelude was not an imitation of the sound of raindrops, but a translation of nature's harmonies within Chopin's "génie". 15, because of the repeating A flat, with its suggestion of the "gentle patter" of rain. Sand did not say which prelude Chopin played for her at that time. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds." ![]() He protested with all his might – and he was right to – against the childishness of such aural imitations. He was even angry that I should interpret this in terms of imitative sounds. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. In her Histoire de ma vie, Sand told how one evening she and her son Maurice, returning from Palma, Majorca, in a terrible rainstorm, found a frantic Chopin who cried, "Ah! I knew well that you were dead." While playing his piano he had a dream: Some of the Preludes were written during Chopin and George Sand's stay at a monastery in Valldemossa, Majorca in 1838.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |