Salvatore Sorice

The ironic difficulty in playing and interpreting this Prelude lies in its utter simplicity. Although it is one of the shortest Preludes and very easy to 'play', it takes great care to bring out the subtle beauty of the piece. Chopin was known for his exquisite, controlled, and delicate touch — and this Prelude requires a deep understanding of that concept in order to bring it to life.

The emotion in this Prelude is undeniable. A hauntingly simple melody is accompanied by descending chromatic chords, creating a dark, ominous mood. After a brooding and elegant display of despair, the piece climaxes (a dying breath?), then fades to a quiet, inevitable ending. Chopin's handwritten manuscript has the marking smorzando for the last few measures, which means 'dying away'.

This is one of the pieces that Chopin requested be played at his funeral.

This Prelude is best described as an elegy (song of lament). Its unique characteristics include a whispering repeated note in the right hand above an achingly poignant cello-like melody. It is the only Prelude where the left hand carries the melody.

George Sand, who was living with Chopin when the Preludes were completed in 1839, wrote that this Prelude was written one evening while rain was falling (which she felt was depicted by the repeated right hand notes) and that '… it precipitates the soul into a frightful depression.'

This piece was also played at Chopin's funeral.

This elegant, dance-like Prelude has multiple lovely voices in the right hand and an equally superb voice in the left. It also has an ingenious rhythmic pattern (6/8 but with a 'taste' of 3/4) that even non-musicians will find irresistibly infectious and likely to induce foot tapping along with the music.

This is one of the more unusual Preludes, featuring rapid, tumbling cascades of notes in the right hand, which then seem to 'crash' into the secondary idea at the end of each run. Described by some artists as the flight of a moth or of rockets crashing to the ground, it is both unusual and intriguing at the same time.

Though this is the shortest Prelude (only 13 measures), it is one the most recognized. Its genius lies in Chopin's use of big, powerful blocks of chords (with a contrasting quiet middle section), to evoke a somber mood. The blocks of chords are much more effective than a 'melody and accompaniment' approach. Their slow, methodic progression bring to mind the sorrowful plodding of pallbearers carrying a casket.

One of the more unusual (and difficult) of the Preludes. It's an interesting blend of elegant right hand melody and complex, chromatic left hand accompaniment. It has a somewhat joyful, whimsical flavor, but what Chopin intended is unknown. The piece also demonstrates how the nuances and inflections of the human voice influenced Chopin's writing — evidenced by the 'Cantabile' (Italian for songlike) marking at the beginning of the piece and the cello like left hand part in the last measures.

Chopin's most well-recognized, famous Prelude — and the longest. It is unique in that it presents a stark contrast between sections. The first section has a beautiful, though somewhat pensive theme, which becomes a bit darker and more ornamented as it transitions to the dramatic and intense middle part.

Although the two sections may seem completely different, it is Chopin's ingenious use of the same repeating note (even though the key changes), to tie the two together. It's also interesting that the repeated note switches from the left hand in section 1 to the right hand in section 2 — where it becomes more emphasized and threatening.

It is said that Chopin composed this piece while listening to an unrelenting rainstorm, with the repeated note depicting raindrops, which grow increasingly ominous as the 'storm' progresses, before returning to a more peaceful, gentle patter as the 'rain' concludes.

If I had to choose a favorite Prelude this might be it. The first section features a warm, tender melody in the right hand and an absolutely gorgeous left hand part — too beautiful to just be called an 'accompaniment'. Chopin then gives us an equally stunning middle section, featuring a wonderful interplay between the right and left hand voices.

The original melody is then reprised and Chopin adds an additional 'echoing' voice in the upper register towards the end. As if all this were not enough, he gives us a masterful short coda, using snippets of earlier material, to end the piece.

This Nocturne is full of ideas — it's almost like 3 pieces in one. The first section explores the main theme and a contrasting idea, all played in the right hand with a left hand accompaniment.

The piece then transitions to a slightly faster, more dynamic middle section, with both hands having their own distinct parts. The section concludes with a right hand flourish and a chorale like idea that brings us back to the first theme.

Chopin then embellishes mightily on the first theme and gives us a complete surprise — a dramatic change from F Minor to F Major (think 'brighter'), and a series of rapid arpeggios which climb to the very heights of the keyboard, capped off by a gentle cadence and a few arpeggiated 'exclamation points' to close out the piece.

If I had to choose my favorite Chopin piece (which is almost impossible), this would be it. The melody is exquisite, the harmonies breathtaking, the rhythms incredibly complex — I could go on and on. And it's really hard to play, too…

Chopin gives us one simple, but gorgeous, main melody — which he embellishes in endless ways, all supported by a left hand accompaniment of broken chords in a dazzling array of harmonic variations. The piece slowly builds momentum, adding more chromatic ideas to the mix, then gracefully returns to the main theme at about the midway point.

Chopin then gets even more creative. There is a brief foray into another key and alteration of earlier themes, followed by a buildup to a thunderous crescendo and return to the main theme — but this time with force. He then quiets things down and gives us a truly shimmering, dazzling run in the right hand. After a final re-visit of earlier ideas, there is one final swelling crescendo and a powerful cadence, with the right hand making a huge sweep up and down the keyboard.

But he's still not done yet. Next come a series of quiet descending patterns ('tritones'), beautifully embellished on the second pass. The piece culminates with a glorious duet in the right hand, ultimately ascending out of sight — and into heaven…

This piece showcases Chopin's ability to craft a melody which seems to "float" above a beautiful, undulating left-hand accompaniment. The opening section's highly lyrical passages transition to a contrasting, more forceful middle section. The Nocturne concludes with a reprise of the opening material and a poignant ending.

One of Chopin's most popular Nocturnes. The opening features a simple, but beautiful melody that includes wide, graceful leaps in the right hand. This melody is heard four times throughout the piece, and upon each reoccurrence it is varied by increasingly complex ornamentation. An equally lovely, contrasting theme is heard twice during the piece. The Nocturne's pensive tone becomes suddenly passionate near the end, culminating with a striking right-hand sequence that leads to a calm, quiet ending.

This may be the most widely recognized melody on the planet. This Funeral March was actually written 2 years before the rest of the Piano Sonata No. 2 in B Flat Minor Sonata — Chopin hand dated the manuscript March 28, 1837. Some say it is of patriotic origin, the date coinciding with the eve of the November Uprising in Poland (a rebellion against Russian control).

There are also Chopin's own words that describe an experience he had when playing the entire Sonata at a gathering: '… [I] was just about to start the [funeral] march, when suddenly I saw apparitions that had appeared to me one evening in the Chartreuse [on Majorca]. I had to go out for a moment to collect myself, after which, without a word, I played on.' — Chopin to Solange, Johnston Castle, September 1848

Along with this first-hand account and the numerous citations by George Sand about Chopin's frequent hallucinations (likely health related), it may be more likely that this piece embodied Chopin's oft-cited preoccupation with death.

If so, I think the middle section of the March (which is much less known) is nothing less than a depiction of arriving in heaven. After such a dire and macabre first section, we are transported to a truly serene place. The breathtaking melody, floating above a comforting, whispering accompaniment, just gushes with emotion. Joy? Relief? Retrospect? I guess it's up to the listener to decide.

After the hauntingly beautiful middle section, Chopin returns us to the inescapable Funeral March — perhaps to remind us all of the inevitable…

Ludwig van Beethoven (1770–1827). This is one of Beethoven's most recognizable works. It is the first movement of a three movement Sonata, published in 1802. Beethoven originally named this piece 'Sonata quasi una fantasia', which roughly translates to 'almost a fantasy'. Rumors abound as to Beethoven's meaning behind the name — one being that he was in love with the 17 year old student to whom he dedicated it (Countess Giulietta Guicciardi) but, since she was from a wealthy and privileged family, Beethoven could only fantasize about being with her.

The title 'Moonlight Sonata' was coined by the poet Ludwig Rellstab who, in 1832, likened it to moonlight shining over Lake Lucerne. Beethoven never directly stated his inspiration for this piece, but his handwritten notes on the manuscript — and the solemn key of C Sharp Minor — allude to it being closer to a funeral hymn. Rumors aside, the melodic beauty and gorgeous harmonies of this movement have very peaceful and meditative qualities.

Johann Sebastian Bach (1685–1750) Well-Tempered Clavier, which consists of 24 Preludes and Fugues (one in each major and minor key), has often been called the 'Old Testament' of piano music. This is the first Prelude.

The piece is unique in that it does not contain a melody — only a series of broken chords. Its soothing quality and outward simplicity belie the ingenious underlying structure of the piece, making it easy to listen to (or play) countless times without ever tiring of it.

Claude Debussy (1862–1918). Clair de lune (French for 'moonlight') is based on a poem of the same title by French poet Paul Verlaine. This piece, one of Debussy's most famous works, highlights his exceptional genius in crafting music in the style of 'Impressionism' (a classification he actually disliked). Debussy's rich melodies and intricate harmonies influenced countless future composers in many genres, from classical to jazz.

Lush, unique harmonies combine with hauntingly beautiful melodic ideas to create an almost dreamlike state in the opening part. Debussy then uses practically the entire range of the piano in the middle section, taking the listener on a sonic adventure before returning to the main idea with an exquisite harmonic 'twist' (at 4:07 — hear it?), before gently fading away into the night…

Claude Debussy (1862–1918), although he hated the accolade, is considered the founder of musical Impressionism. His compositions outline the transition from late-Romantic music to the more modern styles of the 20th Century.

Debussy was quite unique in his use of lush, intricate and often striking harmonies — which were frequently the focus of attention, instead of being just background for a melody. He also tended to avoid having his pieces strictly centered around one key, often using dissonant and ambiguous harmonies to evoke mood and feeling.

Debussy's Préludes were composed late in his life (1910–1913) and showcase a fully matured writing style. Interestingly, Debussy put the title at the end of each Prélude, so as to not give the listener any preconceived ideas about the nature of the work.

This Prélude, titled Bruyères (French for the purple flower Heather), paints a sonic picture of a lush, rural landscape. Bird-like sounds can be heard throughout the piece. The middle part is marked joyeux (joyous) by Debussy — a feeling well conveyed in the section. The piece ultimately returns to the initial theme, gently repeated an octave higher, and ends with sublime harmonies which resolve into a graceful ending.

Franz Liszt (1811–1886) is often cited as the greatest piano virtuoso of all time. From 1839 to 1847, his virtuoso career set a new standard in the history of technical artistry — and as the first artist to perform solo concerts to huge audiences in large concert halls, he forever changed the way recitals were staged. In addition to being a breathtaking performer, Liszt excelled equally at composition. His piano works are among the most spectacular ever written.

Liszt wrote many sublime and lyrical pieces, including his six "Consolations," published in 1850. Consolation No. 3 in D Flat Major reveals a contemplative Liszt. Written during a difficult time in his personal life, it seems to reflect a sweet, but secret sorrow. The exquisite melody is finely counterbalanced by a subdued, pulsating accompaniment.

Sergei Rachmaninoff (1873–1943) possessed incredible pianistic technique and enormous power. He lived during the age of sound recording and there are several examples of him performing his own works. He may have had the largest hands of any pianist known — with his left hand, he was able to play the chord C/E♭/G/C/G (a stretch of over 10" from thumb to pinky!). Rachmaninoff was also a greatly skilled composer, writing works for piano, orchestra and voice.

His Prélude in C sharp minor is one of his most famous compositions, written when the artist was just 19 years old. It became so popular that it was ultimately just known as "The Prélude." Rachmaninoff played it at almost every performance during his career.

The instantly recognizable opening — a three-note descending motif — introduces the dark, grim tonality of the Prélude and is repeated throughout the work. The middle part is an increasingly agitated section that ultimately builds to a descending chromatic climax which leads back to the main theme, this time punctuated by fistfuls of huge, thunderous chords. The final section is written on four staves (instead of the normal two) to accommodate the sheer volume of notes. The piece concludes with a brief, quiet coda.

After a 20+ year hiatus from composing, this piece was written in 2007 as a wedding gift for my bride.

The work is set in the form of a Nocturne and explores a wide range of emotions. It begins with a contemplative initial theme, which is repeated and embellished. The middle section portrays arriving at a peaceful and joyous destination. In the final section, the initial theme returns with a companion voice joining in and, symbolically, ends with just two harmonious voices.