Preludio - Forsblad

A thematically derived work developed fugally, ascending to climactic moments, and then subsiding in melodious contrast. This serious contest oriented piece ends with an extended ostinato.

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Preludio - Rob Goorhuis

Goorhuis' atmospheric Preludio - a small piece he wrote as a commission from his publishing house which also distributes his music- was chosen as a serene interlude for the CD Les Marteaux de la Marine. Preludio breathes a natural calm and offers the listener the full gamut of wondrous sonorities which have distinguished and endeared the wind-band to audiences all over the world. Speciaal voor de CD Les marteaux de la marine componeerde Goorhuis het sfeervolle Preludio als rustpunt op de CD. Preludio ademt een natuurlijke rust uit en biedt de luisteraar een prachtig scala aan klanken, welke het harmonie-orkest zo karakteristiek en geliefd maakt. Kleurrijkge?nstrumenteerd, gebaseerd op eenvoud en daardoor een juweeltje op het concertprogramma.

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Preludio Alfetto - Balissat

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Preludio all' atto I - Giuseppe Verdi

Ernani (1844), Giuseppe Verdi's fifth opera, is based on the homonymous tragedy by Victor Hugo. Verdi's success with Ernani, as well as Nabucco and I lombardi alla prima crociata, can be ascribed to two distinct ideas: the melodic idea and the patriotic idea. The melodic idea is very important to move and touch the audience, while the patriotic idea is the source of enthusiasm and emotions. Approximately ten years elapse between two similar stories: the one of the outlaw Ernani and the one of Manrico, the troubadour. In the prelude to Act I, in only three minutes, Verdi has succeeded in skillfully concentrating the main elements of the entiredrama. One can clearly observe the themes of love, oath, and death.

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Preludio all' atto II - Giuseppe Verdi

For the first draft of the libretto of Un ballo in maschera (1859), Giuseppe Verdi drew his inspiration from the grand-opra Gustave III by Auber, an opera performed for the first time in Paris in 1833 that depicted the assassination of the King of Sweden. However, censorship, first in Naples and then in Rome, intervened and imposed heavy modifications. Perhaps because it was too demanding, Verdi showed no intransigence with the requests coming from Naples and refused to alter the libretto. On the other hand, he yielded to the requests of the Roman authorities and agreed to change the site of the action and the identity of the protagonists. Consequently, the scene movedfrom Stockholm to Boston and King Gustav became the Count of Warwick, Governor of Massachusetts.The prelude to the second act is very short and introduces the scene at the place where the scaffold stands. In only a few measures, Verdi skillfully succeeds in condensing the interior restlessness of the protagonists, alongside a prayer of hope.

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Preludio Duetto - Giuseppe Verdi

Preludio Ritmico - Hugo de Groot

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Preludium - Johan Svendsen

Preludium - Milan Baginsky

Preludium und Fuge in B