Angela Brownridge – Debussy Préludes Book 1 2 2017 Hi-Res 24bits – 96.0kHz

Angela Brownridge – Debussy Préludes Book 1 2 2017 Hi-Res 24bits – 96.0kHz

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信息属性
  • 艺术家
  • Angela Brownridge
  • 发行年份
  • 2017
  • 音乐类型
  • Classical
  • 音质
  • flac lossless / flac 24bits - 96.0kHz +Booklet
  • 歌曲时长
  • 01:17:16
  • 文件大小
  • 249mb/1.15gb
详情介绍

01. Préludes, Book 1, L. 117 I. Danseuses de Delphes
02. Préludes, Book 1, L. 117 II. Voiles
03. Préludes, Book 1, L. 117 III. Le vent dans la plaine
04. Préludes, Book 1, L. 117 IV. Les sons et les parfums tournent dans l’air du soir
05. Préludes, Book 1, L. 117 V. Les collines d’Anacapri
06. Préludes, Book 1, L. 117 VI. Des pas sur la neige
07. Préludes, Book 1, L. 117 VII. Ce qu’a vu le vent d’Ouest
08. Préludes, Book 1, L. 117 VIII. La fille aux cheveux de lin
09. Préludes, Book 1, L. 117 IX. La sérénade interrompue
10. Préludes, Book 1, L. 117 X. La cathédrale engloutie
11. Préludes, Book 1, L. 117 XI. La danse de Puck
12. Préludes, Book 1, L. 117 XII. Minstrels
13. Préludes, Book 2, L. 123 I. Brouillards
14. Préludes, Book 2, L. 123 II. Feuilles mortes
15. Préludes, Book 2, L. 123 III. La Puerta del Vino
16. Préludes, Book 2, L. 123 IV. “Les Fées sont d’exquises danseuses”
17. Préludes, Book 2, L. 123 V. Bruyères
18. Préludes, Book 2, L. 123 VI. Général Lavine-eccentric
19. Préludes, Book 2, L. 123 VII. La terrasse des audiences du clair de lune
20. Préludes, Book 2, L. 123 VIII. Ondine
21. Préludes, Book 2, L. 123 IX. Hommage à S. Pickwick Esq. P.P.M.P.C.
22. Préludes, Book 2, L. 123 X. Canope
23. Préludes, Book 2, L. 123 XI. Les tierces alternées
24. Préludes, Book 2, L. 123 XII. Feux d’artifice
25. L’Isle joyeuse, L. 106

Debussy had been planning Préludes for two or three years before the first book was published in 1910. He seems to have been at work on the second book by the end of 1911 and the volume was published in 1913.

Whereas Bach and Chopin used their Preludes as something of a technical exercise, composing one for each musical key, Debussy’s were free-form and full of his signature expressive indulgences. Each one has a different descriptive title that gives clues about what was going through the composer’s mind when he was writing them, from Shakespearean dances to underwater cathedrals.

What Debussy did in the Préludes and earlier works with a similar inspiration was composing with sounds rather than notes. It is that, rather than their picturesque qualities, that changed history. Debussy did nothing less than liberate music from the domination by functional harmony which had prevailed for three centuries. Tonality becomes colour.

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