Sentence examples for first prelude from inspiring English sources

One caption reads, "My first Prelude that I got into a bad accident with".

If you take the first Prelude and play it very slowly, you'll hear startling resemblences in its construction to Bach.

Mr. Daugherty's fervid eclecticism ultimately leads him back to the source, Bach's masterpiece of stunning simplicity, the first prelude from "The Well-Tempered Clavier".

Mr. Schickele, for example, played the first prelude from Bach's "Well-Tempered Clavier" at the piano as members of the orchestra added melodies that happened to fit the work's arpeggiated chords, including themes from Beethoven's Ninth Symphony, Borodin's "Prince Igor, Strausss's "Also Sprach Zarathustra" and a Joplin rag.

Right from the opening chords of the first prelude, "Danseuses de Delphes," Mr. Pollini shows a keen appreciation of the risk Debussy was taking when, as he told his conservatory professor, he decided the only harmonic rule he would follow would be that of his pleasure.

In Mr. Hyman's concerts music is generally infused with a bit of light teaching, and he showed the parallels between the bass line in W. C. Handy's "Aunt Hagar's Blues" and Gershwin's Second Prelude.

The program, entirely French in theme and temperament if not in fact, provided a useful context for Messiaen: the bells in the Sixth Prelude, "Cloches d'Angoisses et Larmes d'Adieu" ("Bells of Anguish and Tears of Farewell"), pealed with the same sonorous solemnity as that heard later in Ravel's "Vall?des Cloches" ("Valley of the Bells").

The contrast between the exquisite and diaphanous fifth prelude in G major, which shimmers in the treble, and its stormy F minor successor, driving and weightily tormented, encapsulated Lugansky's range as an artist and as a true inheritor of a profound keyboard tradition.

A project of this kind has never been tried before and, like all firsts, Prelude is something of a gamble.

Another example is the introduction to "So What", attributed to Gil Evans, which is closely based on the opening measures of French composer Claude Debussy's Voiles (1910), the second prelude from his first collection of preludes.

The sixth prelude, Des pas sur la neige (Footprints in the Snow), evokes a feeling of sadness and isolation, while Ce qu'a vu le vent d'ouest (What the West wind saw)—the seventh exudes a violent and tumultuous nature.