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Angela Brownridge - Debussy: Préludes, Book 1 & 2 (2017) [Hi-Res]

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losslessdl_2508201597495696_angela-brown



Artist: Angela Brownridge
Title: Debussy: Préludes, Book 1 & 2
Year Of Release: 2017
Label: Challenge Classics
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:17:16
Total Size: 249 mb / 1.15 gb


Tracklist
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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