[Luigi Perrachio] 25 Preludes for Piano (Score-Video)

00:05 - No.1 in C Major: Allegro 01:07 - No.2 in F Major: Allegretto 02:29 - No.3 in A Minor: Grave 04:34 - No.4 in D Minor: Mosso 05:16 - No.5 in G Major: Andando 06:30 - No.6 in E Minor: Allegro 07:27 - No.7 in B Minor: Grave 09:35 - No.8 in D Major: Allegretto con grande delicatezza 10:56 - No.9 in A Major: Allegro non tanto 11:57 - No.10 in F-Sharp Minor: Presto 12:38 - No.11 in C-Sharp Minor: Lento (Alla memoria di mio Padre) 15:44 - No.12 in E Major: Largo con maestà 17:22 - No.13 in B Major: Tranquillo, delicato 18:30 - No.14 in G-Sharp Minor: Molto lento, lugubre 20:45 - No.15 in D-Sharp Minor: Agitato 21:40 - No.16 in F-Sharp Major: Molto tranquillo e semplicissimo 22:58 - No.17 in G-Flat Major: Molto tranquillo e semplicissimo 23:55 - No.18 in D-Flat Major: Larghetto 26:25 - No.19 in B-Flat Minor: Alla Marcia, svelto 26:55 - No.20 in F Minor: Presto, fantastico 27:42 - No.21 in A-Flat Major: Lento, a capriccio 30:47 - No.22 in E-Flat Major: Presto 31:16 - No.23 in C Minor: Grave 33:27 - No.24 in G Minor: Vigoroso, elementare 34:33 - No.25 in B-Flat Major: Calmo, disteso Performer: David Korevaar Audio from    • Luigi Perrachio: Nove Poemetti; 25 Prelude...   —————— The tonal progression of this composition generally follows the Circle of Fifths, though the opening pieces take a brief "detour" to ensure the final resolution lands on B-flat major. Furthermore, from a certain point onward, the work adopts a pattern of "paired major and minor keys" rather than the conventional alternation between major and minor. Notably, Perrachio explicitly maintained that enharmonic equivalents in the sharp and flat systems are not identical. Consequently, he composed two adjacent preludes in F-sharp major (No. 16) and G-flat major (No. 17). While both share the tempo marking Molto tranquillo e semplicissimo, he considered them to possess intentionally distinct "colors." To further strengthen the link between the two, No. 16 concludes with a sense of a semi-cadence that leads directly into No. 17. The final piece of the cycle is designed as an homage to Bach. The inscription "in nomine Johannis Sebastiani" appears toward the end of the score, and the entire set concludes with a citation from John 8:32 serving as a final textual reference to close the work. —————— I do not own neither the score, nor the recordings used in this video. This is only for educational purposes. If you have any complaints regarding copyright issues, please write to me directly at asorabji20(at)gmail(dot)com before submitting a report to YouTube and I will remove the video as soon as possible.