Artist: Antonio Galera
Album: Prélude
Genre: Classical
Release Date: 2019
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 01:08:56
Total Tracks: 12
Total Size: 1,08 GB

Tracklist:

1. Antonio Galera – Prelude & Fugue in E-Flat Minor, BWV 853: I. Prelude (04:31)
2. Antonio Galera – Prelude & Fugue in E-Flat Minor, BWV 853: II. Fugue (05:52)
3. Antonio Galera – Prélude, Choral & Fugue, FWV 21: I. Prélude (05:00)
4. Antonio Galera – Prélude, Choral & Fugue, FWV 21: II. Choral (07:45)
5. Antonio Galera – Prélude, Choral & Fugue, FWV 21: III. Fugue (07:31)
6. Antonio Galera – Préludes, Book 1, L. 117: No. 2, Voiles (04:39)
7. Antonio Galera – Préludes, Book 1, L. 117: No. 6, Des pas sur la neige (04:54)
8. Antonio Galera – Préludes, Book 1, L. 117: No. 7, Ce qu’a vu le vent d’ouest (04:02)
9. Antonio Galera – Préludes, Book 1, L. 117: No. 8, La fille aux cheveux de lin (02:52)
10. Antonio Galera – Préludes, Book 1, L. 117: No. 10, La cáthedrale engloutie (06:42)
11. Antonio Galera – Piano Sonata, Op. 1: Choral et variations (10:49)
12. Antonio Galera – Wachet auf, ruft uns die Stimme, BWV 645 (Arr. F. Busoni for Piano) (04:15)

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A prelude generally precedes something but, in music, it is also a sort of separate piece that itself reveals all its relevance. Some examples are very clear in this album by Antonio Galera which contains more than just preludes. By adding them to the album, Galera creates a kind of implicit and explicit context of historical review about the meaning of a term which is at the same time an announcement, a complement of what is to come (Johann Sebastian Bach and Dmitri Shostakovich) and a unit (Chopin, Scriabin and Rachmaninov). It even serves as a starting point for a more complex formal conception considering thematic or structural aspects (Cesar Franck). Yet, there is another vision of the prelude as a pretext, as a composition whose lack of formality is worth the paradox. This form gives it the possibility of going beyond its possible technical approach, knot and denouement, and its own mechanism. This is what happens in Debussy’s Preludes which, further than the use of the term as a mean for their writing, appeal to a more or less detailed description of their content. Liszt would have done it with his Études d’Exécution Trascendante, despite the fact that the former is, in effect, a Prelude, and the latter is a Study in F minor. Interestingly, these Preludes by Debussy could be placed alongside other works by the author himself in which he does not use this name, but Images or Estampes, in which the vignettes composing them are linked by a generic title, a much more evocative one than the so little significant Preludes.