No matter how good our stock control, there will occasionally be times when a particular item is not immediately available.
To keep our prices competitive we do not keep huge stocks of any particular item. We aim simply to provide you with a reliable service at a reasonable cost. However, we have learned from experience not to make promises regarding delivery. Delivery TimesWe aim to dispatch every order within 24 hours excluding weekends. If you need to place an order with a value of more than £200 please call +44 (0)1304 872 812 or email us with your requirements. All international deliveries will be sent via a tracked service where available. Your delivery charge will be calculated at the checkout. If you need to place an order with a net value of more than £500 please call +44 (0)1304 872 812 or email us with your requirements. All deliveries to the EU will be sent via a tracked service where available. Please see our notes on Delivery Times below for more information. All delivery charges are calculated by order value.Īll deliveries within the UK are sent by Royal Mail First Class Post or 24-Hour Parcelforce dependent on weight. Item prices quoted on our website do not include delivery. We will review this decision in the future. We are here to provide a reliable and prompt service to our customers and unfortunately the international solutions available to us are not up to our standards. * Lyrics from ‘Ev’ry time we say goodbye‘ by Cole Porter.With regret we have decided to suspend all international shipping options indefinitely, due to a significant increase in failed deliveries related to customs procedures and lost parcels. At last we return to the warmth of the major key. The melodic material gradually encompasses a wider range as tension and volume build, the endlessly repeated note turning into an octave, and then found pulsating within RH chords. The repeated note becomes ominous and threatening above low LH chords, which now carry the melody, moving inexorably on each beat towards the cadence.
‘…But how strange the change from major to minor…‘ as the song* says. The manuscript is revealing – we witness Chopin’s care over the RH phrasing alteration before the modulation to C#minor, the LH then carefully phrased as well as the RH in that dark middle section. This time, Chopin’s throbbing accompaniment is a single note, innocuous at first below a genial soprano melody in D flat major which flows easily, stopping to admire itself on notes of longer value. Chopin would probably have objected to the name. Prelude No 15 (above) is the so-called ‘Raindrop Prelude’, so-called because Hans von Bülow gave it the title, and it has stuck. Towards the end of the prelude, the heartbeat gets weaker, and fainter, until it ceases. I remember thinking that the notes could well be learnt in a week, but giving a meaningful performance might take a little longer.Īgain, Chopin uses a throbbing accompaniment, but in this prelude it is more of a heartbeat, heard above a LH melody which yearns and soars like a cello – thoughts of Etude Op 25 No 7 come to mind, and indeed Chopin’s Cello Sonata, written for Chopin’s great cellist friend, Franchomme. One of them insisted that she was going to learn the B minor prelude to play in a competition in seven days’ time. I once overheard some lively, musical teenagers discussing their piano repertoire. That tells us something about its mood and character. It sinks back hopelessly to its former pattern however, having eventually landed on the tonic. A pause over a chromatic chord, and silence then three chords of despairing finality.Īlong with the E minor Prelude, the B Minor Prelude Op 28 No 6 was played on the organ at Chopin’s funeral. With an effort the melody repeatedly tries to break free, until against a LH octave B – Chopin notates the pedal carefully here – it almost escapes with an impassioned bid for freedom. At first it lingers on the interval of a falling semitone again and again, until it reluctantly moves a tone lower and repeats the process, wearily. Above a throbbing, chordal accompaniment which changes harmony agonisingly slowly, inch by inch, note by note, sits a melody which hardly moves at all, either rhythmically or melodically. Chopin’s Prelude Op 28 No 4 is barely a page in length, but a wealth of emotion is crammed into its short span.
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