One of Johann Sebastian Bach's works, part of a collection of 19th-century short pieces assembled from various 18th-century manuscripts written by Johann Sebastian Bach and other authors.

The story of the writing of this prelude is related to the period when Bach lived in Köthen and in his early years in Leipzig, where he became tomaskantor in 1723. In January 1720 he began work on the Klavierbüchlein for his eldest son Wilhelm Friedemann to help him in his studies.

The Prelude opens Volume 1 of The Well-Tempered Clavier, a cycle of preludes and fugues for keyboard instruments by Johann Sebastian Bach.

Written in 4/4 in sixteenth durations, it has two voices. The harmony of the prelude is generally similar to that of Bach's time. Its tempo is not too fast. In its deviations, the prelude indirectly touches many tonalities in which preludes and fugues will be written later. On the whole, the Prelude gives rise to a feeling of infinity, of immense space, and this is helped by the “pure” tonality of C major. A sense of lightness and spaciousness appears.

A musical work by Norwegian composer Edvard Grieg. It is part of the cycle Lyrical Pieces, written and published in 1901. The first complete recording of the Lyrical Pieces was made and released in the Soviet Union by Alexander Goldenweiser in the 1950s.

The work is characterised by a vivid character, using a variety of musical means to convey the image of the kobold: fast rhythm, changing dynamic shades and expressive harmonies. On the whole, it is an example of Grieg's Romantic style - emotional, rich in imagery and fantasy.

This sonata is a relatively simple work, less refined than most other piano sonatas. Surprisingly, there are no dynamic indications in the autograph and first edition. It is considered to be the lighter of the two ‘light sonatas’ and also the simplest of all Beethoven's piano sonatas

Debussy, before other serious composers, began to use new dances and music-hall rhythms in his work. According to I. V. Nesteev: "This is one of the first attempts to embody in a serious genre the infectious element of Negro dance and everyday music of the pre-jazzˮ period.

This number is also known for the deliberate quotation in the middle section of the love theme (tristan chord) from R. Wagner's opera Tristan und Isolde. Having become a kind of Wagnerian slogan in its time, this motif in Debussy sounds like a witty joke.

The theme from Tristan, accompanied by the author's remark “with great feeling”, appears surrounded by chords that seem to imitate laughter. It is well known that Debussy had previously been a great admirer of Wagner's music, but later grew cold to it, a fact he repeatedly expressed in his critical articles and interviews. According to popular legend, Debussy told the pianist Harold Bauer (an ardent Wagnerian) that he could make him laugh at Wagner in public. Bauer was utterly bewildered, but after playing the suite, Debussy pointed out to the pianist fragments from “A Doll's Cack-Walk”, where a quotation of a motif from “Tristan und Isolde” is followed by music imitating laughter. As Kremlev Y. A. notes, this legend is reported by N. L. Slonimsky in his book “The road to music” (The road to music): “and we must admit that it agrees well with our ideas about Debussy's humor in general.” According to another version, the composer said nothing to Bauer about the Wagner quote and he learned about it from musicological literature in the 1930s.

Debussy recorded “Puppet Cac-uoc” in his own performance on a Pleyel mechanical piano tape.

Sonata was written in 1792 in the city of Bonn and, together with the other two sonatas in the Op. 2 series, was dedicated to his teacher Joseph Haydn. Interestingly, Beethoven himself considered these works very successful as he dedicated them to his mentor, who was very critical of himself.

These three sonatas were published in 1796, but even earlier they were actively discussed among professional musicians and specialists. Although this was not his first experience of composing for piano - he had previously written several such works - it is these sonatas that are considered to be the beginning of his famous piano work, for which he was later widely recognised.

The influence of Haydn and Mozart can often be seen in Beethoven's early works. However, despite this, his first sonatas already have their own originality and individuality, which over time developed into the composer's unique style and allowed his music to stand the test of time.