24 [i.e. Vierundzwanzig] ukrainische Volksweisen : für Klavier zu zwei Händen.

Title, captions, etc. also in Russian.

Suite sudiste = In the south : pour piano, op. 16 /

Photocopy.

Première rhapsody : pour clarinette en Si♭ : avec accompagnement d'orchestre (ou de piano) /

For piano, 4 hands.

Images. 1re Série pour piano à 2 mains. 2e Série pour piano seul.

v. 1. Reflets dans l'eau.--Hommage à Rameau.--Mouvement.--v. 2. Cloches à travers les feuilles.--Et la lune descend sur le temple qui fut.--Poissons d'or.

Stories of standard teaching pieces; containing educational notes and legends pertaining to the best known and most useful pianoforte compositions in general use by students of music and designed as a companion volume to the author's "Descriptive analyses of pianoforte compositions",

Mode of access: Internet.

Préludes pour piano (Ier[-2ème] livre)

Pl. no.: D. & F. 7687 (v. 1); publisher no.: D. & F. 8697 (v. 2).

4 works for piano 4 hands.

Op.23. Variationen über ein Thema von Rob. Schumann.--Op.39. Walzer.--Op.52a. Liebeslieder. Walzer.--Op.65a. Neue Liebeslieder. Walzer.

Various pieces for piano solo.

Mode of access: Internet.

Piano four hands: Andante and variations, op. 83a in B flat major.

Mode of access: Internet.

Music for women's chorus.

Cronach, op.52, no.4.-- Der 23. Psalm, op.132.-- Gott in der Nature, op. 133.-- Standchen, op. 135.-- Das Leben.-- Klage um Ali Bey.

Works for piano and one other instrument.

Fantasy, op. 159.--Sonata, A major, op. 162.--Introduction & Variations on Trockne Blumen, op. 160.--Sonata for piano and arpeggione or cello.

Strauss album : a collection of ten famous waltzes for piano. Selected and edited by W. Strasser.

Mode of access: Internet.

Slavic dances : for piano, four-hands /

Mode of access: Internet.

2 nocturnes pour le piano: op. 46

par Léopoldine Blahetka.

MUSICAL ANALYSIS OF THE PRELUDE N.1, LA COLOMBE, BY OLIVIER MESSIAEN

This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries, presented by authors like Felix Salzer and Joseph Straus, and the musical theory concepts presented by Olivier Messiaen, for the analysis of Prelude n(o) 1, La Colombe. The analysis contributes to broaden the theory concepts presented by the composer. In the Conclusion we trace lines of an authorial sonority by Olivier Messiaen.