Prelude in A-flat major (Rachmaninoff)
Encyclopedia
The Prelude in A-Flat Major, Op. 23 No. 8 is a 1903 composition by Sergei Rachmaninoff
. It is part of Rachmaninoff's Ten Preludes, Op. 23.
A baroque right hand figuration extends over a descending quarter-note melody in the first two bars, outlining the A flat chord. This motive repeats, and then is varied in measures 5-8, in succession. From measures 9-18, the section is restated though a transient modulation to E major (at measure 15). An imperfect cadence in the tonic bridges the transitory gap in measure 18 to the B section in E flat.
Measures 19-20 introduce a variant of the main motive. Now in a new key, the bass melody changes, descending chromatically in an eighth-note figure.
Measure 19
A transition section comes together though the combination of ascending and descending chromatic scale fragments at measures 31-41. Vertiginous modulations swing through E flat - G - C - F - A flat and B flat, before settling into E flat at measures 39-41.
Measures 31 and 32
The original statement occurs beginning at measure 42, and then a progression at measures 54-62 through F- B flat - D flat and F minor provides a link to measures 61-70, where the harmonies become vague and undistinguishable:
Measures 61 and 62
The coda exihibits a gradual breakdown of the forward motion, and, with a quarter-note progression in the final three bars, the A flat tonality is reestablished. By way of metaphor, the overall effect is akin to spinning around and then suddenly stopping, as one watches the world, by way of one's perception, reestablish itself.
Measures 76-78
The repetition of the sixteenth-note pattern can lead quickly to monotony, despite changes in the accompianment. The Prelude is perhaps more like a study, abound in interesting rhythmical devices. A standard 3/2 time signature is subtly altered by phrasing and creative positioning of rests throughout. To balance the Prelude, the composer brilliantly changes the time signature to 4/4 in measures 37,54,56, and 69.
At measures 19-30, the performer must be sure to bring forward the eighth-note tenor voice melody. Using a firmer tone in the left and subduing the right hand should provide adequate.
Sergei Rachmaninoff
Sergei Vasilievich Rachmaninoff was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music...
. It is part of Rachmaninoff's Ten Preludes, Op. 23.
Preludes, Op. 23 (Rachmaninoff)
Ten Preludes, Op. 23, is a set of ten preludes for solo piano, composed by Sergei Rachmaninoff in 1901 and 1903. This set includes the famous Prelude in G minor.- Composition :...
Structure
The work is three-part ternary; however, it assumes monothematic characteristics. The first occurrence Section A comprises measures 1-19, Section B of 19-43, Section A returns from measures 43-70, and the coda is placed at measures 70-78.A baroque right hand figuration extends over a descending quarter-note melody in the first two bars, outlining the A flat chord. This motive repeats, and then is varied in measures 5-8, in succession. From measures 9-18, the section is restated though a transient modulation to E major (at measure 15). An imperfect cadence in the tonic bridges the transitory gap in measure 18 to the B section in E flat.
Measures 19-20 introduce a variant of the main motive. Now in a new key, the bass melody changes, descending chromatically in an eighth-note figure.
Measure 19
A transition section comes together though the combination of ascending and descending chromatic scale fragments at measures 31-41. Vertiginous modulations swing through E flat - G - C - F - A flat and B flat, before settling into E flat at measures 39-41.
Measures 31 and 32
The original statement occurs beginning at measure 42, and then a progression at measures 54-62 through F- B flat - D flat and F minor provides a link to measures 61-70, where the harmonies become vague and undistinguishable:
Measures 61 and 62
The coda exihibits a gradual breakdown of the forward motion, and, with a quarter-note progression in the final three bars, the A flat tonality is reestablished. By way of metaphor, the overall effect is akin to spinning around and then suddenly stopping, as one watches the world, by way of one's perception, reestablish itself.
Measures 76-78
Analysis
Some critics of this Prelude, such as John Culshaw, believe that the relentless, florid nature of the sixteenth-note figures extinguishes any expressive quality of the work.The repetition of the sixteenth-note pattern can lead quickly to monotony, despite changes in the accompianment. The Prelude is perhaps more like a study, abound in interesting rhythmical devices. A standard 3/2 time signature is subtly altered by phrasing and creative positioning of rests throughout. To balance the Prelude, the composer brilliantly changes the time signature to 4/4 in measures 37,54,56, and 69.
Performance notes
The performer's most demanding task is the maintenance of the listener's interest. Dynamics can be used to great effect, as can deliberate and distinct voicing. Use of pianissimo and even embellishment to a delicate triple pianissimo can be effective in capturing a listener's attention.At measures 19-30, the performer must be sure to bring forward the eighth-note tenor voice melody. Using a firmer tone in the left and subduing the right hand should provide adequate.