Prelude in D minor (Rachmaninoff)
Encyclopedia
The Prelude in D Minor, Op. 23 No. 3 is a composition by Sergei Rachmaninoff
completed and premiered in 1903.
Measure 17
Following the reference, measures 1 and 2 are embellished to form the "B" section. Measures 42-62 mark a return to the "A" section, followed by relatively short coda that reflects the main theme.
Tonal elements further solidify the structure of the D minor prelude. Measures 3, 11, 35, and 47 evidence one of Rachmaninoff's signature chord progressions, i-III. In measure 11, the III chord is changed to an F-sharp dim. seventh chord, in measure 35, the i and III chords are presented more closely, and in meausere 47 the III chord is replaced with a D minor seventh chord.
Measure 3
Measure 11
Measure 35
Measure 47
Many fugue-like elements appear throughout the D minor prelude: diminution at measure 28, augmentation at measure 75, stretto at measure 25, and fragmentation at measure 67.
Measure 25
While fugue elements may be found throughout the prelude, the section beginning at and immediately following measure 25 is illustrative of this interesting structural characteristic. In measures 25-27, measure 1 reappears in stretto against measure 2 in the bass voices. A diminution of the measure 1 figure against a fragment of itself occurs at measure 28, and eventually transforms into a longer version of the measure 2 figure.
To preserve Rachmaninoff's intended sense of forward motion, phrasing should receive special attention. Switching between four note and six note phrases occurs throughout the prelude, and should not be neglected by the performer.
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...
completed and premiered in 1903.
Structure
The prelude is strictly ternary. In measure 8 (part of the "A" section), a parallel period with a semi-cadence is introduced, and in measure 16 a perfect authentic cadence follows. Reference to the "A" section cadence at measure 17:Measure 17
Following the reference, measures 1 and 2 are embellished to form the "B" section. Measures 42-62 mark a return to the "A" section, followed by relatively short coda that reflects the main theme.
Tonal elements further solidify the structure of the D minor prelude. Measures 3, 11, 35, and 47 evidence one of Rachmaninoff's signature chord progressions, i-III. In measure 11, the III chord is changed to an F-sharp dim. seventh chord, in measure 35, the i and III chords are presented more closely, and in meausere 47 the III chord is replaced with a D minor seventh chord.
Measure 3
Measure 11
Measure 35
Measure 47
Many fugue-like elements appear throughout the D minor prelude: diminution at measure 28, augmentation at measure 75, stretto at measure 25, and fragmentation at measure 67.
Measure 25
While fugue elements may be found throughout the prelude, the section beginning at and immediately following measure 25 is illustrative of this interesting structural characteristic. In measures 25-27, measure 1 reappears in stretto against measure 2 in the bass voices. A diminution of the measure 1 figure against a fragment of itself occurs at measure 28, and eventually transforms into a longer version of the measure 2 figure.
Performance Notes
The complex nature of the prelude demands the performer strike a balance somewhere between Rachmaninoff and Bach. Like a fugue, the tonal interplay between different voices needs to be carefully balanced, especially at measures 5, 18-33, and 55-62. Contrapuntal elements such as the diminution and augmentation at measure 35 must be carefully considered by the performer.To preserve Rachmaninoff's intended sense of forward motion, phrasing should receive special attention. Switching between four note and six note phrases occurs throughout the prelude, and should not be neglected by the performer.