Prelude in E-flat minor (Rachmaninoff)
Encyclopedia
The Prelude in E-Flat Minor, Op. 23 No. 9 is a 1903 composition by Sergei Rachmaninoff
. It is part of Rachmaninoff's Ten Preludes, Op. 23.
Measures 5 and 6
Measure 7
Measure 9
In measures 5-10 a number of thirds, sixths, seconds, and fourths make up the right hand melody. The left hand is an arpeggiated figure sporadically interrupted with minor seconds.
A reitiration of A occurs at measure 23.
Measures 22 and 23
The theme occurs again, and then at measure 34, a completely new theme appears in the soprano.
Measures 34 and 35
A series of descending chromatic sequences begins, and the work draws to a close in measure 50.
Measures 50 and 51
The piece, almost etude like, modulates quickly between minor and major keys. Rachmaninoff's use of chromaticism is quite evident here, though the use of thirds is unusual for the composer due to the large size of his hands.
Phrasing contributes a sense of variety, as there are few rhythmic changes to add interest to the piece.
Mental awareness of the structure of the piece can greatly aid a performance of the Prelude. Memorization of the key on which each phrase begins and the intervals stressed in each passage will help to achieve the requisite speed, and may improve accuracy. For instance, measures 1-2 contain a predominance of sixths with some thirds and fourths while measures 7-8 are more heavy on thirds with an occasional fourth or fifth. Additional concentration on the direction of the chromatic line in the upper voice of the right hand will also prove invaluable.
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 E-flat minor prelude is unconventional in form. Rachmaninoff's phrasing is often over two bars; a double note theme is announced in measures 1-4. The piece then modulates rapidly from bar to bar, passing through: G flat (measure 5); C flat (measure 6); A flat minor (measure 7); and B flat (measure 9). The primary melody returns at measure 11.Measures 5 and 6
Measure 7
Measure 9
In measures 5-10 a number of thirds, sixths, seconds, and fourths make up the right hand melody. The left hand is an arpeggiated figure sporadically interrupted with minor seconds.
A reitiration of A occurs at measure 23.
Measures 22 and 23
The theme occurs again, and then at measure 34, a completely new theme appears in the soprano.
Measures 34 and 35
A series of descending chromatic sequences begins, and the work draws to a close in measure 50.
Measures 50 and 51
Analysis
This brutally difficult prelude combines a solid diatonic chord scheme with a chromatic right hand figure.The piece, almost etude like, modulates quickly between minor and major keys. Rachmaninoff's use of chromaticism is quite evident here, though the use of thirds is unusual for the composer due to the large size of his hands.
Phrasing contributes a sense of variety, as there are few rhythmic changes to add interest to the piece.
Performance Notes
Easily the most technical and difficult of the Op. 23 Preludes, the Prelude in E-flat minor poses serious problems in execution. Tremendous endurance is demanded of the performer, who must maintain a Presto tempo through minefields of complex double-notes. On top of the tempo and technical demands, the performer must also play piano, with only occasional cresendi, creating considerable strain.Mental awareness of the structure of the piece can greatly aid a performance of the Prelude. Memorization of the key on which each phrase begins and the intervals stressed in each passage will help to achieve the requisite speed, and may improve accuracy. For instance, measures 1-2 contain a predominance of sixths with some thirds and fourths while measures 7-8 are more heavy on thirds with an occasional fourth or fifth. Additional concentration on the direction of the chromatic line in the upper voice of the right hand will also prove invaluable.