Prelude in C minor (Rachmaninoff)
Encyclopedia
The Prelude in C minor, Op. 23, No. 7 is a 1903 composition by Sergei Rachmaninoff
. It is part of Rachmaninoff's Ten Preludes, Op. 23.
, the actual structure is in fact a distorted version of strict ternary form. The A section is a single phrase at measures 1-16 which repeats in measures 16-32. The sixteenth-note figure that spreads throughout the work is introduced in measure 1 over a tonic pedal point. The first note of each measure through measure 10 reveals a descending chromatic pattern, perhaps adding to the sense of dread or urgency of the work. Parallel to the descending first note of each line is another descending chromatic pattern on the melodic quarter-note on the third beat of each measure, creating interplay between the two parts.
Measures 13-16 outline the chromatic figure on the first beat of each measure in the left hand with similar suggestions in the treble half-notes.
Measures 13 and 14
Measures 15 and 16
Following a cadence in C minor, the B section enters at measures 33 and continues to measure 37. The division consists of a descending half-note melody in the bass opposed by the sixteenth note accompaniment. The B section repeats serially at measures 37-41 and 41-44.
Measures 45-48 are a transition, composed of ascending chromatic octaves that form a quasi cadenza at measures 49-52.
Measures 49 and 50
The "A section" returns at measure 53, but is varied with increased modulation, an arpeggiated left hand figure, and the addition of octaves
Measure 53
In measure 69, an unusual variation is introduced: the sixteenth-note motive overruns the augementation of the fragmented theme.
Measure 69
The passages that follow modulate in rapid succession through C minor - G- E flat - F - G - A flat - F minor - D flat - G and diminished and augmented chords in measures 83.
Despite all of this, the Prelude ends in a very unexpected way, atypical for any of Rachmaninoff's preludes: a series of embellishing diminished, half-diminished and dominant seventh chords which all contain the tonic note (C). The work draws shut with a perfect cadence, as expected.
Measures 87-91
The glue that holds the prelude together is Rachmaninoff's hallmark chromaticism, which guide the modulations through the transitional sections that bridge the A and B sections of the work (see measures 13-16, 29-32, and 45-48. Additionally, the sixteenth note runs that occur throughout the prelude remain relatively unchanged, excepting the octaves added at measures 17-30 and 53-68.
Much more interesting than the harmonic characteristics of the Prelude are its rhythmic qualities. Understated within the sixteenth-note pattern is a syncopated rhythm. Measure 10 is particularly illustrative. Use of quarter rests intensifies each phrase.
Measure 10
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
While the form of this Prelude may at first appear to be ternaryTernary form
Ternary form, sometimes called song form, is a three-part musical form, usually schematicized as A-B-A. The first and third parts are musically identical, or very nearly so, while the second part in some way provides a contrast with them...
, the actual structure is in fact a distorted version of strict ternary form. The A section is a single phrase at measures 1-16 which repeats in measures 16-32. The sixteenth-note figure that spreads throughout the work is introduced in measure 1 over a tonic pedal point. The first note of each measure through measure 10 reveals a descending chromatic pattern, perhaps adding to the sense of dread or urgency of the work. Parallel to the descending first note of each line is another descending chromatic pattern on the melodic quarter-note on the third beat of each measure, creating interplay between the two parts.
Measures 13-16 outline the chromatic figure on the first beat of each measure in the left hand with similar suggestions in the treble half-notes.
Measures 13 and 14
Measures 15 and 16
Following a cadence in C minor, the B section enters at measures 33 and continues to measure 37. The division consists of a descending half-note melody in the bass opposed by the sixteenth note accompaniment. The B section repeats serially at measures 37-41 and 41-44.
Measures 45-48 are a transition, composed of ascending chromatic octaves that form a quasi cadenza at measures 49-52.
Measures 49 and 50
The "A section" returns at measure 53, but is varied with increased modulation, an arpeggiated left hand figure, and the addition of octaves
Measure 53
In measure 69, an unusual variation is introduced: the sixteenth-note motive overruns the augementation of the fragmented theme.
Measure 69
The passages that follow modulate in rapid succession through C minor - G- E flat - F - G - A flat - F minor - D flat - G and diminished and augmented chords in measures 83.
Despite all of this, the Prelude ends in a very unexpected way, atypical for any of Rachmaninoff's preludes: a series of embellishing diminished, half-diminished and dominant seventh chords which all contain the tonic note (C). The work draws shut with a perfect cadence, as expected.
Measures 87-91
Analysis
By conformance with natural voice leading, Rachmaninoff pulls off the considerable feat of combining chromaticism and a diatonic context. Even more notably, the composer achieves smooth chord progressions in this mode.The glue that holds the prelude together is Rachmaninoff's hallmark chromaticism, which guide the modulations through the transitional sections that bridge the A and B sections of the work (see measures 13-16, 29-32, and 45-48. Additionally, the sixteenth note runs that occur throughout the prelude remain relatively unchanged, excepting the octaves added at measures 17-30 and 53-68.
Much more interesting than the harmonic characteristics of the Prelude are its rhythmic qualities. Understated within the sixteenth-note pattern is a syncopated rhythm. Measure 10 is particularly illustrative. Use of quarter rests intensifies each phrase.
Measure 10