The Prelude in F-sharp minor, Op. 23, No. 1 is a composition by Sergei Rachmaninoff

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. It is one of ten preludes composed by Rachmaninoff in 1901 and 1903.

Structure

The prelude is ternary in nature, though a series of melodic and rhythmic variations can be found in each of the three major forms. The "A" section (measures 1-13) introduces the first theme, section "B" (13-30) introduces a new set of variations, and measures 30-41 mark an altered return to the original "A" theme. Each of the larger ternary sections contains its set of "micro-variations" marked by changes in note values, dynamics, and rhythm. For instance, the "A" theme, introduced in measures 1 and 2, is varied in measure 8.



Measure 2







Measure 8

A "hidden" chromatic sequence in the "A" section occurs in the bass line on the second beat of measure 1 and the first beat of measures 2-6. This sequence is later revealed as the basis for the "B" theme, first introduced transitorily as a modulation between the "A" and "B" sections. Compare measures 6 and 24:



Measure 6



Measure 24

Analysis

The Prelude proceeds from F-sharp minor to the relative major (A major) in measure 13, and returns to the tonic in measure 30. An overall effect of languidity and gloominess is exemplified by the harmonic setting, and the reoccurring diatonic chord structures are somewhat uneasily offset by the recurring chromatic theme (see measure 24, above). Texturally, the prelude is homophonic: while the bass and treble lines often produce contrapuntal interplay, the overall effect is paradoxically detached and withdrawn, perhaps emblematic of Rachmaninoff's state of mind during the composition of the Preludes.

Most interpretations of the piece provide a sense of forward motion. To avoid boringness but capture a cohesive largo, Rachmaninoff intersperses curious right-hand rhythmic figures throughout. Meanwhile, in the left hand, the chromatic progression plods onward. Consider the third beats of measures 15 and 19:



Measure 15



Measure 19

Rachmaninoff includes a rather melancholic epilogue - almost a sigh - at measures 39-41:



Measures 39-41

Short epilogues similar to the above, but of varied emotional tone, are a recurring motif throughout Rachmaninoff's Op. 23 Preludes.

Performance Notes

The F-sharp minor prelude is among the 'easier' of Rachmaninoff's works. Nonetheless, the performer must carefully strike a balance between the delicate melodic line in the right hand and the more intense accompianment. Sonic mishmash can be avoided by spare use of the sustaining pedal, while the performer must take special care to bring forth the melodic line without fragmentation.