Préludes, op. 32 Liebesleid ; Liebesfreud

Abstract

At this point Rachmaninov decided to complete Chopin's model of a Prélude in each of the twenty-four major and minor keys. Including the 10 Préludes, Opus 23, and the Prélude Opus 3 #2, this set of thirteen completes the twenty-four. These pieces are representative of the more subtle and harmonically advanced style that Rachmaninov developed in his middle years. They are also somewhat more complex and original in their design than the earlier Préludes. #1, C major. This is introductory and brief, consisting of rapid triplet figuration in rising chromatic phrases. #2, b-flat minor. A dance-like dotted figure pervades this Prélude. It is increasingly ornamented by rapid figuration as it undergoes a number of tempo changes. There is a large central climax. #3, E major. Chord and octave technique figures heavily in this brilliant March. After a rousing climax, the Prélude ends quietly. #4, e minor. The longest and most complex of this set of Préludes, this piece is a series of passages propelled by a driving triplet figure. After a number of variants on the opening theme, it finally rises to a climax before subsiding to a quiet ending. The entire work is subtly organized and difficult to make cohesive in performance. #5, G major. A gentle and lyrical Nocturne, this Prélude sets a soaring melody above an arpeggiated accompaniment. There is a short cadenza before the dramatic change to the minor key just before the final statement of the main theme. #6, f minor. This is a fierce and aggressive Etude featuring rapid triplet passagework in both hands. #7, F major. This Prélude is a duet between left and right hands. The march-like accompaniment seems commonplace, but is used to original effect. #8, a minor. Another Etude-like work, this Prélude features Rachmaninov's typical rhythmic drive and sweeping figurations. #9, A major. A beautifully lyric rising melody is accompanied by throbbing figurations in this subtle Prélude. It rises to two climaxes, but the second is less effective than the first. The entire piece anticipates the style of the Fourth Piano Concerto. #10, b minor. The greatest of the Préludes. This is an epic and grand Elegy that rises to a huge climax featuring repeated triplet chords against a hammered melody. This is followed by a build-up to another climax, culminating in an effective cadenza. The ending is quiet and resigned. #11, B major. A subtle and charming dance featuring similar rhythms to those of number 3. Rachmaninov here makes effective use of syncopation and shifting accents. #12, g-sharp minor. In texture, this Prélude is similar to number 5, but in character is far more intense and driven. The apparent climax at the center of the Prélude is not the actual focal point of the piece, which occurs during the final reprise of the opening theme. The entire Prélude is infused with Rachmaninov's characteristic melancholy. #13, D-flat major. This is something of a pastiche arranged around quotations from several of the other Préludes of this set. Nevertheless, it is a magnificent and effective conclusion.