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The Form of the Keyboard Prelude David Lawrence Forrest University of Wollongong

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The Form of the Keyboard Prelude David Lawrence Forrest University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 The form of the keyboard prelude David Lawrence Forrest University of Wollongong Recommended Citation Forrest, David Lawrence, The form of the keyboard prelude, Master of Creative Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2315 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE FORM OF THE KEYBOARD PRELUDE A thesis submitted in partial fulfilment of the requirements for the award of the degree of MASTER OF CREATIVE ARTS from THE UNIVERSITY OF WOLLONGONG by | UNIVERSITUNIVERS Y OF I WOLLONGONWOLLON G I LIBRLIBRARl Y DAVID LAWRENCE FORREST, B.Mus.Ed., D.S.C.M. School of Creative Arts, 1986 RESEARCH DEGREE IN MUSIC MASTER OF CREATIVE ARTS DAVID LAWRENCE FORREST SUBJECT AREAS : AAMM910, AAMM911 THE FORM OF THE KEYBOARD PRELUDE Further to my application as a candidate for the Degree of Master of Creative Arts at the University of Wollongong, I herewith submit this work to complete the requirements of the programme of study. It comprises a discussion of the form of the prelude, with specific attention to the treatment of the form by J.S. Bach, F. Chopin and C. Debussy. The score of Michael Lonsdale's Mouna which was especially commissioned by me for this Degree has been included. In line with my proposal for a performance based research degree, under the title heading:- "The Keyboard Prelude", a piano recital of twenty-three preludes by sixteen composers was presented at the University of Wollongong on August 14, 1986 as my Major Presentation. This paper has been submitted for the scrutiny of the external examiner, and my supervisor Professor Edward Cowie. Signed: DAVID LAWRENCE FORREST, School House, S.C.E.G.S., P.O.Box 1221. North Sydney. 2060 ACKNOWLEDGMENTS I should like to express my thanks to: Mr. Robert Grant, Headmaster of Sydney Church of England Grammar School, for releasing me from additional duties associated with my position at his school throughout the duration of the degree. Mr. Robert Fox, Master in Charge of Music, Sydney Church of England Grammar School, for support, patience and encouragement. Mr. Jose de la Vega, for his help in the preparation of my recital programme for this degree. Mr. Andrew Ford, of the School of Creative Arts, University of Wollongong for his advise and comments during the absence of my supervisor. Professor Edward Cowie, Head of the School of Creative Arts, University of Wollongong, who has been my supervisor for this degree, for his time, patience, continual advise and comment. Miss Sally Bootle who has read,commented, and given advice on this paper many times this year. ABSTRACT RESEARCH DEGREE IN MUSIC MASTER OF CREATIVE ARTS DAVID LAWRENCE FORREST THE FORM OF THE KEYBOARD PRELUDE "The Form of the Keyboard Prelude" includes a discussion of the form of the prelude, together with specific attention to the treatment of the form by J.S. Bach, F. Chopin, C. Debussy. The research in the paper has been limited to the works written for the modern piano and its predecessors. In this the repertoire of the organ has not been investigated. A chronological and alphabetical listing of preludes spanning the period from 1448 to 1986 has been included. A work by Michael Lonsdale was especially commissioned to be performed as part of this degree. This work is discussed and a copy of the score has been included. A discussion of the development of the recital programme that formed the major presentation for this degree has been included, as well as notes on each of the works performed. TABLE OF CONTENTS page Title page i Declaration ii Acknowledgements iii Abstract iv Table of Contents v 1. Introduction 1 2. Form of the Prelude 2 3. Treatment of the form of the Prelude (i) J.S. Bach 6 Analysis of D major Prelude Well-Tempered Clavier Bk.2 15 (ii) F.Chopin 24 Analysis of A flat major Prelude op.28 no.17 30 (iii) C. Debussy 38 Analysis of Prelude Bk.1 no.10 "La Cathedrale Engloutie" 41 (iv) M. Lonsdale 47 Analysis notes Score of "Mouna" 53 4. Development of Recital Programme 60 5. Recital Programme Notes 66 6. Conclusion 83 7. Listing of Preludes (i) Alphabetical 84 (ii) Chronological 92 8. Appendices (i) Title of compositions 100 (ii) Instruments for the performance of Bach 101 (iii) English translation of the titles to the Preludes of Debussy 102 9. Footnotes 104 10. Bibliography 108 1 INTRODUCTION The term "Prelude", although commonly associated with a solo performance, also has its place in: other musical media ensemble: Prelude and Fugue for 13 strings Lutoslawski, W. Preludes for Voices (1969) Schumann, W. Praeludium for Brass, Bells and Percussion (1962) Tippet, M. orchestra: Prelude a L'Apres-midi d'un faune Debussy, C. Les Preludes Liszt, F. opera: Prelude to "La Traviata" Verdi, G. Prelude to "Tristan und Isolde" Wagner, R. the literary media autobiography: "The Prelude" Wordsworth, W. essay: "Prelude to Buehnenweihfestspiel Parsifal" Wagner, R. fiction: "Prelude to a certain midnight" Kersh, E. history. "Prelude to War" Charteris, L. poetry: "Preludes" Eliot, T.S. the art media lithograph: Prelude to "Lohengrin" (1882) Fantain-Latour, I. the film media "Prelude to Fame" (1950) Rank/Two Cities In looking specifically at the solo keyboard prelude, I have found that there are two categories of preludes: (i) the connected-prelude; and the (ii) the independent-prelude. In this paper only works that have been called "preludes" by their composers, and not works with other titles, that act as preludes have been included. The discussion of the form of the keyboard prelude has been limited to the works written for the modern piano and its predecessors. In this, the organ repertoire has not been discussed. The examples presented span the period from the seventeenth to the twentieth century. 2 FORM The prelude is by definition an introductory or preparatory work which is often intended to preceed another more extended composition. This connotation prevailed up until the nineteenth century after which it became one of the numerous and "non-commital" titles for piano pieces. The form of the prelude can be divided into two classifications according to its uses. The first is the connected-prelude - those pieces that form introductions to larger more substantial works ie. fugue, sonata, a suite of dances, or a collection of pieces. There are examples in early collections (such as the Fitzwilliam Virginal Book) of pieces called preludes that were intended as introductory works and yet exist in larger collections without a sequel. These works were intended to act as an improvisation or a "warm-up" before the more substantial following work. These improvisatory preludes reached their zenith with the unmeasured preludes of the French Baroque.(1) The second type of prelude is the independent-prelude. These works do not serve a function as introductory movements. They are found either as i. individual works; or as ii. a collection of smaller pieces. W The form of the prelude developed from short improvisatory flourishes performed either by a player to check the tuning or the touch of the instrument, or by the composer before he began to think about melody or any other feature of which the instrument was capable.(3) W.Apel in Masters of the Keyboard (4> talks of the form of the prelude as having "an extremely simple form and one which leaves the composer entirely free as to contents, enabling him to use it as a vehicle of expression for every conceivable mood, emotion or vision..." The term "prelude" is commonly associated with a solo performance. In its long history, the prelude was founded on an extemporized series of chords with varying degrees of tonal organization and decoration. ^ The prelude has no distinctive characteristics - usually being adapted to what is to follow. "The freedom of its structure lends itself to all manner of expression."(6) The continual process of elaboration created preludes which became set pieces; big constructions carefully disciplined and highly organized. 3 The prelude even in its most extended form is often characterised by one of the following: i. an extension of a motif or figure ii. a statement of an idea with a contrasting balance iii. a ternary composition. W The connected-prelude takes on the character of a chameleon with 1. the power of changing according to its surroundings; or as 2. something which is variable and/or inconstant. The independent-prelude changes the original concept of the prelude. It can exist either as: a single (independent) unit; or a collection (of related or unrelated works.) These preludes take on the characteristics of either: i. a "star" - a single isolated composition without a relationship to anything else. It exists as a separate entity. ii. a "constellation" - (a group of stars within an imaginary outline, rotating around a single axis.) It is the imaginary outline and the rotating axis that must be defined and sought out when looking at the collections of preludes. Often this imaginary outline, or the common unifying factor which permeates the entire collection is tonality. Most of the nineteenth century collections have used the complete key scheme as the basis of the collection,(eg. Chopin, Scriabin.(8)) There are however some notable examples of programmatic preludes, (eg. Alkan, Debussy. (9>) The programme takes away the anomalous character of the prelude. They do not however lose any of the characteristics of the tonally based preludes because they are essentially non-developed works.
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