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. Without its own rigid characteristics the Prelude takes on a vast array of forms.
It is in the form of the prelude that the composer is able to take an idea, and state it without any development. The composer explores the possibilities of a single idea rather than its development. The changes that occur within the piece are in the form of subtle inflections of the material, (like the slight changes of light on a canvas or sculpture as a day progresses.) 4
Forms used as Preludes
(Key: Well-Tempered Clavier Book 1 = WTC I Well-Tempered Clavier Book 2 = WTC II)
Form (1°) Composer Work
Aria Bach Prelude - English Suite: 2 WTC II: 14
Concerto Grosso Bach Preludes - English Suites: 2,3,4,5 WTC I : 8,17, 22 WTC II :17
Corrente Bach WTC II : 9
Fantasy Hindemith Praeludium - Ludus tonalis Kabalevsky Prelude op.38 no.24 Liszt Preludio - Transcendental Etudes
Fugue Bach Prelude - English Suite: 5 WTC I: 7, 19 Shostakovitch Prelude op.34 no.5
Gigue Bach WTC I :13 WTC II : 5, 21
Improvisation Clementi Prelude - Suite de trois pieces Preludes - Musical Characteristics op. 19 Couperin,L Preludes - Suites Handel Preludes - Suites : A, B flat Hummel Preludes op.67
Invention- Bach Inventions ("Preambula") Two Part WTC I : 11,13 WTC II : 2, 10, 20 Purcell Prelude - Suite : 2 5
Nocturne Chopin Prelude op.45 Szymanowski Prelude op.1 no.1
Pastoral Albeniz Prelude - Espana op.165 Bach WTC I :9 WTC II: 7,19 Messiaen Prelude no.7 "Plainte calme"
Programmatic- Alkan Prelude op.31 no.8 Tone Poems Debussy Prelude Bookl no.10
Romance Faure Prelude op.103 no.1 Scriabin Preludes op.11 no.10,15 Prelude op.74 no.3
Rondo Chopin Prelude op.28 no.17
Sarabande Bach WTCI:8
Sonata i)1 subject Bach WTC II :5,12 ii) 2 subjects Bach WTC II : 21 Debussy Prelude - Suite Bergamasque
Toccata Bach WTC I : 2, 7, 21 Debussy Prelude - Pour le piano Faure Prelude op.103 no.2 Kabalevsky Prelude op.38 no.3,14 Hindemith Praeludium - Ludus Tonalis Scriabin Prelude op.13 no.4
Trio Sonata Bach WTC 1:16,18,23 WTC II : 4, 22
Waltz Kabalevsky Prelude op.38 no.20 Shostakovitch Prelude op.34 no.21 J.S.BACH 6
COMPOSER'S TREATMENT OF THE FORM OF THE PRELUDE
J.S.BACH
Bach employed the form of the prelude in a wide range of his keyboard works. With him the prelude grew to a greater independence than was warranted by its name.(1)
Throughout his life he wrote both preludes that were to act as introductions to other works, and preludes that were meant to exist by themselves. The former group outweighs the latter in quantity. In the dual form of the prelude and fugue we see Bach liberating the prelude from an introductory section to a large movement with its individual form.
Some of these works include:
1. The Connected Prelude Organ Chorale preludes Organ Preludes and Fugues Preludes to the English Suites Partitas nos 1 and 4 Well-Tempered Clavier
2. The Independent Prelude Organ Preludes (Fantasies, Toccatas) 15 Preambula (Inventions) Twelve Little Preludes The Preludes of J.S.Bach <2> (The upper case letters refer to major keys, the lower case letters refer to minor keys.)
Organ BWV Title Date 131a 8 short Preludes and Fugues (C,d,e,F,G,g,a, B flat) ? 531 Prelude and Fugue, C -1707 532 Prelude and Fugue, D 1708-17 533 Prelude and Fugue, e -1707 534 Prelude and Fugue, f 1708-17 535 Prelude and Fugue, g 1708-17 536 Prelude and Fugue, A 1708-17 537 Prelude and Fugue, c 1708-17 538 Prelude (or Toccata) and Fugue, d 1717-23 539 Prelude and Fugue, d 1720- 540 Prelude (or Toccata) and Fugue, F 1708-17 541 Prelude and Fugue, G 1708-17 542 Prelude (or Fantasia) and Fugue, g 1717-23 543 Prelude and Fugue, a 1708-17 544 Prelude and Fugue, b 1727-31 545 Prelude and Fugue, C 1723- 546 Prelude and Fugue, c 1708-17 547 Prelude and Fugue, C 1723- 548 Prelude and Fugue, e 1727-31 549 Prelude and Fugue, c 1708-17 550 Prelude and Fugue, G -1708 551 Prelude and Fugue, a -1708 552 Prelude and Fugue, Eflat 1739 "St.Anne" 566 Prelude and Fugue, E -1708 568 Prelude, G -1708 567 Prelude, C ? 569 Prelude, a -1708 Chorale Preludes 599-644 Das Orgel-Buchlein 1713-17 645-50 Sechs Chorale ["Schubler"] 1748-9 651-668 17 Chorales 1708-17 669-89 Clavier-Ubung, iii 1739 690-768 Chorales Other Keyboards 772-86 15 Inventions Cothen 1723 806-11 6 English Suites Weimar 1715 (A,a,g,F,e,d) 825-30 6 Partitas Leipzig 1731 846-69 Das wohltemperirte Clavier, i: 24 Preludes and Fugues Cothen 1722 870-93 Das wohltemperirte Clavier,1 ii: 24 Preludes and Fugues Leipzig 1738 833 Prelude and partia, F Weimar 1708 894 Prelude and fugue, a Weimar 1708 895 Prelude and fugue, a ? 896 Prelude and fugue, A Weimar 1709 897 Prelude and fugue, a ? 898 Prelude and fugue, B flat ? 899 Prelude and fughetta, D ? 900 Prelude and fughetta, e Cothen 1720 901 Prelude and fughetta, F 902 Prelude and fughetta, G 921 Prelude[Fantasia], c ? 922 Prelude[Fantasia], a ? 923 Prelude, b ?
Preludes from Clavier-Buchlein W.F.Bach Cothen 1720 924 Preambulum, C 926 Prelude, d 927 Preambulum, F 928 Prelude, F 930 Preambulum, g 933-8 6 Little preludes (C,c,d,D,E,e) 939-43 5 Preludes (C,d,e,a,C)
Preludes from Clavier-Btichleinj for Cothen 1720 Anna Magdalena Bach Clavier-Buchlein.ii for Leipzig 1725 Anna Magdalena Bach 9
The Well-Tempered Clavier
The genesis of the first book of the Well-Tempered Clavier is found in the Klavierbuchlein fur Wilhelm Friedemann Bach of 1720 where Bach sketched the beginnings of eleven preludes. <3) These preludes were later extended and others were added.
The twenty four preludes and fugues were arranged chromatically.(4) The completed set was presented in 1722. The title page explains the function and uses of the collection:
THE WELL-TEMPERED CLAVIER or Preludes and Fugues through all the tones and semitones both as regards the tertla major or Ut Re Mi and as concerns the tertia minor or Re Mi Fa.
For the Use and Profit of the Musical Youth Desirous of Learning as well as for the Pastime of those Already Skilled in this Study drawn up and written by Johann Sebastian Bach p.t. Capellmeister to His Serene Highness the Prince of Anhalt-Cothen, etc. and Director of His Chamber Music Anno 1722 <5>
Other works completed during Bach's time at Cothen include the Brandenburg Concertos, Violin concertos, Sonatas for violin ( and flute, and gamba) with harpsichord obbligato, Sonatas and Partitas for unaccompanied violin, Suites for unaccompanied cello, Little preludes and fugues, English and French Suites Chromatic Fantasy Inventions and Sinfonias 10
Bach has retained the essential character of the genre with short highly unified pieces, each with its own sharply drawn, continually maintained character. The tendency is to operate with a short theme or motive - a phrase, a characteristic texture, rhythmic pattern, or type of figuration - which provides the basic thematic material of the piece and establishes its character at the outset.
The immense variety of forms and textures in the cycle reflects Bach's intention of supplying models for the "youth anxious to learn." In the Well-Tempered Clavier the preludes from the Klavierbuchlein fur Wilhelm Friedemann Bach are predominantly in the older style; others are two-part inventions; three-part inventions; ariosos; concerto-grosso movement; and one is a pre-classical sonata.
The preludes in Book I are raised to individual prominence and they no longer need the fugue, but, from their relationship with it, they gain a new reflected significance.(6)
Between 1730 and 1742 Bach published the four parts of the Clavierubuna which included: the Partitas BWV 825-30 the Italian Concerto BWV 971 the French Overture BWV 831 Chorale Preludes Duets BWV 802-5 the Golberg Variations BWV 988
In the last ten years of Bach's life he tended to collect earlier compositions and create new cyclic works. In 1744 he produced the second volume of the Well-Tempered Clavier BWV 870-893, The Musical Offering BWV 1079, and The Art of Fugue BWV 1080.
The distinction between the two books of the Well-Tempered Clavier lies in the variety of the preludes in the second book: ten are in two part form, three anticipate the form of the classical sonata, three are two part inventions; while others are suite movements, trio sonatas, and concerto form. 11
The title page of the Second Book reads:
The Well-Tempered Clavier
Second Part consisting of Preludes and Fugues through all the tones and semitones written by
J.S.Bach Royal Polish and Electoral Saxon Court Composer Capellmeister and Director Chori Musici in Leipzig Anno 1744 (7>
Unlike the first book of the Well-Tempered Clavier the writing of the second book covered a long period of time. This book consequently does not exhibit the stylistic unity that is evident in the first book. The latter collection has a greater variety of styles and forms in the preludes. 12
Forin s used in The Well-Tempered Clavier Bookl BWV 846 to 869
KEY DESCRIPTION OF FORM 1. C a lute-like improvisation 2. c toccata-like trio sonata 3. C sharp 2 part invention pastoral 4. c sharp 2 part invention aria-like
5. D toccata 6. d toccata-like improvisation 7. Eflat double fugue with improvisation 8. eflat sarabande-aria concerto grosso
9. E 3 part sinfonia pastoral 10. e aria violin-continuo sonata slow movement 11. F 2 part invention 12. f invention aria
13. F sharp 2 part invention gigue 14. f sharp invention allamande 15. G toccata 16. g aria violin-continuo sonata slow movement
17. Aflat invention violin-continuo sonata concerto grosso 18. g sharp trio sonata 19. A trio sonata 3 subject fugue with counter subject 20. a invention
21. Bflat toccata 22. bflat aria concerto grosso 23. B trio sonata 24. b 2 part invention 13
Forms used in The Well-Tempered Clavier Book 2 BWV 870-893
KEY DESCRIPTION OF FORM 1. C fugue like improvisation 2. C allamande trio sonata 3. C sharp fugato 4. c sharp trio sonata pastoral
5. D mono-thematic sonata gigue 6. d 2 voiced passage work 7. Eflat concerto movement form pastoral 8. d sharp 2 part invention
9. E trio sonata courrente / pastoral 10. e 2 part invention 11. F 4/5 part harmonic writing 12. f sonata
13. F sharp concerto movement form 2 voices 14. f sharp slow movt concerto trio sonata / da capo aria 15. G suite movement 16. g 4 part fugue with preparation
17. Aflat concerto grosso form 18. g sharp sonata violin-continuo sonata 19. A trio sonata pastoral 20. a 2 part invention
21. Bflat sonata (2 subjects) gigue 22. bflat trio sonata 23. B toccata fantasy 24. b trio sonata concerto movement form 14
Forms of the Introductory Movements to:
The English Suites KEY TITLE FORM
1. A Prelude fantasia /gigue 2. a Prelude perfect da capo aria form 3. g Prelude first movement of a concerto 4. F Prelude concerto form but more fantastic 5. E Prelude fugue combined with aria form 6. d Prelude passage work / fugue
The Partitas
1. Bflat Prelude fugal / three part invention 2. c Sinfonia French Overture 3. a Fantasia two part invention 4. D Ouverture in French style 5. G Praembulum concerto movement / toccata 6. e Toccata single movement with central fugue 15
Analysis
J.S.Bach Prelude in D major, Well Tempered Clavier II
Mellers in Bach and the Dance of God talks of the inevitability of the preludes unfolding. In the initial statement in the D major prelude Bach announces the principal motives that will be used. These motives are stated, developed, transformed throughout the duration of the Prelude. <8) Keller describes this treatment of a single idea as "the music of one character."(9)
In the D major Prelude, Bach anticipated the early mono-thematic Sonata form of Scarlatti and later Haydn. Bach used this form later in the second Book of the Well Tempered Clavier in the F minor and B flat major preludes.
The work divides itself into two sections: i. (bars 1-16) The foundation laying period or Exposition. In this section the music moves from the tonic to finish in the dominant. ii. (bars 17-40) Development is mainly in the dominant and relative minor of the tonic. From bar 41 to the end there is an exact recapitulation of the exposition without modulation. The two sections are each marked with repeats.
D major was the key used for display and brilliance in string and brass writing. It is a jubilant and triumphant key that "overflows full of life."(10)
Other works written by J.S.Bach in this key are: "Jauchzet, frohloket! auf, preiset die Tage" from the Christmas Oratorio. Partita in D major for Harpsichord, Brandenburg Concerto no. 5, Magnificat in D. 16
Analysis
J.S.Bach Prelude in D Well-Tempered Clavier Book II
Rhythmic and Melodic Motives
i—> * * * # semiquaver scale passages: ascending and descending
'—' * * * broken chords: ascending and descending
nnn repeated quavers
D DP, dotted quaver semiquaver 17
Prelude 5, D Major
±=$444^r± s^as^^^-r*-^"—*- s *—«^a: zsrzm HT^a -~J -*—w S*-*WNv ^k r V . -«U--- *=^ -^—<*—««- hr^v-* • **- ^t£S^ J ^^£E£ * r ^^ p r JJ?],h BEE fe^^ §f ^x^1=3f ^ J tt f ^P^-^^^^ -+ . » i—* eJ grertii== :^2^ FS= ^ 2=i3C? ^ TF*—v 1
itafe m TV*—*1 gj#^^Sp " * * A*-*-r±-*-TT ITr* $* ^p ^as ^ P ,*^ -^"•Or TJ - r~*"*?*'~ *-waft f ^7 ? *^ S—• *T~> 3 slKfeHSf^ " •HHSBSI s^ m s OiltiripPFfip-f-F^f p
m^^i ±+±t±*ptB^ S Pt^f J. r ? S7—^=E g^#? a f=^
i^aoi J^JJMIX**-//*- ^=*=^fe«-J^*=j:S ^ JIS 3 -<* 5-»"V^- ^^W^ff^ ^ "P MHV-,« j^—v-^jg l^^^^^^^g^^^^ V MO Iff
z$L 15 f7 "* -if"— >P y&^z-p-r^^E > *^B—i ! £t '?-"*/>JDtS-j-ML;.-- "a J -. 1^32 mEMm a; I i nri—t rr SP5
iZac J —rJ >, j ^^d—h £EE "r-T^^r Era *^~ ^mM? it 4^ ,b*- V •p p *& z±*3 S p E £E iMMjami-ftWuud—" ™ - '—•—'—' ' " 35
3 H*J ^^^j^ mJ-—-Jflj: ^3=ff±=±±±Li '.fflrr lt=* 7C^t=rS3T_ UT gf^egr dd —M r**WQn«=«3| gsgsa | "r*»*Wi2 . w^t '&fr~ M2 L •0 0^ji-& dz 35 -*•< •+ i £ '^.*'»#y Eg^r? ^^^ ^m CSSS&- ^ &m*.M'^rffizz*-
~dq§^ 1*F§±'-jT~rr—*""» *—^ ** *tf PPPTO^g 1P w* i -> 3--»-.J ^WB^fr t wn1Li Tr * -3- 19
J p-SX-lry-xva ^ ^s^±=i ^1^^^= :F=?: wtrr aa"*^ PPi^g g^rs^g ^^ i=II=gE
j i^-JrhJIl * l> -i !—a S= F^^F fe -V^£ ^35 =5^ ffiP^=£=£ P 2 V SS£ -)*—4H-0-0- e^s^p1 "^ a ^f^§ EtP^Lffe ^ ^^^^, dfc 5 ^ P r—r ppilflpf WT ^
~ptan»—HI 1 trg~ j 4 5Sfe=fe*=S 5s*^^ ferf*> g ttWWl Hw—j ^>aF -"^^ggi: 50
i JX ~vr—r r— - ^ •q&eqirH*^r * 3P *5 m?m^mm •Ci ^7 J ^ ^7 •T
n«4*^s_ *• -^-^-rr^zr 9SS 4 *w»a«a:-Hd 1" • ^i'1"-* - J.S.Bach: Prelude in D Form and Harmonic Analysis
(The grid relates to the bars in the composition. The letters in upper case represent the major keys, and the lower case the
EXPOSITION: kD:l I I | Statement of subject (bars 1-4)
Is. Ivii iii Ivi II Iv elaboration
k III I In
I13.V liii IV vii ll II Ivi Closing section
DEVELOPMENT: I17.V | | | CO bi.vii 117 IIV Ivi O'i) las. Ill VI Iii Iii || (iii)
I29.VI llll |||| |||| (iv)
I33.IV IIV vii iii vi7lii v I IIV M 21
'37i ' I 11 preparation
RECAPITULATION: I41.1 I h7 ||7 Statement
I45.IV Ivi Iii v7 Ivi vii7 I elaboration
I49. I ii Iv7 Iv II7 Ivi V
Iss.l Ivi IIV V7 IIV VI I Close 22
J.S.Bach: Prelude in D Textural Analysis Key: soprano alto bass
n= E
LLL
&
C25Z
1297 3
132,
I3ZZ
bt 23
ELL rjs:
r53T
The texture of the D major Prelude is predominantly in three parts, with two outside parts operating throughout and the middle being added for additional contrapuntal and harmonic support. F.CHOPIN 24
F.CHOPIN
Chopin wrote twenty six independent preludes. The Twenty-four Preludes op.28 are not linked motivically, however they are united harmonically. The two remaining preludes, Prelude in A flat(1834), and Prelude in C sharp minor, op.45 (1841), are independent and have no relation to any other piece.
On the composition of the Preludes, Chopin said: "New themes assail me like swarms of bees, they will become my Preludes... But even if they are short and small it does not mean that they have cost me great effort to write."(1)
George Sand in Historie de Ma Vie ^ says "He could sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power..." Liszt in a discussion of the Preludes said that every note seemed to be "utterly spontaneous and inspired."(3)
The Twenty-four Preludes of Chopin were published in 1839. The manuscript of the Preludes was sent from Majorca to Paris in January of that year. Chopin was in Majorca trying to rekindle the energy that he had been gradually losing. George Sand tried to breathe fresh life into his weary soul, when, all he could feel was a tenderness born of self-pity. In fact they only found release in work, and a deep comradeship somehow emerged from their shared experience of solitude. W
The Preludes op.28 have been subjected to a large amount of Romantic exaggeration. There are wild stories associated with the composition and contents of some of the individual works. Von Biilow in his analysis of the Preludes op.28 gave each of the pieces a descriptive title such as "anger", "despair" and "solitude."(5) 25
The major points concerning the Preludes are: Firstly, the collection of 24 Preludes, like Bach's, go through all twenty four keys. Chopin does not organise his chromatically however, they are in pairs, beginning with C, each prelude in the major being followed by another in the relative minor, and then descending a fifth (ie C,a,G,e...) Often the prelude is based on a single motif (whether rhythmic, melodic or harmonic) and explored in a small framework.
Secondly, the Chopin Preludes are independent. Following the example of Hummel,(6) these Preludes are not coupled with a fugue or a larger composition. These works are preludes to nothing in particular except themselves. As a collection they form a tonal mosaic of different colours and inspirations.
The Preludes are fragmentary and almost appear to be sketches for later compositions. Robert Schumann said that "... they are sketches, beginnings of Etudes, or, so to speak, ruins, eagles wings, a motley of pieces."(7)
Frederick Nieks described the Preludes as a portfolio of works in different stages of advancement - and the 'finished' works were too slight to be released into the world as detached individuals. (8>
Chopin's use of the form is perfectly matched to its content. Within the Preludes there is little padding or superfluous passagework.
Other works written while Chopin was on Majorca were: Second Ballade in F op.38 Two Polonaises in A major and C minor op.40 Mazurka in E min op.41 no.2 He probably also completed: Sonata in B flat minor op.35 Two Nocturnes op.47 D IN PRELUDES OP.28 26
3- I S. i. I a* m
^ E± 3 =6= A i. fe E o^- ^=—'—& 0 0 t £ 6E £ Ft , \*\ t. &- it % it. iS 1» iT g^ :m i , r r 4 3 £ i©-
» n_i OJJ te ^ tm 2 <-. » *.. ^ ^^^
1-
to.
li fi 3 _€ £ • '• - . 3 ^T 27 I A t i?m -•—* 9* 0 i|i. ifet ^fcffl S A f J |iJ~JJ" , iii- £ -J)\ty <' [j
2. "2 IS. Am c f f 'i ' i r rV? w 3. P Ifc. ggMP 5 r^ ^ ^^ S 0- ^<1 1>I H- mE=j>Iff^F -*—*- a
12 £ ffi ^=F £ *'n^i P (I R. M fe 5 2o. I ? 3 21- =3= j, J, j -1 B ^^ zi m 4r 28
22. H£ sp g •0—>—#- + ^*^»—I— i. ll- n & ^n ^.^rfi3=1 3H ~*~+ ^s
Chopin Preludes op.28 (The letters in upper case represent the major keys, and the lower case the minor keys.) KEY TEMPO 1. C Agitato 2. a Lento 3. G Vivace 4. e Largo espressive 5. D Allegro molto 6. b Lento assai 7. A Andantino 8. f sharp Molto agitato 9. E Largo 10. c sharp Allegro molto 11. B Vivace 12. g sharp Presto 13. F sharp Lento 14. eflat Allegro pesante 15. Dflat Sostenuto 16. bflat Presto con fuoco 17. Aflat Allegretto 18. f Allegro Molto 19. Eflat Vivace 20. c Largo 21. Bflat Cantabile 22. g Molto agitato 23. F Moderato 24. d Allegro appassinata Others 1. Aflat (1834) Presto con Leggierezza 2. c sharp op.45 Sostenuto 30 F.Chopin Prelude in A flat Op.28 no. 17 Comments on the skillful manner in which Chopin combined harmony and melody, warranted such comments as: Barbedette in Chopin : Essai de Critique Musicale said "In them [the preludes] the individuality of the artist's plan is even clearer," and "it is difficult to present an analysis of these charming pieces, the longest two or three pages. They are spontaneous musical outpourings." ^ Liszt commented on "the work and skill that has gone into their composition", he said that this skill was not obvious until after careful examination.(10) Landowska said "the fundamental trail of the harmony ... in Chopin is not the consubstantiality of the harmony with the melody, but that these two elements, hermetically welded, always come together and form a unique entity."(11) In the A flat prelude the melody seems to emerge out of the reiterated harmonic support, although never dominating. The prelude divides into five sections with a two bar introduction , and an extended coda based on the material in the opening section. It follows the form of a simple-rondo (eg A,A,B,A,C,A). Although each statement of the main section is outwardly the same, Chopin gradually fills out and colours the harmonic support with the addition of more notes to the chord, and the use of harmonic pedals. The two contrasting episodes B and C are both in sharp keys. They do not follow the same harmonic progression as section A, and they exhibit a faster harmonic rhythm. F.Chopin Prelude in A flat op.28 no. 17 Melodic Motives Theme A • ff- r s- -V • •* >—*—. w *.• \ * -— ^± i\yr j * ig J—u Theme B JkjjaxuL=i£i^=a Theme C Phrase structure - Harmonic sketeton 32 Form 4 + J* Xs fi ^3 25 n\ I f N VT |V A #-*- fi wm V K^^ % ^VrdM 5 •o'- >M »> v/ j A / * Z5 ^t ^ fe a ^ >—P ?2I ^ f'W ? 181 tm 21 i 4f-*iri in g 55 =F m -^ ±b' J- c\ A: »T W 11 **- K ti # ==1=1f—t-fi Ms t H te fr £ £ £ P * j aE ^ *ir" * E S 2 4 irz^ it cjantec ^ 2 « 2 2 5£ 3 T^ 33 i.£ -F3- r—0- *p ft X* m ± 0 0 7r' • -V- VF mn tg 'jr 371 a Mrf #t* S £EF ^ 34 ti/ * i ± ££ ^ -Ch 32 w W tfl/7 /L te -f-f I ±t ^S o±j , f /- H*-^ -"t-t- as s v Sth 1 o- 2J 7 1>JT| . .-:FFr '^^ * * * » 3 (V I iv »5, »• t_i * TW rtrr rv rp n rs I to * £ id: 35 F.Chopin: Prelude in A flat op.28 no.17 Form and Harmonic Analysis (The grid relates to the bars in the composition. The letters in upper case represent the major keys, and the lower case the minor keys.) INTRODUCTION (bars1-2) SECTION A h.Aj:l I IV7 ll7 ls.iv Iv7 iv Iv7 Ivi II7 SECTION A I9.V I I V Iv7 ll7 I13.iv Iv7 iv Iv7 Ivi II7 I SECTION B Harmonic fluctuations. 117. V I I IV7 I I7 chro. progression! A major la. I I le d I descending bass pedal l25.d 4 lc b IV ll I bass pedal Eto bar 31 I29.V 11 lenharmonicshift-A I I 36 SECTION A 7 133. Iv IP 7 7 I37.IV Iv iv Iv Ivi II7 I SECTION C Harmonic fluctuations I41.V Iv h7 liv B major I45.I7 Iv llchro' Iv I49. Ilchro7 Iv I IV lli' ivfr I cycle I53.VII III I lllchro7 IlV> III7 I57.V Iv lei.V Iv Iv Iv SECTION A 9 I65.I9 I I IA^IV IV IV I 37 ls9.V 117 IV 11 Iv I73.V7 117 I iv Iv IV I I77.V ll7 IV Ii Ii CODA - EXTENSION SECTION A Isi.iv ll iv ll ll | I with added Bj' Iss.l 11 Isg.l C. DEBUSSY 38 C. DEBUSSY Like Bach, Debussy employed two forms of the prelude: Connected Suite Bergamasque (1890) Suite Pour le Piano (1901) Independent Twelve Preludes Book 1 (1910) Twelve Preludes Book 2 (1913) The two books of Preludes, along with the twelve Etudes belong to the last compositional period of Debussy's life. As a single unit the two books that make up the Preludes comprise his largest collection of works for the piano. In the Preludes Debussy continued the evolution of the form; from an introductory movement, to a complete independent work. Debussy followed the example that Chopin set in his Preludes. To the form Debussy added a complexity of ideas without losing the essential characteristic of brevity. The pianistic style of the Preludes evokes Debussy's heritage from the clavecinists of the French Baroque; ie, Rameau, and Couperin. This is evident in his: pliable melodies, rhythmic precision, etched contours, clarity of style, and the outward simplicity of form. In placing the titles of the Preludes at the end of each piece, Schmitz commented that Debussy "avoids the coyness of those who have a subject and won't say what its program is. He also makes clear that the music is of the first importance, and the stimulus to its added enjoyment is only an afterthought."(1) 39 The Preludes are like memoirs and recollections throughout Debussy's life. Lockspeiser(2) likens Debussy's piano in the Preludes to a musical telescope continuously changing as exotic images are revealed. In the twenty four works, he goes through legends, literature, vaudeville, painting, architectural landmarks, archaeological objects, natural phenomena, a multitude of scenes and of personages. Each prelude is individualized and crystallized in the moment of Debussy's creation capturing his subtleties and secrets with the radiant faith of one who believed in nature. As a symbolist, he does not describe life, but rather, with unheard-of refinement, integrates it into his music.(3) These short pieces, with their varied sentiments, and different characters, with their incisiveness, spontaneity and poetry, do not constitute impressionism. Other works written during the time of the composition of the Preludes were: 1909 Images (for orchestra) 1910 Rhapsodie pour clarinette en si bemol et piano Le promenoir des amants (voice and piano) La plus que lente (valse, piano) Trois Ballades de Frangois Villon (voice and piano) 1911 Le Martyre de Saint-Sebastien (theatre) 1912 Khamma (ballet) 1913 Jeux (ballet) Boite a joujoux, ballet enfantin (piano) 40 Debussy Preludes (4) Book I TITLE TEMPO 1. Danseuses de Delphes Lent et grave 2. Voiles Modere 3. Le Vent dans la Plaine Anime 4. Les Sons et les Parfums Modere Toument dans I'Air du Soir 5. Les Collines d'Anacapri Tres modere - Vif 6. Des Pas sur la Neige Triste et lent 7. Ce qu'a Vu le Vent d'Ouest Anime et tumultueux 8. La Fille aux Cheveux de Lin Tres calme et doucement expressif 9. La Serenade Interrompue Moderement anime 10. La Cathedrale Engloutie Profoundement calme 11. La Danse de Puck Capricieux et leger 12. Minstrels Modere (Nerveux et avec humour) Book II 13. Brouillards Modere extremement egal et leger 14. Feuilles Mortes Lent et melancolique 15. La Puertadel Vino Mouvement de Habanera 16. Les Fees sont d'Exquises Danseuses Rapide et leger 17. Bruyeres Calme 18. General Lavine - Eccentric Dans le style et le Mouvement d'un Cake-Walk 19. La Terrasse des Audiences du Clair de Lune Lent 20. Ondine Scherzando 21. Hommage a S. Pickwick, Esq., P.P.M.P.C. Grave 22. Canope Tres calme et doucement triste 23. Les Tierces Alternees Moderement anime 24. Feux d'Artifice Moderement anime 41 C.Debussy Prelude: La Cathedrale Engloutie Book 1 No.10 The prelude La Cathedrale Engloutie is one of the most mystical of the piano works of Debussy. It is based on the Brittany legend that describes the Cathedral of Ys, engulfed in the Fourth or Fifth Century "because of the impiety of the inhabitants," but is allowed to rise at sunrise and be seen as an example to others. In the beginning, this prelude is the moving universe of the sea and it reveals the treasures of the Ville d'Ys. The legend comes from long ago and years separate us from the organs and bells of the dead city. Its watery grave is still, but Debussy tears away the submarine fabric of the city with a superb theme which surges up to form a kind of cupola.(5) This prelude stands apart in that it is a narrative programme with imagery made more explicit. Debussy's knowledge of the acoustics of overtones is put to good use to create the misty atmosphere of the opening phrases and the clangour of the bells later. 42 C.Debussy: Prelude "La Cathedrale Engloutie" Form and Harmonic Analysis (The grid relates to the bars in the composition. The letters in upper case represent the major keys, and the lower case the minor keys.) A. Subject I (bars1-6) li.Phyrigian mode 1 I I I Organuum in 4ths and 5ths Subjectl(bars7-13) Is. I Icjftonality I I Bells heard under water (bars1-8) lo. I l I I Subject I (bars13-27) I13. Temporary return to Phyrigian lmode(13-15) IB (16-18 I 117. I le over IEK19-21) I I21. I Dorian mode acting as chord II leading to C I Development. Gradual emergence of its fully developed form. Moving pedals - waves. (16-28) Subject II- Full Statement (28-41) I25. I Ic tonality I I C pedal i?9. i i i i Full view of Cathedral. I33.F- modal reference Tonal centre of C. 137. I Bell motif ,41. Superimposed Major seconds I Metallic sounds of bells B. Return and development of Subject II (46-71) 145. I Pedal Crf I enharmonic change l49. 153. 157. 161. 165. I return to C Recapitulation 169. moving pedal 44 173. Slow engulfing waves In. Subject I '81 I I IChords similar I to opening. I89. i 45 Compositional techniques used in Debussy's La Cathedrale Engloutie Manuscript example number (page 46): 1. Gutted chords in Phrygian mode 2. Dorian mode 3. bitonality 4. parallel chords 5. superimposed major seconds 6. superimposition of dominant and tonic elements 6. use of 2nds, 4ths, 5ths within chords pedal points - bass: barsl, 28, 47 middle voice: bar 42 top voice: barl ornamented: bar 2 moving: bar 72 46 5 i fa-l- •0. •+• ' m^ £ ^^^ra 15 ^~ by,i 3. i -»*— ,.ii rfSL© fl£** • rz?~ \£ CL 4- ^3 sq?^ 3C t-as ti f?^!£ I 9- mOl- <£>: do ^ b-45 ^ 1- s y M. LONSDALE 47 MICHAEL LONSDALE MOUNA The composition was written after a request from myself to produce a contemporary work based on the nineteenth century concept of the Prelude. The initial discussion centred on the Chopin Preludes. The idea was suggested that each of the Chopin preludes forms a single mosaic that joins the others to create a complete work. When the mosaics, or units, are taken apart, they can exist independently. However they require the full interrelationship between each of the constituent parts for them to fully portray the complete musical thought. In writing Mouna. Lonsdale said he was influenced by: i. The ideas of constant regeneration and expansion of material displayed in the work of Steve Reich and Phillip Glass. ii. James Dylan String Quartet iii. Nigel Butterley A Letter to Hardy Bav from which he makes direct intervallic references. Lonsdale was particularly influenced by The Testament of Tourmaline - Randolf Stowe Deep. Go deep, as the long roots of my all mine the red country for water, for silence. Silence is water. All things are stirring, all things are flowering rooted in silence. Silence is empire. Tao is eternal. Flowering, returning, with water, with silence. Deep. Go deep, as the blossoming myall. Silence is lifeblood; returning, flowering. 48 Silence is one of the principal elements in this piece. The Sanscrit title Mouna with its literal meaning of "interior silence" is an important key to the composition. Varying lengths of "silence" surround each of the fourteen sections of the work. Each of these breaks is marked with a full pedal so that the resonances can fully decay and the next utterance can emerge out of the silence. Through this openness of silence Lonsdale has expressed his interpretation of the Tantric idea of silence; the gradual freeing of the mind so that it can take in both the external and internal sounds and impulses. The sections are like fragments that are flashes that distract our attention from the silence. These fragments give the listener small views of the original idea. It is as though the listener is in a gallery - his attention being caught and diverted by different aspects of the work. The composition is based on an initial cell of notes. Throughout the course of the first part of the composition an additional note is added to the cell each time it is played. Within the 14 parts of the work there is a gradual increase in the length of each section up to section 8 (lasting eight bars.) From this point the sections decrease in size. Thus producing a compositional arch. The length of the silences range from four to twelve quaver beats. Seen as a whole the work can be divided into three main sections; 1. Sections 1 -6 uses the same linear idea expansion of the cell 2. Sections 7-9 employs first linear idea, however the texture becomes a combination of single linear ideas with chordal punctuations. This part culminates with section 8. 3. Sect 10 Predominately descending line. Lonsdale has created a miniaturistic landscape in the prelude Mouna. He has produced an integrated overall structure made up of small constructions that develop, evolve and emerge from each other. 49 The form of the prelude offers Lonsdale the opportunity to express the most intimate of feelings in a form that does not require expansion and development. It is as though he is making short vieled utterances without the need for any qualification. Throughout the work these utterances are in fact slightly extended. More than giving the idea of change, it is in the evolution of a thought, not in its transformation. The thought goes slowly through a metamorphosis that brings about an approach to the original idea from different perspectives. Similarly, the last note is never the last. It is rather the point of departure for something to come. Dijin's poem, quoted by Ferra(1) in his study on Chopin, is applicable to this work: I listen all things vanish, One doubts, it is night, and all things pass, space effaces sound. Gide in his book Notes on Chopin (2) says: "each of them,.. .creates a particular atmosphere, establishes an emotional setting, then fades out as a bird alights. All is still..." These lines are applicable to the Lonsdale and the silence that encompasses the sections. The composition is prefaced with a dedication to the composer's mother which is inscribed with Verse 12 from Psalm 30: "You turned my mourning into dancing, you have stripped off my sackcloth and wrapped me in gladness; and now my heart, silent no longer, will play you music..." The title page of Mouna presents a line diagram of a long line with a series of tangental offshoots. Like the conception of the prelude, this is a graphic representation of the composition with its areas of depth, together with its expansion. Relationship of sound to silence in Mouna Section Length of sound Length of silence (quaver beats) (quaver beats) 1. 16 11 2. 13 13 3. 27 8 4. 32 11 5. 25 7 6. 9 4 7. 28 4 8. 28 8 9. 60 8 10. 56 12 11. 16 8 12. 16 10 13. 11 8 14.a 12 4 b 12 4 c 16 Lonsdale : Relationship of sound to pedal Right hand ** Left hand (The grid relates to the bars in the composition.) - Full pedal "Half pedal 17 I _J 113. 117. 121. 25m. 52 37. 141. 145. 149. 153. Zl 157. 161. ^1 53 < c re w z -) 03 ~0 oo 1— c o o O CV 11 K 54 4 1 3 ^ 5 1=• e .fi3 o i 1 1 0 \ X r -Si u> i r -A 4 -4 i ft? r 4 =5 r p i ^ 55 J* 1 V> •UiU- S4-- •WU- -W «•+«.. u> VW4- •H4H- vo 31% 4f jw- •iini km- +44U- V) V> wuu_ ^L- r ^ ««ftHU4- *5 fHU i+Ul- -r. r^> in "•44444- •4U. \o •UU- +'*IU- •Irt. 3 «wu %UllL _£*- •ul tO *f>4- Vi l/> -^ ua- w> <£*uu 444+4- J^ fU*4 +4444- 4fcf^ ^-, 56 <-=*?,? , 1 •vr 'S r»4> > ^ v* to 57 4; Li... Jl +• *W +• 1 J •W- •ill Ifre i * Vn J V* vfl «- Ni^. Ji. al +*: Vn - J ilO J 58 Jt- • 1 -» v/ ( 4,' ' J 4-o* y ,+4- lii < ) ~3 ^ J/di 3 "> §- JL ) \%m ( ^ •44- —f [-*"< v hzi •WU ?4d 8: i «a_ Cr ^ ^- 8; ^1 < «»i r C =** w s ) 59 ^ « DEVELOPMENT OF RECITAL PROGRAMME 60 Development of Recital Programme - (Major Presentation) To show the development of ideas on the presentation and content of my recital programme. 1. Original concept When I first started looking at the form of the Prelude, the recital programme I wanted to present was to include: i) a complete set of preludes, and ii) groups of 6 consecutive preludes by representative composers. Some of the initial works considered were the : Bach Inventions Little Preludes Group of WTC preludes Chopin Preludes op.28 Scriabin Preludes op.11 Shostakovitch Preludes op.34 2. Research After some research into the form, it became apparent that the repertoire of the prelude was vast. As the prelude has the singular honour of being the oldest keyboard form, the available music ranged from the Tablature of Adam lleborgh (1448) to many works written this century. Some of the Preludes looked at were by: Bach, Beethoven, Bull, Byrd, Busoni, Clementi, Chopin, Couperin, Debussy, Delius, Faure, Franck, Ginastera, Grieg, Handel, Hummel, Kabalevsky, Liadov, Liszt, Mendelssohn, Messiaen, Ponce, Purcell, Rachmaninoff, Scriabin, Shostakovitch, Sweelinck, Szymanowski. With this body of material, it was suggested that I consider the historical development of the form of the prelude. 61 From the short list of composers it was apparent that to give even the slightest indication of the development of the prelude a programme would have to be either of daunting dimensions, or spread very lightly over the repertoire. The latter being the most realistic and viable. The presentation of a programme of short pieces that had either served as an introduction to a larger work, or were part of a larger collection of pieces, had several disadvantages. In many works it was found that there was not a great deal of musical substance in an introduction, nor was there a logical link between works which have been removed from collections. The prelude does not offer any long extended compositions - the works are generally short and concentrated both technically and musically. They offer neither the performer or the listener a lengthy time to fully assimilate the work in one performance. The form requires the greatest concentration in the smallest of time spans - with the exception of some serial and minimalist works no other form does this. One of the great advantages in performing preludes is that it enables the performer to cover a large area of the repertoire (composers, and their styles) in miniature. The performer is given a concentrated insight into the background and inspiration of the composer. 3. Initial Proposal A later suggestion was made by Professor Cowie, that the music should be presented in two short programmes concerned with: i.) The prelude connected to a larger work, and ii.) The independent prelude From the outset this would have produced a short first programme dominated with works that were not written for the piano (but for earlier keyboards), and a large second programme covering repertoire primarily from the nineteenth and twentieth centuries. To assist in deciding on a programme I accepted the following restraints : i.) a representative cross-section of the repertoire could only be presented in one programme; and ii.) the works included should be those that could be performed credibly on the modern piano. 62 4. Proposed programme A programme was assembled to cover a cross-section of the repertoire. The programme divided easily into: i.) the connected prelude ii.) the independent prelude This programme was performed at the Sydney Church of England Grammar School, North Sydney to an audience of about 120 people on July 9,1986. The programme for this concert is as follows: PROGRAMME RECITAL S.C.E.G.S. The Connected Prelude Prelude Suite no. IV in A minor H. Purcell Prelude Suite no. IV in G minor Prelude no.11 in F minor Ariadne Musica J.K.F.Fischer Prelude no.15 in Aminor Prelude in D Well Tempered Clavier Bk.2 J.S.Bach Organ-Chorale Prelude "Wachet auf, ruft uns die Stimme" (trans. Busoni) Praeludium Partita no.5 in G major Preludio Etudes d'execution transcendante F.Liszt Prelude Espanaop.T65 I.AIbeniz Praeludium Ludus tonalis P.Hindemith The Independent Prelude Mouna(1986) M.Lonsdale Preludes op.67 no.1 C J.N.Hummel no.2 A minor no.3 G no.14 E flat minor no.17Aflat no.18 F minor 63 Preludes op.28 no.9 E major F.Chopin no.17 A flat major no.20 C minor Preludes op.31 no.8 A flat minor C.V.Alkan "Song of the Mad Woman on the Seashore" no.13 Bflat minor "Though I Slumbered my heart was awake" Preludes op. 11 no.14 E flat minor A.Scriabin no.10 C sharp minor no.18 F minor Prelude op.1 no.1 B minor K.Szymanowski Prelude no.10 "...La cathedrale engloutie" C.Debussy Prelude no.7 "Plainte calme' O.Messiaen Prelude no.5 "Temples" M.Williamson Preludes op.34 no.21 B flat major D.Shostakovitch no.14 Eflat minor no.20 C minor Prelude op.23 no.5 G minor S.Rachmaninoff This recital gave me the opportunity to try out the full programme, and to determine which works would be most appropriately representative, of the two forms of the prelude. 64 5. Programme - M.C.A.Recital The works in itallics are those that were proposed to be performed but were deemed unnecessary by the examiners, and were extracted before the recital. The programme was presented on August 14,1986. The Connected Prelude Prelude Suite no. IV in A minor H. Purcell Prelude Suite no. IV in G minor Prelude no.11 in F minor Ariadne Musica J.K.F.Fischer Prelude no.15 in Aminor Prelude in D Well Tempered Clavier Bk.2 J.S.Bach Prelude in B flat min Well Tempered Clavier Bk. 1 Organ-Chorale Prelude "Wachetauf, ruft uns die Stimme" (trans. Busoni) Praeludium Partita no.5 in G major Preludio Etudes d'execution transcendante F.Liszt Prelude Espanaop.165 I.AIbeniz Praeludium Ludus tonal is P.Hindemith The Independent Prelude Mouna(1986) M.Lonsdale Preludes op.67 no.1 C J.N.Hummel no.2 A minor no.3 G no. 14 E flat minor no. 17Aflat no.18 F minor Preludes op.28 no.9 E major F.Chopin no. 17 A flat major no.20 C minor Preludes op.31 no.8 Aflat minor C.V.AIkan "Song of the Mad Woman on the Seashore" no.13 B blat minor "Though I Slumbered my heart was awake" Preludes op. 11 no. 14 E flat minor A.Scriabin no.10 C sharp minor no.18 F minor Prelude op.1 no.1 B minor K.Szymanowski Prelude no.10 "...La cathedrale engloutie" C.Debussy Prelude no.7 'Plainte calme" O.Messiaen Prelude no.5 "Temples" M.Williamson Prelude op.23 no.5 G minor S.Rachmaninoff Preludes op.34 no.14 Eflat minor D.Shostakovitch no.20 C minor no.21 B flat major Prelude no.3 E flat minor PROGRAMME NOTES PROGRAMME NOTES 1. Composer: PURCELL, Henry 2. Birth-Death: 1659-1695 3. Nationality: England 4. Title of work: Preludes to Suite no. 2 (g minor) Suite no. 4 (a minor) 5. Title of Collection: 'Choice Collection of Lessons 6. Other works in collection: Suites in G, g, G, a, C, d, D, F. Movements in G minor suite: Prelude, Alamand, Courante, Saraband, Chacone, Siciliano. Movements in the A minor suite: Prelude, Alamand, Courante, Saraband. 7. Type of prelude: Introductory movement to a suite of dances. 8. Year of Publication: 1696 9. Edition used: Belwin Mills Publishing Corporation, New York. 10. Form: No.2 Two part texture in two sections No.4 Unmeasured, improvised prelude. 11. Comments: Purcell stated the aim of the collection in the introduction: "There is nothing more difficult in musick then playing of true time." 67 1. Composer: FISCHER, Johann Kaspar Ferdinand 2. Birth-Death: 1670-1746 3. Nationality: Germany 4. Title of work: Prelude no. 11 (f minor) Prelude no. 15 (a minor) 5. Title of Collection: Ariadne Musica 6. Other works in collection: Preludes and Fugues in C, c sharp, d, D, E flat, e, (E), E, f, F, f sharp, g, G, A flat, a, A, B flat, b, B, c. 7. Type of prelude: Connected to a fugue in the same key. 8. Year of Composition: 1702 9. Tempo: 11.- 15. Presto-adagio 10. Edition used: Sam Fox Publication, London. 11. Form: 11. Two sections based on an eight note motive, built over a pedal. 15. Two Presto sections each ending with an Adagio. It is based on arpeggiated chords built over tonic, dominant, tonic pedals. 12. Comments: The name, Ariadne Musica refers to the legend of Thesus and the Minotaur of Crete. This is one of the first volumes to explore the potential of keys in terms of tonality, rather than the eight church modes. The preludes and fugues are musical miniatures- the fugues are little more than an exposition of subjects. 68 1. Composer: BACH, Johann Sebastian 2. Birth-Death: 1685-1750 3. Nationality: Germany 4. Title of work: Prelude in D Book 2, Number 5. 5. Title of Collection: Well-Tempered Clavier Book 2 6. Other works in collection: Preludes and Fugues in all 24 keys 7. Type of prelude: Connected to a fugue in the same key. 8. Period of Composition: 1738-1742 9. Edition used: Bach-Gesellschaft 10. Form: Anticipates the classical sonata with one subject. Divides into two sections, each repeated. 11. Comments: The prelude is built on four rhythmic and melodic motives that are announced in the first four bars. 69 1. Composer: BACH, Johann Sebastian 2. Birth-Death: 1685-1750 3. Nationality: Germany 4. Title of work: Praeludium 5. Title of Collection: Partita no.5 in G 6. Other works in collection: Partitas in B flat, C minor, A minor, D major, G major, E minor. Movements in the Partita in G: Praeludium, Allemande, Courante, Sarabande, Tempo di Minuetto, Passepied, Gigue. 7. Type of prelude: Introductory movement to Partita. 8. Period of Composition: 1726-1731 9. Edition used: Bach-Gesellschaft 10. Form: The Praeludium is in the style of a toccata, with four contrasting recurring sections. 11. Comments: Bach published the Partitas singly as op.1 in Leipzig between 1726 and 1731. 70 1. Composer: LISZT, Franz 2. Birth-Death: 1811-1886 3. Nationality: Hungary 4. Title of work: Preludio 5. Title of Collection: Etudes d'execution transcendante 6. Other works in collection: 1. Preludio 2. (Molto vivace), 3. Paysage, 4. Mazeppa, 5. Feux follets, 6. Vision, 7. Eroica, 8. Wilde Jagd, 9. Ricordanza, 10. (Allegro agitato molto), 11. Harmonies du soir, 12. Chasse-neige. 7. Type of prelude: Introductory movement to the set c 8. Year of Composition: 1851 9. Tempo: Presto-energico 10. Edition used: Peters (ed. Sauer) 11. Form: Fantasia - consisting of a flourish of chords and arpeggios covering the whole compass of the keyboard. 71 1. Composer: ALBENIZ, Isaac 2. Birth-Death: 1860-1909 3. Nationality: Spain 4. Title of work: Prelude 5. Title of Collection: Espana - Six feuilles d'Album, op.165 6. Other works in collection: Prelude, Tango, Malaguena, Serenata, Capricho Catalan, Zortzico. 7. Type of prelude: Introductory movement to a collection of pieces. 8. Year of Composition: 1890 9. Tempo: Andanti no-Andante 10. Edition used: Nineteenth Century Piano Music.Gillespie.J (ed) (Dover, New York) 11. Form: One theme divided into melodic and harmonic sections. 12. Comments: Subtle changes in dynamics are employed throughout the prelude. An idea is often stated twice at different dynamic levels. 72 1. Composer: HINDEMITH, Paul 2. Birth-Death: 1895-1963 3. Nationality: Germany 4. Title of work: Prealudium 5. Title of Collection: Ludus Tonalis 6. Other works in collection: Twelve fugues, Twelve interludes and a Postlude. 7. Type of prelude: Fantasy 8. Year of Composition: 1943 9. Tempo: free-Moderate-free-solemn 10. Edition used: Paul Hindemith Samtliche Werke Band V. 10- Klaviermusik II Herausgegeben von Bernhard Billeter (B.Schott's Sohne, Mainz, 1981.) 11. Form: free- introduction Moderate - toccata-like Arioso, quiet - three part melodic texture free - bridge Solemn, broad - repetition of chord progression. 12. Comments: Ludus Tonalis is subtitled "Studies in Counterpoint, Tonal Organization and Piano Playing" The Prealudium and the Postludium are mirror inversions of each other. 73 1. Composer: LONSDALE, Michael 2. Birth: 1963 3. Nationality: Australia 4. Title of work: Mouna 5. Type of prelude: Independent composition. 6. Year of Composition: 1986 7. Edition used: Composer's manuscript 8. Form: The work divides into fourteen sections that can be grouped in three parts. Each section is surrounded by silence. 9. Comments: Silence is one of the principal elements in this piece. The Sanscrit title Mouna with its literal meaning of "interior silence" is an important key to the composition. These breaks within the music are not so much silence as decaying resonances. Even with dynamic levels of ppp, the final notes of a section are still discernable. Each of these breaks is marked with a full pedal so that the resonances can fully decay and the next utterance can emerge out of the silence. Lonsdale explores the extreme registers of the piano. 74 1. Composer: HUMMEL. Johann Nepomuk 2. Birth-Death: 1778-1837 3. Nationality: Germany 4. Title of work: Prelude no.1 C major Prelude no.3 G major Prelude no.18 F minor 5. Title of Collection: Preludes op.67 6. Other works in collection: Twenty four preludes in all keys 7. Type of prelude: Independent 8. Year of Composition: 1815 9. Tempo: 1. Quasi improvisazione 3. Allegro 18. Con molto fuoco 10. Edition used: Universal 11. Form: Improvisatory 12. Comments: The Preludes op.67 are the first, known set of independent-preludes in all twenty four keys. They became the models for the Chopin Preludes op.28. These Preludes are short utterances - the largest being no more than twenty bars. Each is based on a single idea and explores a particular mood. 75 1. Composer: CHOPIN, Fryderyk 2. Birth-Death: 1810-1849 3. Nationality: Poland 4. Title of work: Prelude no. 9 (E) Prelude no.17 (A flat) 5. Title of Collection: Preludes op.28 6. Other works in collection: Twenty four preludes in all keys 7. Type of prelude: Independent 8. Year of Composition: 1839 9. Tempo: 9. Largo 17. Allegretto 10. Edition used: PWM (ed. Paderweski) 11. Form: 9. one theme 17. Rondo (AABACA) 12. Comments: The Preludes were composed while Chopin and George Sand were in Majorca. These Preludes became models for later composers to write extended sets of preludes. 76 1. Composer: ALKAN, Charles Valentin 2. Birth-Death: 1813-1888 3. Nationality: France 4. Title of work: Prelude no.8 A flat minor "Song of the mad woman on the seashore" 5. Title of Collection: 25 Preludes op.31 6. Other works in collection: Preludes in all keys, with two in C. 7. Type of prelude: Independent 8. Year of Composition: 1847 9. Tempo: Lentement 10. Edition used: Gerard Billaudot, Paris. (ed. R.Smith) 11. Form: Ternary ( minor, major, minor.) 12. Comments: The hypnotic repetition of an alternating chord I and chord V, paints the vast loneliness of the sea. Above this a plaintive song rises to a frenzied climax then dies away. 7. Composer: SZYMANOWSKI, Karol 2. Birth-Death: 1883-1937 3. Nationality: Poland 4. Title of work: Prelude no.1 (B minor) 5. Title of Collection: Nine Preludiow op.1 6. Type of prelude: Independent 7. Other works in collection: Prelude no.1 n B minor Prelude no.2 n F major Prelude no.3 n D flat major Prelude no.4 n B flat minor Prelude no.5 n G minor Prelude no.6 n A minor Prelude no.7 n C minor Prelude no.8 n E flat minor Prelude no.9 n B flat minor 8. Year of Composition: 1900 9. Tempo: Andante ma non troppo 10. Edition used: Karol SZYMANOWSKI Complete edition Vol.7 PWM edition, Krakow, 1983 11. Comments: The prelude shows the characteristic of a Chopi nocturne: i.a singing melody ii.arpeggiated accompaniment figure iii.dominant-quality harmonies in a stable harmonic rhythm. The melody unfolds in an organic way from the motive. 78 7. Composer: DEBUSSY, Claude. 2. Birth-Death: 1862-1918 3. Nationality: France 4. Title of work: Prelude no.10 "La Cathedrale Engloutie" 5. Title of Collection: Preludes Book.1 6. Other works in Book 1 collection: 1. Danseuses de Delphes; 2. Voiles; 3. Le Vent dans la Plaine; 4. Les Sons et les Parfums Tournent dans I'Air du Soir; 5. Les Collines d'Anacapri; 6. Des Pas sur la Neige; 7. Ce qu'a Vu le Vent d'Ouest; 8. La Fille aux Cheveux de Lin; 9. La Serenade Interrompue; 10.La Cathedrale Engloutie; 11.La Dansede Puck; 12.Minstrels 7. Type of prelude: Independent 8. Year of Composition: 1910 9. Tempo: Profondemente calme 10. Edition used: Lea Pocket Scores No. 163, New York. 11. Comments: The prelude La Cathedrale Engloutie is one of the most mystic of the piano works of Debussy. It is based on the Brittany legend that describes the Cathedral of Ys, engulfed in the Fourth or Fifth Century because of the impiety of the inhabitants, but is allowed to rise at sunrise and be seen as an example to others. 79 7. Composer: MESSIAEN, Olivier 2. Birth: 1908 3. Nationality: France 4. Title of work: Prelude no.7 "Plainte calme" 5. Title of Collection: Preludes pour Piano 6. Other works in collection: 1. La Colombe, 2. Chant d'extase dans un paysage triste, 3. Le nombre leger, 4. Instants defunts, 5. Les sons impalpables du reve, 6. Cloches d'angoisse et larmes d'adieu, 7. Plainte calme, 8. Un reflet dans le vent. 7. Type of prelude: Independent 8. Year of Composition: 1929 9. Tempo: Lent 10. Edition used: Durand, Paris. 11. Form: Simple ternary 12.Comments: Some of the titles of the Preludes are reminisent of Debussy with an occasional touch of surrealism. 80 7. Composer: WILLIAMSON, Malcolm 2. Birth: 1931 3. Nationality: Australia 4. Title of work: Prelude no.5 "Temples" 5. Title of Collection: Preludes 6. Other works in collection: 1. Ships, 2. Towers, 3. Domes, 4. Theatres, 5. Temples. 7. Type of prelude: Independent 8. Year of Composition: 1966 9. Tempo: Largo assai 10. Edition used: Halston and Co.. England 11. Comments: "Temples" depicts the contrasting sounds of large crashing bells and simple chants. 81 7. Composer: SHOSTAKOVITCH, Dmitri 2. Birth-Death: 1906-1975 3. Nationality: U.S.S.R. 4. Title of work: Prelude no.14 E flat minor Prelude no. 20 C minor 5. Title of Collection: 24 Preludes op.34 6. Other works in collection: Preludes in all keys, arranged the same as the Chopin preludes 7. Type of prelude: Independent 8. Year of Composition: 1933 9. Tempo: 14. Adagio 20. Allegretto furioso 10. Edition used: Boosey and Hawkes 11. Form: each prelude comments on a single idea 82 7. Composer: GERSHWIN, George 2. Birth-Death: 1898-1937 3. Nationality: U.S.A. 4. Title of work: Prelude no.3 in E flat minor 5. Title of Collection: Three Preludes for Piano 6. Other works in collection: 1. Allegro ben ritmato 2. Andante con moto e poco rubato 3. Allegro ben ritmato 7. Type of prelude: Independent 8. Year of Composition: 1927 9. Tempo: Allegro ben ritmato 10. Edition used: New World Music Corporation, New York. 11. Form: Ternary 12. Comments: The three preludes employ elements of jazz 83 CONCLUSION In the repertoire of the solo keyboard prelude two categories have emerged: i. the connected-prelude (those pieces that form introductions to larger works.) ii. the independent-prelude (works that do not serve as introductions, but are found as either individual works, or as a collection of smaller pieces.) The connected-prelude is represented by the majority of preludes of J.S.Bach. It was found that his "introductory movements" encompass a wide variety of forms. He fully liberated the prelude from the role of an improvisation or a "warm-up" preceeding a more substantial work, to a separate entity. This process of liberation was extended by Chopin, in that his preludes no longer needed the support of a connected work. Chopin moulded a concise work that took on the elements of an undeveloped "character piece." The form was further transformed by Debussy with his application of programmatic ideas. It was found that the prelude does not have any distinct form. It is the chameleon in music, able to completely change its character or function to serve the compositional and artistic needs of a composer. It does not impose the restrictions of title, form or expectation on the composer, performer or listener. PRELUDE LISTING PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No . Pr Alain, J.E. Prelude prelude 1944 1 Albeniz, 1. Espafia prelude 165 1890 1 Albeniz, 1. Espafia preludio 1896 1 Albeniz, 1. Cantos de Espafia preludio 232 1896 1 Albrechtsberger, J.G. Preludes and tugue prelude 3 1781 12 Albrechtsberger, J.G. Six fugues and preludie preludie 1781 6 Albrechtsberger, J.G. Fugue and three preludes prelude 1781 3 Albrechtsberger, J.G. Praeludien et fugues praeludien 15 1795 6 Albrechtsberger, J.G. Twelve Praeludien praeludien 12 1803 12 Albrechtsberger, J.G. Praeludien praeludien 1810 6 Alkan, CV. Preludes prelude 31 1847 25 Allen, G.* Preludes prelude 1960 Andr6, J.A. Kleine stucke zur ubung in Praludieren praludieren 23 1804 12 Arensky, A. Six Pieces prelude 53 1901 1 Arensky, A. Etude, Prelude, Mazurka prelude 19 1884 1 Arensky, A. Twenty Four Characteristic Pieces prelude 36 1894 1 Arensky, A. Three Pieces prelude 42 1896 1 Arensky, A. Preludes prelude 63 1901 12 Bacewicz, G. Preludium preludium 1928 1 Bach, J.S. Prelude and Fugue in A minor prelude 894 1708 1 Bach, J.S. Prelude and Partita in F prelude 833 1708 1 Bach, J.S. Prelude and Fugue in A prelude 896 1709 1 Bach, J.S. Prelude and Partita prelude 1714 1 Bach, J.S. English Suites prelude 1715 6 Bach, J.S. Preambulum in F preambulum 927 1720 1 Bach, J.S. Prelude in D minor prelude 926 1720 1 Bach, J.S. Preambulum in C preambulum 904 1720 1 Bach, J.S. Prelude in F prelude 928 1720 1 Bach, J.S. Prelude and Fughetta in E minor prelude 900 1720 1 Bach, J.S. Clavier-Buchlein fur W.F.Bach prelude 1720 34 Bach, J.S. Preambulum in G minor preambulum 930 1720 1 Bach, J.S. Well-Tempered Clavier 1 prelude 1722 24 Bach, J.S. Preambula (Inventions) preambula 1723 15 Bach, J.S. Partitas 1 and 5 prelude 1 1731 2 Bach, J.S. Well-Tempered Clavier II prelude 1742 24 Barkl, M. * Prelude for Piano prelude 1976 1 Barre, J. de la Prelude prelude 1669 1 Bartok, B. Kleine Klavierstucke preludio 1926 1 Batchelor, P.* Prelude, Fugue and Gigue prelude 1958 1 Bate, S. Prelude, Rondo and Toccata prelude 1953 1 Beethoven, L. Zwei Praeludium praeludium 39 1789 2 Beethoven, L. Praeludium praeludium Wo0 55 1803 1 Behend, F. Preludes and Fugues prelude 51 1902 24 Bennett, W.S. Preludes and Lessons prelude 33 1853 30 Berkeley, L. Six Preludes prelude 23 1945 6 Berkeley, L. Prelude and Fugue for Clavichord prelude 1960 1 Blanchet, E. Preludes prelude 1698 4 Blow, J. A Choice Collection of Ayres prelude 1700 1 Blow, J. Choice Collections of Lessons prelude 1704 4 Blumenfeld, F Preludes prelude 17 1900 24 Breville, P. de Preamble, Nocturne, Intermede, Final preamble 1940 1 Bull, J. Preludes prelude 1613 10 Burkhard, W. Preludes prelude 99 1955 6 Bush, A. Prelude and Fugue prelude 9 1924 1 Bush, A. Preludes and Fugues prelude 84 1977 24 Busoni, F. Five Pieces prelude 3 1877 1 Busoni, F. Preludio e fuga preludio 21 1878 1 Busoni, F. Preludes prelude 37 1880 24 Busoni, F. Prelude and Fugue prelude 36 1882 1 Busoni, F. Six Etudes and Preludes prelude 1883 6 Busoni, F. Trois morceaux prelude 4 1884 1 Busoni, F. Toccata ( prelude, fantasia, ciacona) prelude 1921 1 Busoni, F. Preludietta, Fughetta ed esercizio preludietta 1925 1 Busoni, F. 12 Little Preludes prelude 1925 12 Buttstett, J.H. Musicalische Clavier-Kunst prelude 1716 4 * Australian Composers PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No . Pr Byrd, W. Preludes prelude 1590 4 Cage, J. Prelude for Meditation (for prepared pf.) prelude 1944 1 Camidge, M. First and second set of easy Preludes prelude 1795 Campagne, C. Prelude, Filigrane prelude 1918 1 Castaldi, P. Preludio and toccata preludio 1950 1 Chasins, A. Preludes prelude 1930 24 Chavez, C. Preludes prelude 1937 10 Chavez, C. Preludes prelude 1937 10 Chopin, F Prelude A flat prelude 1834 1 Chopin, F Preludes prelude 28 1839 24 Chopin, F Prelude C sharp minor prelude 45 1841 1 Clementi, M Musical Characteristics prelude 19 1787 12 Clementi, M Suite de quatre pieces preludio 1817 1 Clementi, M. Suite de trois pieces preludio 1817 1 Coelho, R. Preludios preludios 1962 3 Concone, J. 24 Brilliant Preludes prelude 37 1840 24 Cordero, R. Preludes prelude 1947 9 Couperin, L. Suites 1-3, 5-15 prelude 1650 14 Couperin, L. Prelude a Limitation Froberger prelude 1850 1 Couperin, F. L'art de Toucher . prelude 1717 8 Crotch, W. Prelude and Air for the piano forte prelude 1800 1 Cui, C. Petit Prelude prelude 1888 1 Cui, C. Petit Prelude prelude 1890 1 Cui, C. Preludes prelude 64 1903 24 Cui, C. Theme, Variation and Prelude prelude 1916 1 D'Anglebert, J.H. Pieces de Clavecin prelude 1689 4 Dance, W. Three Lessons and Eight Preludes prelude 1800 8 Debussy, C. Preludes Book 1 prelude 1910 12 Debussy, C. Preludes Book 2 prelude 1913 12 Delius, F. Three Preludes prelude 1923 3 Diamond, D. Prelude and Fugue prelude 1937 1 Dobroven, 1. Preludes prelude 1 1920 8 Draghi, G.B Six Select Suites and Lessons prelude 1700 6 Dukas, P. Prelude elegiaque on the name Haydn prelude 1910 1 Durey, L. Three Preludes prelude 1920 3 Dussek, J.L. Three Preludes prelude 31 1795 3 Eghiazaryan, G. Preludes preludes 1968 Eklund, H. Preludier preludier 1962 3 Elwell, H. Three Preludes prelude 1962 3 Evakhov, O.A. Ten Preludes preludes 1939 10 Falabella, R. Preludios encadendos preludios 1958 Farnaby, G. Fitzwilliam Virginal Book 2 praeludium 1598 1 Farwell, A. Prelude and Fugue prelude 94 1936 1 Faure, G. Preludes prelude 103 1911 9 Feathstone, G. * Preludes prelude 1978 24 Fernandes, A.J. Preludios preludio 1928 5 Fernandas, A.J. Preludio e fuga preludio 1943 1 Ferrond, P.O. Prelude et forlane prelude 1922 1 Fetis, F.J. Preludes progressifs prelude 4 1818 Fischer, J.K.F Blumen-Strauss prelude 1732 Fischer, J.K.F. Ariadne Musica prelude 1702 20 Fischer, J.K.F. Blumen-Buschlein prelude 1732 8 Flagello, N. Prelude, Ostinato and Fugue prelude 30 1960 1 Foss, L. Prelude prelude 1947 1 Franck, C. Prelude, Fugue an Variations prelude 18 1873 1 Franck, C. Prelude, Chorale and Fugue prelude 1884 1 Franck, C. Prelude, Aria and Finale prelude 1887 1 Frescobaldi, Fiori musicali prelude 1635 8 Fricker, P.R. Three Preludes prelude 1944 3 Fricker, P.R. Three Preludes prelude 1 1944 3 Fulton, N. Prelude, Elegy and Toccata prelude 1954 1 Gade, M.N. Arabesque prelude 27 1854 1 n A Gal, H. Twenty four Preludes prelude 83 1960 24 Gallon, N. Ten Preludes prelude 1953 10 Gaultier, D. La Rhetorique des dieux prelude 1655 PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No. Pr Gedalge, A. Preludes and fugues prelude 2 1890 4 Genzmer, H. Ten Preludes prelude 1963 10 Gerschefski, E. Prelude prelude 6 1931 1 Gershwin, G. Preludes for Piano prelude 1927 3 Gheyn, N. Cuckoo Prelude prelude 1755 1 Gilsm, P. Prelude, mazurka et melop^e prelude 1889 1 Gilsm, P. Three Preludes prelude 1914 3 Gilsm, P. Prelude prelude 1917 1 Gilsm, P. Prelude prelude 1924 1 Ginastera, A. Doce Preludios Americanos preludio 30 1944 12 Giodani, T. Fourteen Preludes prelude 1780 14 Glazunov, A Prelude and Fugue prelude 101 1923 1 Glazunov, A Prelude and Fugue prelude 1926 1 Glazunov, A. Prelude and Two Mazurkas prelude 25 1888 1 Glazunov, A. Three Morceaux prelude 49 1894 1 Glazunov, A. Prelude and Fugue prelude 62 1899 1 Gliere, R. Preludes prelude 30 1906 25 Gliere, R. Eight Easy Pieces prelude 43 1908 1 Godzyatsky, V. Preludes prelude 1961 3 Goldberg, K. Praeludium und fugue praeludien 29 1879 1 Graupner, C. Praeludien und Fugen praeludien 1716 2 Grieg, E. Holberg Suite praeludium 40 1885 1 Griffes, C.T. Preludes prelude 40 1900 4 Haigh, T. Twelve Preludes prelude 1796 12 Handel, G.F. Prelude and Lesson prelude 1720 1 Handel, G.F. Prelude and Sonata prelude 1720 1 Handel, G.F. Suite de Pieces 1,3,5,6,8, prelude 1720 5 Handel, G.F. Preludio et allegro preludio 4 1732 1 Handel, G.F. Prelude et chaccone avec LXII variations prelude 1 1732 1 Hanson, R. * Preludes prelude 11 1940 6 Hanson, R. * Preludes prelude 1940 6 Harrison, L. Prelude and Sarabande prelude 1937 1 Hassler, J.W. Preludes prelude 47 1817 360 Heller, S. Preludes prelude 81 1853 24 Heller, S. Preludes prelude 117 1867 3 Heller, S. Preludes "a Mile Lili" prelude 119 1867 32 Heller, S. Twenty Preludes prelude 150 1879 20 Heller, S. Cahier de exquisses prelude op. post 1889 6 Henderson, M.* Prelude 1 prelude 1969 Henderson, M.* Prelude II prelude 1972 Hill, M.* Three Miniature Pieces prelude 1954 Hindemith, P. Ludus Tonalis praeludium 1943 Honegger, A. Prelude, Arioso, Fughetta on B.A.C.H. prelude 1932 Horsley, W. Preludes prelude 1845 113 Hovhanes, A. Preludes and Fugues prelude 5 1935 3 Hsu, T-h Prelude and Fugue prelude 9 1960 1 Hummel, J.N. Preludes prelude 67 1815 24 Huss, H.H. Preludes in the form of Etudes prelude 17 1914 4 Hyde, M.* Four Preludes prelude 1 1940 4 Ileborough, A Tablature praeludia 1448 5 Ireland, J. Preludes Titles 1915 5 Kabalevsky, D. Preludes prelude 38 1945 24 Kabalevsky, D. Preludes prelude 5 1958 4 Kabalevsky, D. Preludes and Fugues prelude 61 1959 6 Kellner, J.P. Certamen musicum prelude 1749 1 Kennan, K. Two Preludes prelude 1951 2 Kindermann, Suites with Preludes prelude 1679 Kirchner, T. Preludes prelude 65 1824 60 Kittel, J.H. Brasov Tablature praembulorem 1682 12 Kleber, L Tablature praembula 1520 14 Koechlin, C. Fifteen Preludes prelude 209 1946 15 Kontonski, W. Four Preludes prelude 1952 4 Kotter, H. Tablature prooemium 1520 7 Krebs, J.L. Praembulis, 6 leichten praembulis 1740 1 Krieger, J. Anmuthige Clavier-ubung prelude 1698 3 PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No. Pr Kuhnau, J Suites Clavier-Obung prelude 1689 Kuri-Aldana, M. Preludios preludio 7 1958 3 Lacome, P. Petit preludes prelude 140 1911 Ladd, J. * Praeludium praeludium 1972 1 Le Roux, G. Pieces de Clavecin prelude 1705 7 Lebeque, N.A. Pieces de Clavecin prelude 1677 5 Lebeque, N.A. Second Livre de Clavessin prelude 1687 6 Lees, B. Three Preludes prelude 1962 3 Leeuw, T. de Four Preludes prelude 1950 4 Liadov, A. Six Pieces prelude 3 1877 1 Liadov, A. Prelude and Two Mazurkas prelude 10 1884 1 Liadov, A. Mazurka and Prelude prelude 11 1885 1 Liadov, A. Four Preludes prelude 13 1887 4 Liadov, A. Prelude on a Russian Theme prelude 33 1889 1 Liadov, A. Prelude and Berceuse prelude 24 1890 1 Liadov, A. Three Preludes prelude 27 1891 3 Liadov, A. Mazurka Rustique and Prelude prelude 31 1893 1 Liadov, A. Three Preludes prelude 36 1895 3 Liadov, A. Prelude Pastoral prelude 1896 1 Liadov, A. Four Preludes prelude 39 1896 4 Liadov, A. Etude and Four Preludes prelude 40 1897 4 Liadov, A. Two Preludes and a mazurka prelude 42 1898 2 Liadov, A. Four Preludes prelude 46 1899 4 Liadov, A. Three Pieces prelude 57 1906 1 Liapounov, S. Seven Preludes prelude 6 1895 7 Liapounov, S. Trois morceaux de moyenne difficult^ prelude 40 1910 1 Liapounov, S. Prelude and Fugue prelude 58 1913 1 Liszt, F. Transcendental Studies preludio 1851 1 Liszt, F. Prelude and Fugue on BACH. prelude 1856 1 Liszt, F. Prelude on "Weinen, Klagen.Sorgen, Zagen'" prelude 1859 1 Liszt, F. San Francesco preludio per il cantico preludio 1884 1 Locke, M. Melothesia prelude 1673 6 Lonsdale, M.* Mouna prelude 1986 1 Lopes-Graga, F. Preludios preludios 1955 Lourie, A.V. Preludes fragiles prelude 1915 4 Lutyens, E. Preludes prelude 126 1978 7 Lysenko, M. Prelude prelude 1904 1 MacDowell, E. Prelude and Fugue prelude 13 1881 MacDowell, E. Second Modern Suite prelude 14 1883 1 MacDowell, E. First Modern Suite prelude 10 1883 1 Magnard, A. Prelude et fugue prelude 1888 1 Malipiero, G.F. Preludi autonnali preludi 1914 1 Malipiero, G.F. Tre Preludi e una fuga preludi 1926 3 Malipiero, G.F. Preludi, ritmi e canti gregoriani preludi 1937 1 Malipiero, G.F. Preludio e fuga preludi 1941 1 Marchand.L. Pieces de Clavecin 1 prelude 1702 1 Marchand.L. Pieces de Clavecin II prelude 1703 1 Martin, F. Preludes prelude 1948 8 Martini, G.B. Sonate dintravolatura prelude 1742 1 Martinu, B. Preludes prelude 1929 8 Martinu, B. Prelude to open the Policka theatre prelude 1929 1 Matsudaira, Y. Prelude prelude 1934 1 Matsudaira, Y. Prelude prelude 1940 1 Matton, R. Three Preludes prelude 1949 3 Meale, R.* Three Preludes prelude 1946 3 Medtner, N.K Romantische Skizzen fur die Jugend prelude 54 1898 1 Medtner, N.K. Shest' prelyudiy prelyudiy 1897 Medtner, N.K. Quatre Morceaux prelude 4 1902 1 Mendelssohn, F. Paeludien praeludien 104 1836 3 Mendelssohn, F. Prelude and Fugues prelude 35 1837 6 Mendelssohn, F. Notre Temps prelude 1842 1 Messiaen, O. Preludes prelude 1929 8 Mignone, F. Six and a half preludios preludio 1972 6 Migot, G. Preludes prelude 1925 8 Migot, G. Prelude, salut et danse prelude 1927 1 PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No . Pr Migot, G. Preludes prelude 1947 12 Moeran, E.J. Prelude prelude 1933 1 Mompou, F. Preludes 1 - VI prelude 1930 5 Mornpou, F. Neo-Classical Preludes prelude 1944 10 Mompou, F. Preludes VII - X prelude 1953 5 Morawetz, O. Ten Preludes prelude 1966 10 Moroi, S. Preludio ed allegro giocoso preludio 1971 1 Moscheles, I. Praeludien praeludien 73 1837 50 Muffat, G. Componimenti musicali prelude 1739 1 Muskel', G. Twenty four Preludes and Fugues prelude 1975 24 Musorgsky, M. Preludio in modo classicio preludio 1860 1 Mycielski, Z. Six Preludes prelude 1954 6 Neumann, V. Jazzova preludia preludia 1931 6 Newsidler, H. Preamel preamel 1536 1 Obokhov, N. Six Preludes prelude 1915 6 Orgad, B-Z. Two Preludes in Impressionistic Mood prelude 1960 2 Paderewski, I.J. Zwei klavierstucke (preludium, menuetto)i preludium 1886 1 Paire, J.K. Prelude and Fugue prelude 15 1865 1 Palester, R. Preludes prelude 1955 Pallandios, M.G. Four Preludes prelude 1946 4 Palmer, R. Three Preludes prelude 1941 3 Palmer, R. Three Preludes prelude 1941 3 Palmgren, S. Presto-Prelude prelude 1884 1 Palmgren, S. Prelude funebre prelude 17 1906 24 Palmgren, S. Prelude-Solenne prelude 28 1909 1 Palmgren, S. Twenty four Preludes prelude 17 1925 24 Papaioannov, Y. A. Twenty four Preludes prelude 1938 24 Parkiewcz, E. Preludium on Gdy sie Chrystus rodzi preludium 8 1888 1 Pauer, E. Suite pour la main gauche prelude 1826 1 Paumann, C Fundamentum organisandi praeambula 1452 3 Paviour, P. Autumn Prelude prelude 1952 1 Paz, J.C Preludio, coral y fuga preludio 1923 1 Penberthy, J.* Preludes prelude 24 1954 Pentland, B. Five Preludes prelude 1938 5 Pepin, C. Two Preludes prelude 1954 2 Perle, G. Suite prelude 20b 1939 1 Perle, G. Six Preludes prelude 1946 6 Perle, G. Six Preludes prelude 1946 6 Perrachio, L. Twenty five Preludes prelude 1927 25 Ponc6,M.M. Chain Preludes prelude 1945 1 Poradowski, S.B. Preludium e fuga preludium 1925 1 Poradowski, S.B. Preludium e fuga preludium 1956 1 Poulenc, F. Preludes prelude 1916 Poulenc, F. Les soirees de Nazellas preamble 1936 1 Prokofiev, S. Ten Pieces prelude 12 1913 7 Pulgar Vidal, F.B. Five Preludes prelude 1951 5 Purcell, H. Choice Collection of Lessons prelude 1696 9 Quinet, M. Three Preludes prelude 1970 3 Rachmaninoff, S. Morceaux de Fantasie prelude 3/2 1892 1 Rachmaninoff, S. Prelude prelude 23 1904 10 Rachmaninoff, S. Prelude prelude 32 1910 13 Rameau, J. P. Premier livre de Pieces de Clavecin prelude 1706 1 Ravel, M. Prelude for Piano prelude 1913 1 Ravel, M. Le Tombeau de Couperin prelude 1917 1 Reger, M. Preludes and Fugues prelude 99 1907 6 Respighi, 0. Tre Preludi sopra melodie gregoriane preludi 1921 3 Revutsky, L.M. Seven Preludes prelude 4,7,11 1924 7 Ries, F. Forty Preludes prelude 60 1800 40 Ries, F. Prelude prelude Wo0 41 1831 1 Rieti, V. Preludio notorno preludio 1931 3 Rieti, V. Three preludi preludi 1931 3 Rimsky-Korsakov, G. Twenty four Preludes prelude 1955 24 Rimsky-Korsakov, N. Prelude-Impromptu in A flat prelude 38 1894 1 Rimsky-Korsakov, N. Prelude in G prelude 1896 1 Rodrigo, J. Preludio al gall mafianero preludio 1926 1 PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No Pr Roslavetz, N. Prelude prelude 1915 1 Roslavetz, N. Five Preludes prelude 1922 5 Roslavetz, N. Preludes in all the keys prelude 1942 24 Rossini, G. Album pour les enfants adolescents prelude 1868 Rossini, G. Album pour les enfants degourdis prelude 1868 Rossini, G. Album de chateau prelude 1868 Rossini, G. Album de chaurniere prelude 1868 Rossini, G. Miscellanee prelude 1868 Rota, N. Fifteen Preludi preludi 1966 15 Roussel, A. Suite prelude 14 1910 Roussel, A. Prelude and Fugue Hommage a Bach prelude 46 1934 Rubbra, E. Prelude and Fugue prelude 1950 Rubbra.E. Eight Preludes prelude 1966 Rubinstein, A. Preludes prelude 24 1854 Rubinstein, A. Suite prelude 38 1855 Rubinstein, A. Album de Peterhof prelude 75 1866 Rubinstein, A. Soiress Musicales prelude 109 1884 Rubinstein,A. Six Preludes and Fugues in Free Style prelude 53 1857 Rudzinski, W. Preludia preludia 1940 Saint-Saens, C Six Etudes prelude 52 1877 Saint-Saens, C. Album of Six Pieces prelude 76 1885 Saint-Saens, C Prelude prelude 99/2 1895 Santoro, C. Preludios nos 1 - 4 preludio 1948 Santo ro, C Preludio no. 5 preludio 1950 Santoro, C Twenty five Preludios preludio 1963 25 Sas, A. Preludio y toccata preludio 39 1952 Satie, E. Les Files des etoiles prelude 13a 1891 Satie, E. Quatre Preludes prdlude 23 1893 Satie, E. Prelude de la porte heroTque du del prelude 24 1894 Satie, E. Prelude en tapisserie prelude 34 1906 Satie, E. Six Pieces prelude canin 50 1910 Satie, E. Veritables preludes flasques d'un chien titles 40 1912 Satie, E. Jack in the Box prelude 28a 1926 Sauguet, H. Prelude de septembre prelude 1952 Schmidt, F. Trois Preludes prelude 3 1895 Schneider, R.* Prelude and Fugue prelude 1969 Schneider, R.* Prelude and Toccata prelude 1970 Schoenberg, A. Suite prelude 25 1925 Scott, C. Second Suite prelude 1940 Scott, C. Prelude solennelle prelude 1940 Scott, C. Suite in the Old Style prelude 1940 Scriabin, A. Prelude C sharp Minor prelude 9 1888 Scriabin, A. Prelude B minor prelude 2/2 1888 Scriabin, A. Preludes prelude 13 1895 6 Scriabin, A. Preludes prelude 16 1895 5 Scriabin, A. Preludes prelude 11 1896 24 Scriabin, A. Preludes prelude 17 1896 7 Scriabin, A. Preludes prelude 14 1896 5 Scriabin, A. Preludes prelude 22 1897 4 Scriabin, A. Preludes prelude 27 1900 2 Scriabin, A. Preludes prelude 31 1903 4 Scriabin, A. Preludes prelude 35 1903 3 Scriabin, A. Preludes prelude 37 1903 6 Scriabin, A. Preludes prelude 39 1903 4 Scriabin, A. Prelude prelude 49/2 1905 1 Scriabin, A. Preludes prelude 48 1905 4 Scriabin, A. Prelude prelude 59/2 1906 1 Scriabin, A. Prelude prelude 56/1 1906 1 Scriabin, A. Prelude prelude 51/2 1906 1 Scriabin, A. Preludes prelude 67 1913 2 Scriabin, A. Preludes prelude 74 1914 5 Scriarbin, A. Preludes prelude 33 1903 4 Searle, H. Prelude on a theme of Rawsthorne prelude 45 1969 1 Serocki, K. Suita preludios preludio 1952 Seter, M. Preludes prelude 1933 PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No . Pr Seter, M. Prelude and Fugue prelude 1955 1 Sgambati, G. Prelude and Fugue prelude 6 1877 1 Shchedrin, R.K. Preludes and Fugues prelude 1970 24 Shekhter, B.S. Four Lyric Preludes prelude 1928 4 Shostakovitch, D. Eight Preludes prelude 2 1919 8 Shostakovitch, D. Five Preludes prelude 1921 5 Shostakovitch, D. Preludes prelude 34 1933 24 Shostakovitch, D. Preludes and Fugues prelude 87 1951 24 Sinding, C. Suite prelude 3 1888 1 Sinding, C. Six Character Pieces prelude 49 1899 1 Sitsky, L.* Twelve Mystical Preludes prelude 1973 12 Skerjanc, L.M. Diatonic Preludes prelude 1937 24 Skerjanc, L.M. Preludes prelude 1954 12 Spisak, M. Suita praeludium 1943 1 Stanchinsky, A.V. Prelude prelude 1908 1 Stanchinsky, A.V. Prelude in the Lydian Mode prelude 1908 1 Stanchinsky, A.V. Prelude and Fugue prelude 1909 1 Stanchinsky, A.V. Three Preludes set 1 prelude 1913 3 Stanchinsky, A.V. Three Preludes set 2 prelude 1913 3 Stanchinsky, A.V. Three Preludes in canonic form prelude 1914 3 Stanchinsky, A.V. Prelude in two part canon prelude 1914 1 Stanchinsky, A.V. Three Preludes prelude 1914 3 Stanford, CV. Preludes in all the keys prelude 179 1921 24 Statkowski, R. Six Preludes prelude 37 1928 6 Stepcanyan, H.L. Preludes prelude 1948 Sterndale, W. Preludes and Lessons prelude 33 1960 Stevenson, R. Prelude, Fugue and Fantasy prelude 1959 1 Stravinsky, 1. Concerto per dive pianpforte soli preludio 1935 1 Strong, G.T. Twenty Five Preludes prelude 1929 25 Struhec, 1. Prelude and Chaccone prelude 1962 1 Sullivan, J.* Three Preludes prelude 1966 3 Sutherland, J.* Prelude and Fugue prelude 1964 1 Sutherland, M.* "Two Chorale Preludes" on Bach's Chorales prelude 1935 2 Sutherland, M.* Second Suite prelude 1936 1 Szymanovski, M.A.. Twenty exercises et preludes prelude 1820 20 Szymanowski, K. 9 Preludiow preludiow 1 1900 9 Szymanowski, K. Prelude and Fugue in C charp minor prelude 1907 1 Tajcevic, M. Five Preludiuma preludiuma 1948 5 Taneyev, S.l. Prelude and Fugue prelude 1895 1 Taneyev, S.l. Prelude and Fugue prelude 29 1910 1 Tansman, A. 3 Preludes en forme de blues prelude 1950 3 Tansman, A. 4 Preludes prelude 1950 4 Tattersall, M. * lona : Prelude for Piano prelude 1979 1 Tcherepin, A. Twelve Preludes prelude 83 1953 12 Toch, E. Praeludien praeludien 10 1903 3 Toumemire, C. Pr6ludes-poems prelude 58 1932 Tremblay, G. Prelude and Dance prelude 1915 1 Trumble, R.* Nine Preludes prelude 1964 9 Trumble, R.* Music for Harpsichord prelude 1972 1 Tschaikovsky, P.l. Six Morceaux prelude 21 1873 1 Tunley, D.* Two Preludes prelude 1962 2 Turchi, G. Preludi e fughetta preludi 1946 1 Valencia, A.M. Preludio preludio 1956 1 Vanhal, J.B. Kurze und leichte Preambula preambula 1801 12 Vanhal, J.B. Praeambula praeambula 1801 4 Vanhal, J.B. Kurze Cadenzen und Praludien praludien 1806 24 Vanhal, J.B. Leichte Praludien praludien 1806 12 Villa-Lobos, H. Bachianas Brasilieras no. 4 preludio 1936 1 Vogler, G.J. Preludes prelude 1806 32 Weinberger, J Preludes and Fugues prelude 1924 5 Weiner, L. Praludium, Nocturne and Scherzo praludium 7 1911 1 Weisman, W. Kleine Praludien, Tanze und Stucke praludien 1972 24 Weiss, A. Twelve Preludes preludes 1927 12 Weiss, A. Preludes prelude 1929 6 Werder, F.* Prelude, Passacaglia and Fugue prelude 49 1962 1 PRELUDE CHRONOLOGY - ALPHABETICAL LISTING Composer Title of Collection Name of Pr opus Year No. Pr Whiffin, L. Prelude prelude 1985 1 Widor, C.-M Prelude, andante et finale prelude 17 1870 1 Williamson, M. Five Preludes titles. 1966 5 Winding, A. Prelude in A prelude 26/19 1911 24 Wood, R. Prelude prelude 1924 1 Yardumian, R. Three Preludes prelude 1944 3 Yardumian, R. Prelude and Chorale prelude 1944 1 Zelenski, W. Prelude and Capriccio prelude 43 1890 1 92 PRELUDE CHRONOLOGY Composer Title of Collection Name of Pr opus Year No . Pr lleborough, A Tablature praeludia 1448 5 Paumann, C Fundamentum organisandi praeambula 1452 3 Kleber, L Tablature praembula 1520 14 Kotter, H. Tablature prooemium 1520 7 Newsidler, H. Preamel preamel 1536 1 Byrd, W. Preludes prelude 1590 4 Farnaby, G. Fitzwilliam Virginal Book 2 praeludium 1598 1 Bull, J. Preludes prelude 1613 10 Frescobaldi, Fiori musicali prelude 1635 8 Couperin, L. Prelude a Limitation Froberger prelude 1650 1 Couperin, L. Suites 1-3, 5-15 prelude 1650 14 Gaultier, D. La Rhetorique des dieux prelude 1655 Barre, J. de la Prelude prelude 1669 1 Locke,M. Melothesia prelude 1673 6 Lebeque, N.A. Pieces de Clavecin prelude 1677 5 Kindermann, Suites with Preludes prelude 1679 Kittel, J.H. Brasov Tablature praembulorem 1682 12 Lebeque, N.A. Second Livre de Clavessin prelude 1687 6 D'Anglebert, J.H. Pieces de Clavecin prelude 1689 4 Kuhnau,J Suites Clavier-ubung prelude 1689 Purcell, H. Choice Collection of Lessons prelude 1696 9 Blanchet, E. Preludes prelude 1698 4 Krieger, J. Anmuthige Clavier-ubung prelude 1698 3 Blow, J. A Choice Collection of Ayres prelude 1700 1 Draghi, G.B Six Select Suites and Lessons prelude 1700 6 Fischer, J.K.F. Ariadne Musica prelude 1702 20 Marchand.L. Pieces de Clavecin I prelude 1702 1 Marchand.L. Pieces de Clavecin II prelude 1703 1 Blow, J. Choice Collections of Lessons prelude 1704 4 Le Roux, G. Pieces de Clavecin prelude 1705 7 Rameau, J.P. Premier livre de Pieces de Clavecin prelude 1706 1 Bach, J.S. Prelude and Fugue in A minor prelude 894 1708 1 Bach, J.S. Prelude and Partita in F prelude 833 1708 1 Bach, J.S. Prelude and Fugue in A prelude 896 1709 1 Bach, J.S. Prelude and Partita prelude 1714 1 Bach, J.S. English Suites prelude 1715 6 Buttstett, J.H. Musicalische Clavier-Kunst prelude 1716 4 Graupner, C. Praeludien und Fugen praeludien 1716 2 Couperin, F. L'art de Toucher . prelude 1717 8 Bach, J.S. Preambulum in G minor preambulum 930 1720 1 Bach, J.S. Preambulum in C preambulum 904 1720 1 Bach, J.S. Prelude in D minor prelude 926 1720 1 Bach, J.S. Prelude in F prelude 928 1720 1 Bach, J.S. Clavier-Buchlein fur W.F.Bach prelude 1720 34 Bach, J.S. Preambulum in F preambulum 927 1720 1 Bach, J.S. Prelude and Fughetta in E minor prelude 900 1720 1 Handel, G.F. Prelude and Sonata prelude 1720 1 Handel, G.F. Suite de Pieces 1,3,5,6,8, prelude 1720 5 Handel, G.F. Prelude and Lesson prelude 1720 1 Bach, J.S. Well-Tempered Clavier I prelude 1722 24 Bach, J.S. Preambula (Inventions) preambula 1723 15 Bach, J.S. Partitas 1 and 5 prelude 1 1731 2 Fischer, J.K.F Blumen-Strauss prelude 1732 Fischer, J.K.F. Blumen-Buschlein prelude 1732 8 Handel, G.F. Preludio et allegro preludio 4 1732 1 Handel, G.F. Prelude et chaccone avec LXH variations prelude 1 1732 1 Muff at, G. Componimenti musicali prelude 1739 1 Krebs, J.L Praembulis, 6 leichten praembulis 1740 1 Bach, J.S. Well-Tempered Clavier II prelude 1742 24 Martini, G.B. Sonate d'intravolatura prelude 1742 1 Kellner, J.P. Certamen musicum prelude 1749 1 Gheyn, N. Cuckoo Prelude prelude 1755 1 Giodani, T. Fourteen Preludes prelude 1780 14 Albrechtsberger, J.G. Preludes and fugue prelude 3 1781 12 Albrechtsberger, J.G. Six fugues and preludie preludie 1781 6 * Australian Composer PRELUDE CHRONOLOGY 93 Composer Title of Collection Name of Pr opus Year No. Pi Albrechtsberger, J.G. Fugue and three preludes prelude 1781 3 Clementi, M Musical Characteristics prelude 19 1787 12 Beethoven, L. Zwei Praeludium praeludium 39 1789 2 Albrechtsberger, J.G. Praeludien et fugues praeludien 15 1795 6 Camidge, M. First and second set of easy Preludes prelude 1795 Dussek, J.L. Three Preludes prelude 31 1795 3 Haigh, T. Twelve Preludes prelude 1796 12 Crotch, W. Prelude and Air for the piano forte prelude 1800 1 Dance, W. Three Lessons and Eight Preludes prelude 1800 8 Ries, F. Forty Preludes prelude 60 1800 40 Vanhal, J.B. Praeambula praeambula 1801 4 Vanhal, J.B. Kurze und leichte Preambula preambula 1801 12 Albrechtsberger, J.G. Twelve Praeludien praeludien 12 1803 12 Beethoven, L. Praeludium praeludium Wo0 55 1803 1 Andre, J.A. Kleine stOcke zur ubung in Praludieren praludieren 23 1804 12 Vanhal, J.B. Leichte Praludien praludien 1806 12 Vanhal, J.B. Kurze Cadenzen und Praludien praludien 1806 24 Vogler, G.J. Preludes prelude 1806 32 Albrechtsberger, J.G. Praeludien praeludien 1810 6 Hummel, J.N. Preludes prelude 67 1815 24 Clementi, M Suite de quatre pieces preludio 1817 1 Clementi, M. Suite de trois pieces preludio 1817 1 Hassler, J.W. Preludes prelude 47 1817 360 Fetis, F.J. Preludes progressifs prelude 4 1818 Szymanovski, M.A.. Twenty exercises et preludes prelude 1820 20 Kirchner, T. Preludes prelude 65 1824 60 Pauer, E. Suite pour la main gauche prelude 1826 1 Ries, F. Prelude prelude Wo0 41 1831 1 Chopin, F Prelude A flat prelude 1834 1 Mendelssohn, F. Paeludien praeludien 104 1836 3 Mendelssohn, F. Prelude and Fugues prelude 35 1837 6 Moscheles, I. Praeludien praeludien 73 1837 50 Chopin, F Preludes prelude 28 1839 24 Concone, J. 24 Brilliant Preludes prelude 37 1840 24 Chopin, F Prelude C sharp minor prelude 45 1841 1 Mendelssohn, F. Notre Temps prelude 1842 1 Horsley, W. Preludes prelude 1845 113 Alkan, CV. Preludes prelude 31 1847 25 Liszt, F. Transcendental Studies preludio 1851 1 Bennett, W.S. Preludes and Lessons prelude 33 1853 30 Heller, S. Preludes prelude 81 1853 24 Gade, M.N. Arabesque prelude 27 1854 1 Rubinstein, A. Preludes prelude 24 1854 6 Rubinstein, A. Suite prelude 38 1855 1 Liszt, F. Prelude and Fugue on B.A.C.H. prelude 1856 1 Rubinstein,A. Six Preludes and Fugues in Free Style prelude 53 1857 6 Liszt, F. Prelude on "Weinen, Klagen.Sorgen, Zagen" prelude 1859 1 Musorgsky, M. Preludio in modo classicio preludio 1860 1 Paire, J.K. Prelude and Fugue prelude 15 1865 1 Rubinstein, A. Album de Peterhof prelude 75 1866 1 Heller, S. Preludes prelude 117 1867 3 Heller, S. Preludes "a Mile Lili" prelude 119 1867 32 Rossini, G. Album de chaurniere prelude 1868 1 Rossini, G. Album de chateau prelude 1868 4 Rossini, G. Album pour les enfants degourdis prelude 1868 1 Rossini, G. Miscellanee prelude 1868 1 Rossini, G. Album pour les enfants adolescents prelude 1868 1 Widor, C-M. Prelude, andante et finale prelude 17 1870 1 Franck, C. Prelude, Fugue an Variations prelude 18 1873 1 Tschaikovsky, P.l. Six Morceaux prelude 21 1873 1 Busoni, F. Five Pieces prelude 3 1877 1 Liadov, A. Six Pieces prelude 3 1877 1 Saint-Saens, C Six Etudes prelude 52 1877 1 Sgambati, G. Prelude and Fugue prelude 6 1877 1 Busoni, F. Preludio e fuga preludio 21 1878 1 * Australian Composer PRELUDE CHRONOLOGY composer Title of Collection Name of Pr opus Year No . Pr Goldberg, K. Praeludium und fugue praeludien 29 1879 1 Heller, S. Twenty Preludes prelude 150 1879 20 Busoni, F. Preludes prelude 37 1880 24 MacDowell, E. Prelude and Fugue prelude 13 1881 Busoni, F. Prelude and Fugue prelude 36 1882 1 Busoni, F. Six Etudes and Preludes prelude 1883 6 MacDowell, E. First Modern Suite prelude 10 1883 MacDowell, E. Second Modern Suite prelude 14 1883 Arensky, A. Etude, Prelude, Mazurka prelude 19 1884 Busoni, F. Trois morceaux prelude 4 1884 Franck, C. Prelude, Chorale and Fugue prelude 1884 Liadov, A. Prelude and Two Mazurkas prelude 10 1884 Liszt, F. San Francesco preludio per il cantico preludio 1884 Palmgren, S. Presto-Prelude prelude 1884 Rubinstein, A. Soiress Musicales prelude 109 1884 Grieg, E. Holberg Suite praeludium 40 1885 Liadov, A. Mazurka and Prelude prelude 11 1885 Saint-Saens, C Album of Six Pieces prelude 76 1885 Paderewski, I.J. Zwei klavierstucke (preludium, menuetto) preludium 1886 Franck, C Prelude, Aria and Finale prelude 1887 Liadov, A. Four Preludes prelude 13 1887 4 Cui, C Petit Prelude prelude 1888 Glazunov, A. Prelude and Two Mazurkas prelude 25 1888 Magnard, A. Prelude et fugue prelude 1888 Parkiewcz, E. Preludium on Gdy sie Chrystus rodzi preludium 8 1888 Scriabin, A. Prelude B minor prelude 2/2 1888 Scriabin, A. Prelude C sharp Minor prelude 9 1888 Sinding, C. Suite prelude 3 1888 Gilsm, P. Prelude, mazurka et melopSe prelude 1889 Heller, S. Cahier de exquisses prelude op. post 1889 6 Liadov, A. Prelude on a Russian Theme prelude 33 1889 Albeniz, 1. Espafia prelude 165 1890 Cui, C. Petit Prelude prelude 1890 Gedalge, A. Preludes and fugues prelude 2 1890 4 Liadov, A. Prelude and Berceuse prelude 24 1890 Zelenski, W. Prelude and Capriccio prelude 43 1890 Liadov, A. Three Preludes prelude 27 1891 Satie, E. Les Files des etoiles prelude 13a 1891 3 Rachmaninoff, S. Morceaux de Fantasie prelude 3/2 1892 Liadov, A. Mazurka Rustique and Prelude prelude 31 1893 Satie, E. Quatre Preludes prelude 23 1893 4 Arensky, A. Twenty Four Characteristic Pieces prelude 36 1894 Glazunov, A. Three Morceaux prelude 49 1894 Rimsky-Korsakov, N. Prelude-Impromptu in A flat prelude 38 1894 Satie, E. Prelude de la porta hero'fque du del prelude 24 1894 Liadov, A. Three Preludes prelude 36 1895 3 Liapounov, S. Seven Preludes prelude 6 1895 7 Saint-Saens, C Prelude prelude 99/2 1895 1 Schmidt, F. Trois Preludes prelude 3 1895 3 Scriabin, A. Preludes prelude 16 1895 5 Scriabin, A. Preludes prelude 13 1895 6 Taneyev, S.l. Prelude and Fugue prelude 1895 Albeniz, 1. Espafia preludio 1896 Albeniz, 1. Cantos de Espaha preludio 232 1896 Arensky, A. Three Pieces prelude 42 1896 Liadov, A. Prelude Pastoral prelude 1896 Liadov, A. Four Preludes prelude 39 1896 4 Rimsky-Korsakov, N. Prelude in G prelude 1896 1 Scriabin, A. Preludes prelude 11 1896 24 Scriabin, A. Preludes prelude 14 1896 5 Scriabin, A. Preludes prelude 17 1896 7 Liadov, A. Etude and Four Preludes prelude 40 1897 4 Medtner, N.K. Shest' prelyudiy prelyudiy 1897 Scriabin, A. Preludes prelude 22 1897 4 Liadov, A. Two Preludes and a mazurka prelude 42 1898 2 * Australian Composer PRELUDE CHRONOLOGY Composer Title of Collection Name of Pr opus Year No . Pr Medtner, N.K Romantische Skizzen fur die Jugend prelude 54 1898 1 Glazunov, A. Prelude and Fugue prelude 62 1899 1 Liadov, A. Four Preludes prelude 46 1899 4 Sinding, C. Six Character Pieces prelude 49 1899 1 Blumenfeld, F Preludes prelude 17 1900 24 Griffes, CT. Preludes prelude 40 1900 4 Scriabin, A. Preludes prelude 27 1900 2 Szymanowski, K. 9 Preludiow preludiow 1 1900 9 Arensky, A. Preludes prelude 63 1901 12 Arensky, A. Six Pieces prelude 53 1901 1 Behend, F. Preludes and Fugues prelude 51 1902 24 Medtner, N.K. Quatre Morceaux prelude 4 1902 1 Cui, C Preludes prelude 64 1903 24 Scriabin, A. Preludes prelude 35 1903 3 Scriabin, A. Preludes prelude 37 1903 6 Scriabin, A. Preludes prelude 31 1903 4 Scriabin, A. Preludes prelude 39 1903 4 Scriarbin, A. Preludes prelude 33 1903 4 Toch, E. Praeludien praeludien 10 1903 3 Lysenko, M. Prelude prelude 1904 1 Rachmaninoff, S. Prelude prelude 23 1904 10 Scriabin, A. Prelude prelude 49/2 1905 1 Scriabin, A. Preludes prelude 48 1905 4 Gliere, R. Preludes prelude 30 1906 25 Liadov, A. Three Pieces prelude 57 1906 1 Palmgren, S. Prelude funebre prelude 17 1906 24 Satie, E. Prelude en tapisserie prelude 34 1906 1 Scriabin, A. Prelude prelude 59/2 1906 1 Scriabin, A. Prelude prelude 56/1 1906 1 Scriabin, A. Prelude prelude 51/2 1906 1 Reger, M. Preludes and Fugues prelude 99 1907 6 Szymanowski, K. Prelude and Fugue iri C charp minor prelude 1907 1 Gliere, R. Eight Easy Pieces prelude 43 1908 1 Stanchinsky, A.V. Prelude in the Lydiari Mode prelude 1908 1 Stanchinsky, A.V. Prelude prelude 1908 1 Palmgren, S. Prelude-Solenne prelude 28 1909 1 Stanchinsky, A.V. Prelude and Fugue prelude 1909 1 Debussy, C Preludes Book 1 prelude 1910 12 Dukas, P. Prelude elegiaque on the name Haydn prelude 1910 1 Liapounov, S. Trois morceaux de moyenne difficulty prelude 40 1910 1 Rachmaninoff, S. Prelude prelude 32 1910 13 Roussel, A. Suite prelude 14 1910 1 Satie, E. Six Pieces prelude canin 50 1910 1 Taneyev, S.l. Prelude and Fugue prelude 29 1910 1 Faure, G. Preludes prelude 103 1911 9 Lacome, P. Petit preludes prelude 140 1911 Weiner, L. Praludium, Nocturne and Scherzo praludium 7 1911 1 Winding, A. Prelude in A prelude 26/19 1911 24 Satie, E. Veritables preludes flasques d'un chien titles 40 1912 1 Debussy, C Preludes Book 2 prelude 1913 12 Liapounov, S. Prelude and Fugue prelude 58 1913 1 Prokofiev, S. Ten Pieces prelude 12 1913 7 Ravel, M. Prelude for Piano prelude 1913 1 Scriabin, A. Preludes prelude 67 1913 2 Stanchinsky, A.V. Three Preludes set 1 prelude 1913 3 Stanchinsky, A.V. Three Preludes set I: prelude 1913 3 Gilsm, P. Three Preludes prelude 1914 3 Huss, H.H. Preludes in the forrri of Etudes prelude 17 1914 4 Malipiero, G.F. Preludi autonnali preludi 1914 1 Scriabin, A. Preludes prelude 74 1914 5 Stanchinsky, A.V. Three Preludes in canonic form prelude 1914 3 Stanchinsky, A.V. Prelude in two part canon prelude 1914 1 Stanchinsky, A.V. Three Preludes prelude 1914 3 Ireland, J. Preludes Titles 1915 5 Lourie, A.V. Preludes fragiles prelude 1915 4 * Australian Composer PRELUDE CHRONOLOGY Composer Title of Collection Name of Pr opus Year No . Pr Obokhov, N. Six Preludes prelude 1915 6 Roslavetz, N. Prelude prelude 1915 1 Tremblay, G. Prelude and Dance prelude 1915 1 Cui, C. Theme, Variation and Prelude prelude 1916 1 Poulenc, F. Preludes prelude 1916 Gilsm, P. Prelude prelude 1917 1 Ravel, M. Le Tombeau de Couperin prelude 1917 1 Campagne, C Prelude, Filigrane prelude 1918 1 Shostakovitch, D. Eight Preludes prelude 2 1919 8 Dobroven, 1. Preludes prelude 1 1920 8 Durey, L. Three Preludes prelude 1920 3 Busoni, F. Toccata ( prelude, fantasia, ciacona) prelude 1921 1 Respighi, O. Tre Preludi sopra melodie gregoriane preludi 1921 3 Shostakovitch, D. Five Preludes prelude 1921 5 Stanford, CV. Preludes in all the keys prelude 179 1921 24 Ferrond, P.O. Prelude et forlane prelude 1922 1 Roslavetz, N. Five Preludes prelude 1922 5 Delius, F. Three Preludes prelude 1923 3 Glazunov, A Prelude and Fugue prelude 101 1923 1 Paz, J.C Preludio, coral y fuga preludio 1923 1 Bush, A. Prelude and Fugue prelude 9 1924 1 Gilsm, P. Prelude prelude 1924 1 Revutsky, L.M. Seven Preludes prelude 4,7,11 1924 7 Weinberger, J Preludes and Fugues prelude 1924 5 Wood, R. Prelude prelude 1924 1 Busoni, F. 12 Little Preludes prelude 1925 12 Busoni, F. Preludietta, Fughetta ed esercizio preludietta 1925 1 Migot, G. Preludes prelude 1925 8 Palmgren, S. Twenty four Preludes prelude 1925 24 '• 17 Poradowski, S.B. Preludium e fuga preludium 1925 1 Schoenberg, A. Suite prelude 25 1925 1 Bartok, B. Kleine Klavierstucke preludio 1926 1 Glazunov, A Prelude and Fugue prelude 1926 1 Malipiero, G.F. Tre Preludi e una fuga preludi 1926 3 Rodrigo, J. Preludio al gall mananero preludio 1926 1 Satie, E. Jack in the Box prelude 28a 1926 1 Gershwin, G. Preludes for Piano prelude 1927 3 Migot, G. Prelude, salut et danse prelude 1927 1 Perrachio, L. Twenty five Preludes prelude 1927 25 Weiss, A. Twelve Preludes preludes 1927 12 Bacewicz, G. Preludium preludium 1928 1 Fernandes, A.J. Preludios preludio 1928 5 Shekhter, B.S. Four Lyric Preludes prelude 1928 4 Statkowski, R. Six Preludes prelude 37 1928 6 Martinu, B. Preludes prelude 1929 8 Martinu, B. Prelude to open the Policka theatre prelude 1929 1 Messiaen, 0. Preludes prelude 1929 8 Strong, G.T. Twenty Five Preludes prelude 1929 25 Weiss, A. Preludes prelude 1929 6 Chasins, A. Preludes prelude 1930 24 Mompou, F. Preludes I - VI prelude 1930 5 Gerschefski, E. Prelude prelude 6 1931 1 Neumann, V. Jazzova preludia preludia 1931 6 Rieti, V. Three preludi preludi 1931 3 Rieti, V. Preludio notorno preludio 1931 3 Honegger, A. Prelude, Arioso, Fughetta on B.A.C.H. prelude 1932 1 Tournemire, C. Preludes-poems prelude 58 1932 Moeran, E.J. Prelude prelude 1933 1 Seter, M. Preludes prelude 1933 Shostakovitch, D. Preludes prelude 34 1933 24 Matsudaira, Y. Prelude prelude 1934 1 Roussel, A. Prelude and Fugue Hommage a Bach prelude 46 1934 1 Hovhanes, A. Preludes and Fugues prelude 5 1935 3 Stravinsky, 1. Concerto per dive pianpforte soli preludio 1935 1 Sutherland, M.* "Two Chorale Preludes" on Bach's Choral-es prelude 1935 2 * Australian Composer 9 PRELUDE CHRONOLOGY Composer Title of Collection Name of Pr opus Year No . Pr Farwell, A. Prelude and Fugue prelude 94 1936 1 Poulenc, F. Les soirees de Nazellas preamble 1936 1 Sutherland, M.* Second Suite prelude 1936 1 Villa-Lobos, H. Bachianas Brasilieras no. 4 preludio 1936 1 Chavez, C. Preludes prelude 1937 10 Chavez, C Preludes prelude 1937 10 Diamond, D. Prelude and Fugue prelude 1937 1 Harrison, L. Prelude and Sarabande prelude 1937 1 Malipiero, G.F. Preludi, ritmi e- canti gregoriani preludi 1937 1 Skerjanc, L.M. Diatonic Preludes prelude 1937 24 Papaioannov, Y. A. Twenty four Preludes prelude 1938 24 Pentland, B. Five Preludes prelude 1938 5 Evakhov, O.A. Ten Preludes preludes 1939 10 Perle, G. Suite prelude 20b 1939 1 Breville, P. de Preamble, Nocturne, Intermede, Final preamble 1940 1 Hanson, R. * Preludes prelude 11 1940 6 Hanson, R. * Preludes prelude 1940 6 Hyde, M.* Four Preludes prelude 1 1940 4 Matsudaira, Y. Prelude prelude 1940 1 Rudzinski, W. Preludia preludia 1940 1 Scott, C. Prelude solennelle prelude 1940 1 Scott, C. Second Suite prelude 1940 1 Scott, C. Suite in the Old Style prelude 1940 1 Malipiero, G.F. Preludio e fuga preludi 1941 1 Palmer, R. Three Preludes prelude 1941 3 Palmer, R. Three Preludes prelude 1941 3 Roslavetz, N. Preludes in all the keys prelude 1942 24 Fernandes, A.J. Preludio e fuga preludio 1943 1 Hindemith, P. Ludus Tonalis praeludium 1943 1 Spisak, M. Suita praeludium 1943 1 Alain, J.E. Prelude prelude 1944 1 Cage, J. Prelude for Meditation (for prepared pf.) prelude 1944 1 Fricker, P.R. Three Preludes prelude 1944 3 Fricker, P.R. Three Preludes prelude 1 1944 3 Ginastera, A. Doce Preludios Americanos preludio 30 1944 12 Mompou, F. Neo-Classical Preludes prelude 1944 10 Yardumian, R. Three Preludes prelude 1944 3 Yardumian, R. Prelude and Chorale prelude 1944 1 Berkeley, L. Six Preludes prelude 23 1945 6 Kabalevsky, D. Preludes prelude 38 1945 24 Ponce.M.M. Chain Preludes prelude 1945 1 Koechlin, C Fifteen Preludes prelude 209 1946 15 Meale, R.* Three Preludes prelude 1946 3 Pallandios, M.G. Four Preludes prelude 1946 4 Perle, G. Six Preludes prelude 1946 6 Perle, G. Six Preludes prelude 1946 6 Turchi, G. Preludi e fughetta preludi 1946 1 Cordero, R. Preludes prelude 1947 9 Foss, L. Prelude prelude 1947 1 Migot, G. Preludes prelude 1947 12 Martin, F. Preludes prelude 1948 8 Santoro, C. Preludios nos 1 - 4 preludio 1948 4 Stepcanyan, H.L. Preludes prelude 1948 Tajcevic, M. Five Preludiuma preludiuma 1948 5 Matton, R. Three Preludes prelude 1949 3 Castaldi, P. Preludio and toccata preludio 1950 1 Leeuw, T. de Four Preludes prelude 1950 4 Rubbra, E. Prelude and Fugue prelude 1950 1 Santoro, C. Preludio no. 5 preludio 1950 1 Tansman, A. 3 Preludes en forme de blues prelude 1950 3 Tansman, A. 4 Preludes prelude 1950 4 Kennan, K. Two Preludes prelude 1951 2 Pulgar Vidal, F.B. Five Preludes prelude 1951 5 Shostakovitch, D. Preludes and Fugues prelude 87 1951 24 Kontonski, W. Four Preludes prelude 1952 4 * Australian Composer PRELUDE CHRONOLOGY 9 Composer Title of Collection Name of Pr opus Year No . Pr Paviour, P. Autumn Prelude prelude 1952 1 Sas, A. Preludio y toccata preludio 39 1952 1 Sauguet, H. Prelude de septembre prelude 1952 1 Serocki, K. Suita preludi6s preludio 1952 Bate, S. Prelude, Rondo and Toccata prelude 1953 1 Gallon, N. Ten Preludes prelude 1953 10 Mompou, F. Preludes Vll - X prelude 1953 5 Tcherepin, A. Twelve Preludes prelude 83 1953 12 Fulton, N. Prelude, Elegy and Toccata prelude 1954 1 Hill, M.* Three Miniature Pieces prelude 1954 1 Mycielski, Z. Six Preludes prelude 1954 6 Penberthy, J." Preludes prelude 24 1954 Pepin, C. Two Preludes prelude 1954 2 Skerjanc, L.M. Preludes prelude 1954 12 Burkhard, W. Preludes prelude 99 1955 6 Lopes-Graca, F. Preludios preludios 1955 Palester, R. Preludes prelude 1955 Rimsky-Korsakov, G. Twenty four Preludes prelude 1955 24 Seter, M. Prelude and Fugue prelude 1955 1 Poradowski, S.B. Preludium e fuga preludium 1956 1 Valencia, A.M. Preludio preludio 1956 1 Batchelor, P.* Prelude, Fugue and Gigue prelude 1958 1 Falabella, R. Preludios encadendos preludios 1958 Kabalevsky, D. Preludes prelude 5 1958 4 Kuri-Aldana, M. Preludios preludio 7 1958 3 Kabalevsky, D. Preludes and Fugues prelude 61 1959 6 Stevenson, R. Prelude, Fugue and Fantasy prelude 1959 1 Allen, G.* Preludes prelude 1960 Berkeley, L. Prelude and Fugue for Clavichord prelude 1960 1 Flagello, N. Prelude, Ostinato and Fugue prelude 30 1960 1 Gal, H. Twenty four Preludes prelude 83 1960 24 Hsu, T-h Prelude and Fugue prelude 9 1960 1 Orgad, B-Z. Two Preludes in Impressionistic Mood prelude 1960 2 Sterndale, W. Preludes and Lessons prelude 33 1960 Godzyatsky, V. Preludes prelude 1961 3 Coelho, R. Preludios preludios 1962 3 Eklund, H. Preludier preludier 1962 3 Elwell, H. Three Preludes prelude 1962 3 Lees, B. Three Preludes prelude 1962 3 Struhec, I. Prelude and Chaccone prelude 1962 1 Tunley, D.* Two Preludes prelude 1962 2 Werder, F.* Prelude, Passacaglia and Fugue prelude 49 1962 1 Genzmer, H. Ten Preludes prelude 1963 10 Santoro, C. Twenty five Preludios preludio 1963 25 Sutherland, J." Prelude and Fugue prelude 1964 1 Trumble, R.* Nine Preludes prelude 1964 9 Morawetz, O. Ten Preludes prelude 1966 10 Rota, N. Fifteen Preludi preludi 1966 15 Rubbra.E. Eight Preludes prelude 1966 8 Sullivan, J.* Three Preludes prelude 1966 3 Williamson, M. Five Preludes titles. 1966 5 Eghiazaryan, G. Preludes preludes 1968 Henderson, M.* Prelude 1 prelude 1969 1 Schneider, R.* Prelude and Fugue prelude 1969 1 Searle, H. Prelude on a theme of Rawsthorne prelude 45 1969 1 Quinet, M. Three Preludes prelude 1970 3 Schneider, R.* Prelude and Toccata prelude 1970 1 Shchedrin, R.K. Preludes and Fugues prelude 1970 24 Moroi, S. Preludio ed allegro giocoso preludio 1971 1 Henderson, M.* Prelude II prelude 1972 1 Ladd, J. * Praeludium praeludium 1972 1 Mignone, F. Six and a half preludios preludio 1972 6 Trumble, R.* Music for Harpsichord prelude 1972 1 Weisman, W. Kleine Praludien, Tanze und Stucke praludien 1972 24 Sitsky, L.* Twelve Mystical Preludes prelude 1973 12 * Australian Composer PRELUDE CHRONOLOGY composer Title of Coll ection Name of Pr opus Year No. Pr Muskel', G. Twenty four Preludes and Fugues prelude 1975 24 Barkl, M. * Prelude for Piano prelude 1976 1 Bush, A. Preludes and Fugues prelude 84 1977 24 Feathstone, G. * Preludes prelude 1978 24 Lutyens, E. Preludes prelude 126 1978 7 Tattersall, M. * lona : Prelude for Piano prelude 1979 1 Whiffin, L. * Prelude prelude 1985 1 Lonsdale, M.* Mouna prelude 1986 1 * Australian Composer APPENDICES 100 APPENDIX 1 The title of the composition On the naming of compositions Schumann made the comment: "Titles for pieces of music, since they again come into favour in our day, have been censured here and there, and it has been said that "good music needs no signposts." Certainly not, but neither does a title rob it of its value; and the composer in adding one at least prevents a complete misunderstanding of the character of the music." "Scorn not the short piece... But there are tone-poets who know how to express in minutes what for others require hours. The interpretation, reception of such concentrated compositions, however, are exacting matters for the performer and for the listener."(1) Cooper(2) in his book on performance discusses the benefit of a title: "Pictorial or descriptive music does not present as many problems of style as abstract music. A title is there to provide a clue." The question of the naming of the prelude was put by Andre Gide(3) in his work on Chopin. He stated: "I admit that I do not understand the title that Chopin liked to give these short pieces: Preludes. Preludes to what? Each of Bach's preludes is followed by its fugue; it is an integral part of it. But I find it hardly easier to imagine any one of these Preludes of Chopin followed by any other piece in the same key, be it by the same author. Each one is a prelude to a meditation; nothing can be less a concert piece; nowhere has Chopin revealed himself more intimately." 101 APPENDIX 2 Instruments - Bach There has been a great deal of argument put forward as to the instrument on which Bach intended the Well-Tempered Clavier to be performed. Forkel relied on C.P.E.Bach when he put forward the idea that it was written for the Clavichord. Landowska puts forward convincing arguments in favour of the harpsichord. (1) According to Keller, Bach must have intended "Clavier" to mean "a keyboard instrument, or more precisely, a keyboard instrument with strings."(2) Later Keller suggests that "the special charm of the Well-Tempered Clavier exists precisely in the fact that a mere keyboard instrument, whether it be now the clavichord, the harpsichord, the pianoforte, must serve as the medium for a muse, whose content is to be sought beyond the sound." (3) Kikrpatrick says "perhaps Bach made no specific designation of instrument in the same way that the sculptor may not specify the nature of the lighting under which his work is to be seen, or even the materials in which it is to be cast." (4) The pianist Glen Gould (5) commented on the instrument for the performance of Bach by saying: "Like the Art of Fugue, the Well-Tempered Clavier, or exerpts there from, have been performed on the harpsichord and on the piano, by wind and string ensembles, by jazz combos, and by at least one scat-scanning vocal group as well as upon the instrument whose name it bears. And this magnificent indifference to specific sonority is not least among those attractions which emphasise the universality of Bach." APPENDIX 3 102 Debussy: Translation and Subject of Prelude Titles Bookl Title Subject 1. Danseuses de Delphes Dancers of Delphi ancient Egypt 2. Voiles Sails or Veils Sails in the breeze 3. Le Vent dans la Plaine The Wind on the Plains Wind 4. Les Sons et les Parfums Tournent dans I'Air du Soir Sounds and scents stirring in the air Nature 5. Les Collines d'Anacapri The Hills of Anacapri Nature and dance 6. Des Pas sur la Neige Footprints in the snow Winter 7. Ce qu'a Vu le Vent d'Ouest What the westwind saw. Wind 8. La Fille aux Cheveux de Lin The girl with the flaxen hair Natural beauty of a young girl 9. La Serenade Interrompue The interrupted serenade Spain at night 10. La Cathedrale Engloutie The sunken cathedral Legend from Brittany 11. La Danse de Puck The dance of Puck Caricature from Shakespeare 12. Minstrels Minstrels Americam vaudeville scene 103 Book II 13. Brouillards Mists Fantasy, Nature 14. Feuilles Mortes Dead leaves Autumn, fragile beauty of Ife 15. La Puerta del Vino (The gateway of the Alhambra) Spain 16. Les Fees sont dExquises Danseuses The fairies are exquisite dancers Romantic fantasy 17. Bruyeres Heaths Pastoral scene on the Moors 18. General Lavine - Eccentric General Lanvine, eccentric Biographical caricature 19. La Terrasse des Audiences du Clair de Lune Reception on a moonlit terrace Night in India 20. Ondine Ondine Mythological water nymph 21. Hommage a S. Pickwick, Esq., P.P.M.P.C. Hommage to S.Pickwick, Esq., P.P.M.P.C. Caricature on Dickens 22. Canope Canope Archaeological vessel 23. Les Tierces Alternees Alternating thirds No subject. Anticipates the etudes 24. Feux d'Artifice Fireworks Fireworks exhibition 104 FOOTNOTES Form 1 • Unmeasured Preludes (Fr: Prelude non mesure). This term is usually reserved for a body of seventeenth century harpsichord preludes written without the orthodox indications of rhythm and metre. Examples are found in the works of L. Couperin, N. Lebeque, and J. d'Anglebert. 2.a. Examples i) Individual - Chopin: Prelude in C sharp minor, op. 45 ii) Collection - Chopin: 24 Preludes op.28 b. See appendix 1 "The title of the composition" 3. Dickinson, A. The Art of JSB p.35 4. Apel.W. Masters of the Keyboard p.239 5. Kirkpatrick, R. Interpreting Bach's Well Tempered Clavier p. 32 6.Long, M. Faure p.101 See appendix 1 on the title of compositions. 7. Examples 1. Bach, J.S.: WTCII no.5 2. Fisher, J.K.F. -.Prelude no.11 "Ariadne Musica" 3. Rachmaninoff, S. : Prelude op.23 no.5 G minor 8. Chopin, F. 24 Preludes op.28 Scriabin, A. 24 Preludes op.11 9. Alkan, C.V. 25 Preludes op.31 Debussy, C. Preludes Books 1 and 2 10.i) As stated in the Introduction only works that have been called "preludes" by their composers, not works with other titles that act as preludes, have been included in this paper. ii) The structures of binary and ternary have not been included as they have been mentioned earlier. See footnote 7. 105 J.S.Bach 1. Spitta. P. Johann Sehagfjan R^rh vol.iip.186 2.a. Source: Groves Dictionary Bach p.829 b. See appendix 2 "Instruments - Bach". 3. The preludes in the Well Tempered niaviar that were taken and extended from those in the Klavierbiiohlein fur Wilhelm Friedemann Bach of 1720 were: C, c, d, D, e, E, F, C sharp, c sharp, e flat, f. 4. (a) Starting with C major, then C minor, C sharp major, C sharp minor etc. (b) The Well Tempered Clavier does not represent the first collection of works in successive keys: i) J.H.Kittle Twelve Praembuloem (1682), are in the twelve most used major and minor keys of: c, C, d, D, E, F, g, G, a, A, B flat, b. ii) J.K.F. Fischer "Ariadne Musica" Preludes and Fugues in : C, c sharp, d, D, E flat, e, (E), E, f, F, f sharp, g, G, A flat, a, A, B flat, b, B, c. 5. Source: David The Bach Reader p. 85 6. Keller, H. The Well-Tempered Clavier p.27 7. source: David The Bach Reader p.173 8. a) Keller, H. The Well-Tempered Clavier p.33 b) Johann Philipp Kirnberger (1782) said on Bach's Teaching of Composition: "Johann Sebastian Bach always writes, in all his works, a thoroughly pure style, and every piece of his has a completely unified character. Rhythm, Melody, Harmony, in short everything that makes a composition truly beautiful he has, as his practical works testify, fully in his power." (David The Bach Reader p.262) Kirkpatrick (p.33) said "throughout the Well-Tempered Clavier Bach always works from an harmonic skeleton upon which he imposes layers of melodic and contrapuntal decoration." 9. Mellers Bach and the Dance of God p.P7 10. Keller, H. The Well-Tempered Clavier p.147 See Appendix 2 on the instruments for the performance of Bach's compositions. 106 Chopin I.Jordan, R. Nocturne - A Life of Chopin p.149 2. George Sand Historie de Ma Vie (Paris 1902), IV, p.439 3. Liszt, F. The Gazette Musicale (May 2,1841) 4. G.de Pourtales Chopin ou le poete (Paris 1928) 5. reference made to this analysis in Schonberg The Great Pianists 6. Hummel 24 Preludes op.67 composed1815 7. Schumann, R. Neue Zeitschrift fur Musik. Nov.19,1839, no.41 163 8. Nieks, F. F.Chopin as a Man and Musician (London 1888) II, p.254 9. Barbedette ChopimEssai de Critique Musicale (Paris 1861) p.33, 65 10. Liszt, F. The Gazette Musicale (May 2,1841) 11. Restout, D. Landowska on Music p.275 12. see footnote 5 Debussy LSchmitz, E.R. The Piano Works of Claude Debussy p.130 2. Lockspeiser, E. Debussv p.155 3. Long, M. At the Piano With Debussv p.73 4. Refer to Appendix 3 for an English translation of the titles, and a description of the image. 5. Long, M. At the Piano With Debussv p.66 Lonsdale 1. Ferra, B. Chopin and George Sand in Majorca 2. Gide, A. Notes on Chopin. (N.Y. 1949),p.32. 107 Appendices 1. Name of Prelude 1. Schumann, R. On Music and Musicians p.72 2. Cooper, P. Style in Piano Plavina p.89 3. Gide, A. Notes on Chopin. (N.Y. 1949),p.32. 2. Bach Instruments 1 Restout, D. Landowska on Music p.98 2. Keller, H. The Well-Tempered Clavier p.23 3. Keller, H. The Well-Tempered Clavier p.25 4. Kirkpatrick, R. Interpreting Bach's Well Tempered Clavier p.44 5. Glen Gould Reader p.21 108 BIBLIOGRAPHY Abraham, G. Chopin's Musical Stvle (Oxford University Press, London, 1968.) Apel, W. Masters of the Keyboard A Brief Survey of Pianoforte Music. (Harvard University Press, Mass. 1947.) Apel.W. The History of Keyboard Music to 1700 (Indiana University Press,U.S.A,1972.) Baker, T. (ed.) Dictionary of Musical Terms (Schirmer, London 1923.) Blume, F. Two Centuries of Bach (Oxford University Press, London, 1950) Bukofzer, M. Music in the Baroque Era From Monteverdi to Bach (J.M. Dent & Sons Ltd., London, 1948.) Caldwell, J. English Keyboard Music Before the Nineteenth Century (Basil Blackwell, Oxford, 1973.) Carrell, N. Bach the Borrower (George Allen and Unwin Ltd., London,1967.) Cooper, P. Style in Piano Plavina (John Calder, London, 1975.) David, H.T. and The Bach Reader Mendel, A. (W.W. Norton & Co.lnc, London,1945.) Dawes, F. Debussv : Piano Music (B.B.C, London,1982) Dickinson, A. The Art of J.S.Bach (Hinrichsen Edition Limited, London, 1950.) 109 Ferra, B. Chopin and George Sand in Majorca Trans. Ping-Mill, R.D.F. (Ediciones La Cartoixa, Spain, 1980.) Fusek, R.M. Piano Music in Collections (Detroit Information Coordinators, Detroit, 1982.) Gillespie, J. Five Centuries of Keyboard Music (Dover, New York, 1965.) Gray, C. The Fortv-Eiaht Preludes and Fugues of J.S.Bach (Oxford University Press, London, 1952.) Higgins.T. (ed.) Frederic Chopin: Preludes. Opus 28 (W.W. Norton &Co.lnc, U.S.A.1973) Barbedette, H. Chopin:Essai de Critique Musicale (Paris 1861), p.33, 65. Gide.A. Notes on Chopin. (N.Y. 1949), p.32. Liszt, F. The Gazette Musicale (May 2,1841) Nieks, F. Chopin as a Man and Musician (London 1888) II, p.254. Pourtales, G.de Chopin ou le poete (Paris 1928) Sand, G. Historie de Ma Vie (Paris 1902), IV, p.439. Schumann, R. Neue Zeitschrift fur Musik. Nov.19,1839, no.41,163. Jarocinski, S. Debussv: Impressionism and Symbolism Trans. Rollo Myers (Eulenberg Books, London, 1970.) Jordan, R. Nocturne - A Life of Chopin (Constable, London, 1978) Keller, H. The Well-Tempered Clavier by Johann Sebastian Bach (George Allen & Unwin Ltd, London,1976) Kirby, F.E A Short History of Keyboard Music (Schirmer Books., U.S.A, 1966.) 110 Kirkpatrick, R. Interpreting Bach's Well Tempered Clavier A Performer's Discourse (Yale University Press, New Haven, 1972.) Lockspeiser, E. Debussy (J.M.Dent, London, 1963.) Lockwood, A. Notes on the Literature of the Piano (Da Capo Press, New York, 1968.) Long, M. At the Piano With Debussy Trans. Senior-Ellis, O. (Kahn and Averill, London, 1980.) Long, M. At the piano with Faure Trans. Senior-Ellis, O. (Kahn and Averill, London,1980.) Mellers, W. Bach and the Dance of God (Faberand Faber, London, 1980.) Restout, D. (ed) Landowska on Music (Seeker and Warburg, London, 1943.) Riemann, H. Analysis of J.S.Bach's Wohltemperirtes Clavier Trans. Sheldlock, J.S (Augener and Co., London) Sadie, S. (ed) The Groves Dictionary of Music and Musicians (Macmillian, London, 1982.) Emery, W. et.al. Bach Ferguson, H. Prelude Moroney, D. Prelude non mesure Schmitz, E.R. The Piano Works of Claude Debussv (Dover, New York, 1950.) Schonberg, H. The Great Pianists (Gollancz, London, 1964.) 111 Schumann, R. On Music and Musicians (University of California Press, Berkeley) Schweitzer, A. J.S.Bach Trans. Newman, E. (Dover, New York, 1966.) SPitta> P- Johann Sebastian Raoh- His work and influence on the Music of Germany. 1685-1750 Trans. Bell, C. and Fuller-Maitland,J.A.F. (Novello, London, 1950.)