The modulation from B-flat major to D minor that occurs between measures 6 and 7 (and reappears at measures 14–15, 20–21, 41–42, and 49–50) is strongly characteristic of Rachmaninoff's music. Much of the prelude is of a traditional harmonic nature. Measure 52 is pure Rachmaninoff: a vertigo-inducing cluster no doubt inspired by the composer's stupendous chord-playing technique. With the exception of measure 52, measures 38–54 are an exact repetition of the main theme. The quasi-rondo section forecasts the return of the A section, which is in fact restated in measure 30, albeit disguised in a different key and form. In measures 28–37, the Prelude transitions back to the main theme in a mini-encaptulation of classic first rondo form. By measure 20, the kernel of measure 3 is varied drastically, into a transcendent sequence that introduces an inner voice and offsets the main theme. Here, the left-hand ostinato continues unimpeded as the treble line, accented and marked sempre marcato and fortissimo makes a regal entrance. The main "idea" of the composition appears in measure 3: The structural form of the piece is ternary, roughly "ABA" with a coda. As in Chopin's Revolutionary Etude, the performer must possess considerable left-hand endurance to maintain a consistent legato throughout the piece. This virtuoso piece is rhythmically complex, contrasting thunderous left-hand ostinato against a jagged right-hand melodic line. 2 is a composition by Sergei Rachmaninoff completed and premiered in 1903. 23 #2 by Sergei Rachmaninoff as performed by Jareth Rader in April, 2014. The Prelude begins with a rolling ostinato for the left hand.
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