Chopin, 24 Preludes, Op.28 (Nelson Freire)

Описание: Frédéric Chopin's 24 Preludes, Op.28, with synchronized sheet music (score) and a theme-and-structure analysis.
Performance: Nelson Freire (piano),1970/04/22, 24, 25 Stereo Columbia 30th Street Studio, New York City
Analysis, Score Editing, Synch: ScoreMan

00:00 No.1 in C major. Agitato
00:38 No.2 in A minor. Lento
02:31 No.3 in G major. Vivace
03:24 No.4 in E minor. Largo
05:06 No.5 in D major. Allegro molto
05:35 No.6 in B minor. Lento assai
07:34 No.7 in A major. Andantino
08:27 No.8 in F sharp minor. Molto agitato
10:04 No.9 in E major. Largo
11:21 No.10 in C sharp minor. Allegro molto
11:46 No.11 in B major. Vivace
12:20 No.12 in G sharp minor. Presto
13:18 No.13 in F sharp major. Lento
16:12 No.14 in E flat minor. Allegro
16:35 No.15 'Raindrop Prelude' in D flat major. Sostenuto
21:13 No.16 in B flat minor. Presto con fuoco
22:13 No.17 in A flat major. Allegretto
25:38 No.18 in F minor. Allegro molto
26:26 No.19 in E flat major. Vivace
27:42 No.20 in C minor. Largo
29:20 No.21 in B flat major. Cantabile
31:07 No.22 in G minor. Molto agitato
31:47 No.23 in F major. Moderato
32:38 No.24 in D minor. Allegro appassinato


OVERVIEW

Chopin’s 24 Preludes, Op. 28 are one of the most important and influential sets of short piano pieces in the Romantic era. They were composed between 1835 and 1839, during a time when Chopin was frequently ill and also living with George Sand, including a significant portion of work done during their stay in Majorca.

HISTORICAL CONTEXT

Chopin was inspired in part by J.S. Bach’s Well-Tempered Clavier, which also contains a prelude in every key.
He completed much of the work in Majorca in 1838–39 during a stay at the monastery of Valldemossa, where he was ill with tuberculosis.
The emotional range of the set may reflect the physical and psychological difficulties he faced during that time.

MUSICAL SIGNIFICANCE

These Preludes revolutionized the concept of what a "prelude" could be—moving from introductory to self-contained works of emotional depth.
They showcase Chopin's mastery of miniature form—capturing vast emotional worlds in just a few measures.
They were admired by later composers like Debussy, Rachmaninoff, and Scriabin, who also wrote their own sets of preludes inspired by Chopin.

BREAKDOWN OF EACH PRELUDE

1. Rapid arpeggios in both hands; requires control and evenness. An explosive opening—some hear echoes of a sea storm or a surge of energy.
2. Murky left-hand sixteenths under a lamenting melody. Sometimes seen as a funeral procession, emotionally drained and dark.
3. Right-hand skips and leaps, buoyant rhythm. A joyful miniature that contrasts starkly with the previous prelude.
4. Sparse, simple texture; emotional depth in minimal material. A favorite of many for its poignancy. Possibly a funeral elegy.
5. Right-hand flutters above a steady bass. A playful miniature, like a feather drifting in sunlight.
6. Repeated chords, sighing phrases. A dirge. Highly expressive in its restraint.
7. Melody in chords; simple, song-like. Often likened to a folk lullaby. Pure and serene.
8. Torrent of notes; technical difficulty in control and pacing. Wild and dramatic, with sweeping gestures.
9. Chorale-style left hand; stately dignity. A rare sense of peace. Sometimes called the “sunset” prelude.
10. Quick figuration in both hands; precise articulation required. Evokes scurrying footsteps or quiet panic.
11. Rapid right-hand figuration over a leaping bass. Pure sparkle. Often interpreted as a musical laugh.
12. Powerful octaves; relentless drive. A tempest. Emotionally and physically intense.
13. Long lines, soft harmonies. Gentle and lyrical—a warm nocturne-like work.
14. Dense left-hand motion; abrupt harmonic shifts. A violent outburst. Desperation captured in motion.
15. "Raindrop Prelude" Repeating A♭ note mimics raindrops. One of the most famous. Said to evoke a rainstorm; subtle emotional journey.
16. Tremendous speed; octave passages and stamina. A technical beast. Comparable in drama to Liszt’s wildest etudes.
17. Lyrical, floating right hand. Pure elegance. A relaxed contrast to No.16.
18. Chordal patterns with relentless drive. Full of tension. One of the lesser-known but striking preludes.
19. Graceful phrasing; miniature waltz-like. Brief happiness. Sunlight after storm.
20. Thick chords, like a funeral march. Often used in films. Also quoted by Rachmaninoff and The Doors.
21. Rolling left hand with singing right-hand melody. A mini-nocturne. Tender and understated.
22. Tension-filled figures with powerful harmonies. Emotionally gripping. Oscillates between storm and beauty.
23. Soft arpeggios and melodic fragments. Reflective and pastoral. Feels like an intimate improvisation.
24. Strong chords, dramatic urgency. Finale-like in grandeur. Cyclical return to C major at the end is powerful.