THE SIGNIFICANCE OF PERFORMING RACHMANINOFF’S 24 PRELUDES AS A CYCLE
Issued Date
2023-08-31
Resource Type
eISSN
2774132X
Scopus ID
2-s2.0-105008287147
Journal Title
Mahidol Music Journal
Volume
6
Issue
1
Start Page
205
End Page
224
Rights Holder(s)
SCOPUS
Bibliographic Citation
Mahidol Music Journal Vol.6 No.1 (2023) , 205-224
Suggested Citation
Nakagawa E. THE SIGNIFICANCE OF PERFORMING RACHMANINOFF’S 24 PRELUDES AS A CYCLE. Mahidol Music Journal Vol.6 No.1 (2023) , 205-224. 224. Retrieved from: https://repository.li.mahidol.ac.th/handle/123456789/110878
Title
THE SIGNIFICANCE OF PERFORMING RACHMANINOFF’S 24 PRELUDES AS A CYCLE
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Abstract
Sergei Rachmaninoff wrote Prelude, Op. 3, No. 2; 10 Preludes, Op. 23; and 13 Preludes, Op. 32 in all 24 different keys, following the trend of his Russian contemporary composers such as Felix Blumenfeld, Anton Arensky, Alexander Scriabin, César Cui, and Reinhold Glière. Although Rachmaninoff’s 24 Preludes, Op. 3, No. 2; Op. 23; and Op. 32 were written at three different periods in 1892, 1903 and 1910 respectively, the complete cycle of all 24 Preludes was published in a single volume in 1911. Unlike the systematic order in the sets of Johann Sebastian Bach’s The Well-Tempered Clavier and Frédéric Chopin’s 24 Preludes, Op. 28, the key organization of Rachmaninoff’s 24 Preludes seems random at first glance; however, they are uniquely integrated by the cyclical manipulation of tonal and rhythmic relationships and thematic ideas. This article reveals the significance of performing the 24 Preludes as a cycle by focusing on the following aspects: key scheme; use of common tones; anticipation of opening material at the end of the preceding prelude; use of the interval of a second; use of chromaticism; use of bell-like tones; cyclical use of two motives of Op. 3, No. 2; organization of tempi in Op. 23; and use of rhythms and compound meters in Op. 32.