Eri Nakagawaเอริ นาคากาวา2025-05-192025-05-192025-05-192023Mahidol Music Journal. Vol, 6 No.1 (Mar – Aug 2023), 205-2242774-132X (Online)2586-9973 (Print)https://repository.li.mahidol.ac.th/handle/20.500.14594/110209Sergei 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, Cgif.latex?\acute{e}sar Cui, and Reinhold Gligif.latex?\grave{e}re. 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 Frgif.latex?\acute{e}dgif.latex?\acute{e}ric 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.application/pdfengผลงานนี้เป็นลิขสิทธิ์ของมหาวิทยาลัยมหิดล ขอสงวนไว้สำหรับเพื่อการศึกษาเท่านั้น ต้องอ้างอิงแหล่งที่มา ห้ามดัดแปลงเนื้อหา และห้ามนำไปใช้เพื่อการค้าRachmaninoff24 PreludesCyclical workMusic performanceArticleCollege of Music Mahidol University