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Preludes and Variations

Sarah Faith Busk

Grand Canyon University: MUP-430

9 April 2015
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Preludes and Variations

Throughout history theoreticians and public have described music as a universal mode of

expression. Preludes and theme and variations first appear in the ancient Greek culture. From the

Baroque era preludes were used improvisatory warm-up pieces. Scholars believe the earliest

recorded theme and variation piece dates to the 14th century but were popularized in the 16th

century.

The word prelude is a derivative of the Latin term praeludere meaning ‘something played

beforehand’ (Lin 1997, 1). They have also been referred to as tiento, toccata, ricercare, fantasy,

praeludium, and preambulum (Beuerman 2003, 22). Russian composer, Sergei Rachmaninoff

regards preludes as “a form of absolute music” (Lin 1997, 4). University of South Carolina

graduate, In Ling-Mei Lin, described their form in her dissertation as unpredictable (Lin 1997,

2), which has allowed for a wide range of musical styles (Palmer 1981, 8).

Preludes dominated the Baroque era as performance pieces and continued their life

through the Classical era as pedagogical works (Beuerman 2003, 74). Preludes enabled

performers to:

(1) test the instrument and loosen the performer’s fingers,

(2) establish the tonality and character for the following pieces,

(3) have a complete the performance in good taste,

(4) display the composer’s versatility, and

(5) display the performer’s virtuosity via improvisation (Beuerman 2003, 22, 72).

Grove Dictionary lists three types of preludes: attached, unattached, and independent.

Attached preludes precede a series of pieces related to each other by tonal relationships and

harmonic structures (Beuerman 2003, 27). The second the unattached prelude that may precede
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that many precede any other form in the same key, mode or character (Lin 1997, 4). The third

type is the independent prelude which is an independent stand-alone piece (Lin 1997, 4).

Alexander Siloti’s Prelude in b minor is a transcription of J. S. Bach’s Prelude in e

minor, BWV 855a and is an example of an independent prelude. Siloti was a notable pedagogue

whose roots trace back to the Liszt-Rubenstein school (Alexander 2015). Among other world

leading pianists and composers, he taught his younger cousin Sergei Rachmaninoff. He left a

large collection of arrangements and transcriptions of pieces from composers including J. S.

Bach, Liszt, Vivaldi, Tchaikovsky and Arensky. This particular Bach transcription prelude is

dedicated to his daughter Kyriena who was a famous pianist in New York (Manildi 2012).

From basic warm-up pieces to ornate stand-alone compositions, preludes underwent a

significant transformation from ancient Greece where they originated and were paired with

pieces in similar mods, into the 21st century. A 15th century composer, Adam Ileborgh, left a set

of preludes titled Praeludia diversarum notarum, untouched by the popular Renaissance vocal

traditions, that represent the only recorded set of preludes from that era (Beuerman 2003, 28-29).

About 80 years later, Johann Caspar Ferdinand Fischer published a set of 20 prelude and fugues

that foreshadowed Bach’s Well-Tempered Clavier by twenty years. Throughout the 17th century,

preludes continue to serve as a warm-up piece, an improvisation exercise, an opportunity to tune

the instrument, and to prepare the tonality of the main piece. Lin states that “to begin a musical

event, at that time, without a prelude, was considered in bad taste” (Lin 1997, i). In the following

century preludes began to function as the first movement of a suite. The use of a recurring

motive as the unifying element from one movement to another later influenced the Classical

sonata-allegro form (Beuerman 2003, 94).

J.S. Bach’s Well-Tempered Clavier is the most influential collection of the prelude and

fugue form in music history. It is comprised of 48 preludes and fugues for harpsichord, inspired
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and influenced by the revolutionary tempered tuning system and execute the new technical

possibilities on the keyboard. Each prelude serves as an introduction to the fugue and all are rich

in contrapuntal and harmonic structures.

During the Classical era, the prelude still served as an introductory piece, although its

popularity quickly faded. It survived by morphing into orchestral overtures and fantasies for solo

instruments. Technical advancements of the piano, like double escapement action, allowed for

more control in expressive finesse, “delicate nuances and powerful bravura” (Lin 1997, 12). The

end of the Classical era brought a come-back of preludes, usually organized as sets based on

various key arrangements (Lin 1997, vi).

The Romantic era, with its overwhelming chromaticism and deep emotional style gave

way for the flourishing free-styled preludes that were either compelling short, or epic, virtuosic,

stand-alone pieces (Bernstein 1986, D-23). Composers like Heller and Glière emphasized

simplicity and charm inherited from the Classical era, while Chopin’s preludes became the

epitome of Romantic preludes (Beuerman 2003, 38).

A selection of the 20th century preludes are reminiscent of Bach’s contrapuntal style

(Beuerman 2003, 58). The set of 24 preludes, based on utilizing all tonalities, made a comeback

through experimentations in jazz, minimalism, serialism, prepared piano, harmonics and modal

systems (Beuerman 2003, 41).

Turn of the 20th century composers incorporated the Romantic idioms in 20th century

contexts. Hindemith’s Ludus Tonalis and Shostakovich’s 48 Preludes and Fugues represent the

most significant sets of preludes and fugues since Bach’s Well-Tempered Clavier. Many others

used this form and among them are Leopold and W.A. Mozart, Clementi, Beethoven, Czerny,

Cui, Rachmaninoff, Debussy, Skrjabin, Kabalevsky,Stravinsky, and Gershwin.

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Alexei Stanchinsky’s Preludes from 1907 is a set of three independent preludes usually

performed as a set. Stanchinsky is virtually unknown to the Western world. By the age of six he

was composing and performing his pieces. Living in the city was too stressful for his health, so

he and his family moved to the countryside where he took piano lessons via letters of

correspondence. Later, he studied piano, composition, harmony and counterpoint with Alexander

Gretchaninoff and other renown professors at the Moscow Conservatory. Stanchinsky became

mentally unstable after his father’s death 1908. He was diagnosed both with bipolar disorder and

Dementia praecox, which made him suffer from “fits of rage and hallucinations.” After being

declared incurable and leaving the clinic where he treated, Stanchinsky rejoined his colleagues at

the conservatory. He developed a uniquely dark compositional voice. In October of 1914 he was

found dead by a river near Logachevo, a Western Russian city and details surrounding his death

are somewhat a mystery (Orga), but researchers agree that it was a suicide. What we have from

him today are compositions that his friends managed to save, sometimes recovering them from

the fireplace.

Of the three preludes, the last one has the most unusual form: although a prelude, it is

very close to a loose theme and variations form. The set paints a vivid emotional picture of his

internal struggles, yet each prelude shines light into his dark, introspective beauty.

The second musical form of the night is the theme and variations. Variations develop a

musical theme through the harmonic, melodic and rhythmic changes (Harnsberger 1997, 140). In

1824, renowned essayist C. F. Michaelis described variations as “a game of disguise that harbors

a secret.” In the Classical period, many composers chose popular themes to engage a wider

audience because such selections allow listeners to easily follow and understand the variation

process (Wind 2012, 15-16). There are many types of variations: sectional, continuous, ground

bass, passacaglia, chaconne, continuous, sectional, character and formal.

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Sectional variations contain a clear break from one variation to the next whereas the

continuous variations do not. Composers in the 16th and 17th century titled continuous variations

as a basso ostinato, passacaglia, or chaconne. The passacaglia and chaconne are nearly

indistinguishable due to the use of a repeating rhythmic pattern in any voice (Encyclopædia

2015). The basso ostinato - also known as the ground bass - is also a continuous variation form

that contains “a short, constantly repeated rhythmic pattern” found only in the bass voice

(Encyclopædia 2015). The pieces you will hear tonight are difficult to define, because both

combine characteristics of several types.

These different types of variations have been used as pedagogical and performance

pieces. Prominent piano variation composers include Handel, Mozart, Beethoven, Rachmaninoff,

Stravinsky and others.

An earlier form of variation was found in the Renaissance era as Gregorian chants, which

exhibited melodic decorations (Variation). Variations, in the Baroque era “based [their

variations] on a recurring harmonic pattern” (Gillespie 1965, 43). Variations flourished in the

Classical era and made cameo appearances within piano sonatas either as a separate movement,

or a part of a movement. By 1750, the theme and variations form was the second most popular

form in “piano music next to the sonata” (Šetková 1966, 4).

Like preludes, theme and variations were not only written for concert performances, but also

teaching pieces. Prominent piano variation composers include Handel, Mozart, Beethoven,

Rachmaninoff, Stravinsky and others.

Haydn’s Andante and Variations in f minor, Hob. XVII: 6 are continuous, formal

variations with some hints of character type structures throughout. Contrary to the traditional

labeling style, this piece has no clear indication or pause between variations nor do they have a

traditional heading such as “Variation 1.” Variations alternate the versions of the original theme
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in different registers, which is a characteristic of the formal variation form. The accompaniment

and embellishment of each varies by syncopation, scalar passages, arpeggiated figures, trills,

rhythmic accumulation and changing of registers. This set is one of the most melancholy pieces

Haydn wrote (Ax 2012, 1). He dedicated this piece to Babette von Ployer, a former student of

Mozart’s. However, scholars believe Marianne von Genzinger, a close friend of Haydn’s, to be

the true inspiration for the piece. In 1793, she died suddenly at the age of 38, only a few months

before the piece was written. “Until more evidence is available, such a connection must remain

conjectural, but this somber and expressive music—composed and very carefully revised in the

months after Marianne’s death—has seemed to many to be Haydn’s homage to a friend he held

very dear” (Lio 2015, 1).

Italian violinist and composer, Niccolò Paganini (1782-1840) pushed the virtuosic limits

on his instrument. The influence of his 24 Caprices reached as far as the American stage and

dominated the 19th century (Wood 2014). Notable compositions include Liszt’s Six Grandes

Etudes de Paganini (Op. 6), Brahms’ Variations on a Paganini Theme (Op. 35), and Berkovich’s

Theme on a Paganini Theme. In the 20th century, composers including Rachmaninoff, Benny

Goodman, and Andrew Lloyd Webber reminisced on Paganini’s strive for technical perfection.

Issak Berkovich’s Variations on a Paganini Theme retained the reliance on the tonic-

dominant essential harmonic core of Paganini’s Caprice No. 24, while employing thematic

transformation techniques to bring it closer to the 20th century styles. The piece can be divided

into three larger sections based on the character and the mood of the variations. The first three

variations follow in quick succession, retaining the 16th note pulse and the virtuosity of the

original caprice. The fourth variation is the first lyrical break and the beginning of the second

section. It is followed by a whimsical fifth variation and a lyrical sixth variation, rounding the

second set within the piece. The largest block of variations, seven to ten, each have a distinct
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character. Variation seven is large and triumphant using the tonic-dominant relationship.

Variation eight is a charming waltz, variation nine is a soulful contrast to the overall feel of the

piece, and the Finale is a recall of the original caprice’s character and virtuosity.
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Works Cited

Alexander Siloti Collection. (2015). Retrieved from

http://www.lib.umd.edu/ipam/collections/alexander-siloti

Ax, Emmanuel. (2012). Emmanuel Ax – May 8, 2012. Program notes online. Retrieved from
http://www.thegilmore.org/downloads/notes_ax_may_8.pdf

Bernstein, Leonard, Frank C. Campbell, Van Cliburn, et al. “Prelude.” In The International Library
of Piano Music. Edited by Felix Greissle, et al. 1986 Edition. Vol. 14. Midland Park, NJ:
University Society, Inc., 1967.

Beuerman, Eric Gilbert. “Evolution of the Twenty-Four Preludes for Piano.” DMA diss., University
of Arizona, 2003.

Encyclopædia Britannica Online, s. v. "ostinato", accessed April 10, 2015,

http://www.britannica.com/EBchecked/topic/434398/ostinato.

Fisk, Charles. “Nineteenth-century Music? The Case of Rachmaninov.” 19th Century Music, Vol.
31, No. 3 (Spring 2008), 253-54, accessed July 7, 2014,
http://www.jstor.org/stable/10.1525/ncm.2008.31.3.245.

Gillespie, John. Five Centuries of Keyboard Music. New York, NY: Dover Publications, 1965.

Harnsberger, Lindsey C. “Variation.” In Essential Dictionary of Music. Edited by Lindsey

Harnsberger. 2nd ed. Los Angeles: Alfred Publishing Co., 1997.

Lin, Ling-Mei. “Collections of Piano Preludes in the Classic and Early Romantic Eras (Circa 1770 to
Circa 1839): A Historical and Stylistic Study.” DMA, diss., University of North Carolina
Greensboro, 1997.

Lio, Kuok-Wai. (2015). San Francisco Performances Present Kuok-Wai Lio, piano. Program Notes
Online. Retrieved from http://sfperformances.org/notes/LioNotes.pdf

Manildi, Donald. “Alexander Siloti Collection.” Online lecture notes, class notes at University of
Maryland, College Park, MD, last updated August 7, 2012 (accessed August 11, 2014,
http://www.lib.umd.edu/ipam/collections/alexander-siloti).

Orga, Ateş. Alexei Vladimirovich Stanchinsky: Piano Sonatas/Three Sketches/Twelve Sketches.

Daniel Blumenthal. Germany: Marco Polo 8.223424, 1992.

Palmer, Willard A. J.S. Bach: The Well-Tempered Clavier, Volume 1. Sherman Oaks, CA: Alfred
Publishers, 1981.

Rachmaninoff, Sergei. Morceaux de Fantasie: Elégie, op. 3, no. 1. Edited by Otto Gustav Thümer.
London: Augener, 1911.

Reno, Robert. The Architecture of Music [PDF document]. Lecture notes, Vanguard University of
Southern California, 42-46.
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Šetková, Dana. “Böhmische Variatonen des XVIII. Jahrhunderts” in Musica Viva Historica,
Edited by Dana Šetková. 1st ed. Vol. 15. Prague: Státní hudební vydavatelství; export: Artia,
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Variations-From-18th-Century).

Subdin, Yevgeny. (2012). Haydn Liner Notes. Retrieved from

http://www.yevgenysudbin.com/artist.php?view=essays&rid=621

Wind, Thiemo. “Variation Technique: Jacob van Eyck as a homo ludens.” American Recorder
53, no.1 (January 2012): 14-20. Academic Search Complete EBSCOhost (accessed July 16,
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Wood, Sienna W., Juliana Madrone. “Musical Borrowing and Appropriation,” Theme and
Variations: New Perspectives in Music History, last modified 2014, accessed July 25, 2014,
http://www.themeandvariations.org/Topics/borrowing.html