Professional Documents
Culture Documents
Lecture Papers On Preludio Variations
Lecture Papers On Preludio Variations
9 April 2015
PRELUDES AND VARIATIONS Busk 2
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:
(2) establish the tonality and character for the following pieces,
(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
PRELUDES AND VARIATIONS Busk 3
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).
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
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).
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,
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
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
PRELUDES AND VARIATIONS Busk 4
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
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
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
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
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,
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
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
These different types of variations have been used as pedagogical and performance
pieces. Prominent piano variation composers include Handel, Mozart, Beethoven, Rachmaninoff,
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
Like preludes, theme and variations were not only written for concert performances, but also
teaching pieces. Prominent piano variation composers include Handel, Mozart, Beethoven,
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
PRELUDES AND VARIATIONS Busk 7
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
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
PRELUDES AND VARIATIONS Busk 8
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.
PRELUDES AND VARIATIONS Busk 9
Works Cited
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.
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.
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).
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.
PRELUDES AND VARIATIONS Busk 10
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,
1966. (accessed July 28, 2014 from http://www.scribd.com/doc/234172412/Czech-Piano-
Variations-From-18th-Century).
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,
2014).
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