Adam Power

Piano
from the studio of Professor or Dr. Jonathan Brown

– program –
Prelude and Fugue in C minor, WTC, I
Prelude and Fugue in C minor, WTC, I    J.S. Bach J.S. Bach
(1685-1750) This prelude and fugue is the second written Bach’s first Well Tempered-Clavier.
The prelude starts with constant running 16th notes for 33 measures and then a coda
Preludes Op. 28                                                             Frederick Chopin
appears and finishes out the piece on a Picardy third.
(1810-1849)
     No. 4, in E minor                                    
The fugue is 31 bars long, and is written for 3 voices. The subject first enters in the
     No. 20, in C minor 
middle voice Just like most fugues in the baroque period, the subject is then
repeated in the top voice in the dominant key (G minor), and then repeated once
more in the lowest voice, again in the home key. The fugue then continues with
Sonata No. 1 in F Minor Op. 2 No. 1 Ludwig van Beethoven
a development, and then another repetition of the subject in the home key. Just like
I. Allegro (1770-1827)
the prelude, the fugue ends with a Picardy third.
II. Adagio
III. Minuetto & Trio
IV. Prestissimo
Prelude, Op. 28, No. 20 in C Minor
Frederic Chopin
This prelude in C minor has been given the name the “chord prelude” because of its
This recital is presented in partial fulfillment of the requirements for the degree of many blocked chords. This is one Chopin’s 24 preludes he wrote in his career. The
BACHELOR OF MUSIC prelude was originally written in two sections of four measures, ending at measure
nine. Chopin later added a repeat of the last four measures at a softer level, with an
expressive swell before the final cadence.
Adam Power is a Music Research Major and a piano student of Dr. Jonathan
Brown. Prior to attending to Judson, he studied piano under Dr. Susan Teicher, Dr. Prelude, Op. 28, No. 4 in E minor
Jonathan Bowman (Eastern Illinois University), Dr. Garrett Allman (Illinois Frederic Chopin
College), and organ under Nichol DelGiorno (Illinois College). He has been seen This prelude was composed in 1839. It is no secret that Chopin suffered from severe
as an accompanist and conductor for numerous pit orchestra in and around depression throughout his life and his music reflects that. This piece is very
Springfield, Illinois. expressive yet very somber in the way that he composed simply melody. Chopin
requested that this prelude be played at his funeral along with Mozart’s Requiem.

                          
Sonata No. 1 in F Minor Op. 2 No. 1
Ludwig van Beethoven
The opening movement is very Classical in style. The movement has many features
one would associate with a late Classical piano work. It is in sonata form; the
accompaniment in the left hand is generally eighth notes based on the triad and the
theme is developed using the circle of fifths pattern. There are no surprises here but
it is still a very pleasant four and a half minutes of music.

The Adagio illustrates Beethoven’s ability to write a good slow movement. He does
not write beautiful melody like Mozart does but relies instead on the harmony to
lead, using suspensions to create and release tension. The Alberti bass line is a nod
to late 18th century style. Beethoven’s choice of harmony gets more interesting in
the second section where he writes chromatic passages in the left hand. The
transition back to the first theme is quite beautiful and the movement finishes with
some tender moments in the coda.

In the final movement, there is no trace of the wildly popular Alberti bass. The
rather furious opening passage very much foreshadows the tension of the passionate
opening movement. The second theme is operatic and features the quaver
accompaniment one would expect. After a very short development, we hear the
opening themes in the home key and piece ends out of nowhere, as it began.