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Rachmaninoff: Prelude in G minor, Op. 23 No. 5 // RICHTER
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Some say the piano had to take a three-week vacation after this performance.
Prelude in G minor, Op. 23, No. 5, is a piece of music by Sergei Rachmaninoff, completed in 1901. It was included in his Opus 23 set of ten preludes, despite having been written two years earlier than the other nine. Rachmaninoff himself premiered the piece in Moscow on February 10, 1903, along with Preludes No. 1 and 2 from Op. 23.
The Prelude's taut structure is in ternary form, consisting of an opening "A" section with punctuated sixteenth-note chords (marked: Alla marcia, march), a more lyrical and melancholy "B" section with sweeping arpeggios in the left hand (marked: Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march.
The Alla marcia section is in itself in ternary ABA form. Within the first three measures of the Prelude, Rachmaninoff introduces the unifying factors of the piece (notwithstanding the Poco meno mosso section). First, the chordal march of measure one; second, the fragment on the second half of the beat in measure two; third, the fragment on the second half of beat two in measure three.
This prelude is one of the most performed and recorded pieces of the Op. 23 set.
Prelude in G minor, Op. 23, No. 5, is a piece of music by Sergei Rachmaninoff, completed in 1901. It was included in his Opus 23 set of ten preludes, despite having been written two years earlier than the other nine. Rachmaninoff himself premiered the piece in Moscow on February 10, 1903, along with Preludes No. 1 and 2 from Op. 23.
The Prelude's taut structure is in ternary form, consisting of an opening "A" section with punctuated sixteenth-note chords (marked: Alla marcia, march), a more lyrical and melancholy "B" section with sweeping arpeggios in the left hand (marked: Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march.
The Alla marcia section is in itself in ternary ABA form. Within the first three measures of the Prelude, Rachmaninoff introduces the unifying factors of the piece (notwithstanding the Poco meno mosso section). First, the chordal march of measure one; second, the fragment on the second half of the beat in measure two; third, the fragment on the second half of beat two in measure three.
This prelude is one of the most performed and recorded pieces of the Op. 23 set.
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