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24 Preludes, Op. 11 (Scriabin)

January 01, 2023

Préludes Opus 11
No. 1 in C major – Vivace
Played by Scriabin in 1910 for Welte-Mignon player piano (1:46)
No. 2 in A minor – Allegretto
Played by Scriabin in 1910 for Welte-Mignon player piano (1:47)
No. 4 in E minor – Lento
Played on Bösendorfer 290 (1:42)
No. 6 in B minor – Allegro
Played on Bösendorfer 290 (0:58)
No. 9 in E major – Andantino
Performed by Axel Lange (1:31)
No. 10 in C-sharp minor – Andante
Performed by Axel Lange (1:26)
Problems playing these files? See media help.

Alexander Scriabin's 24 Preludes, Op. 11 is a set of preludes composed in the course of eight years between 1888–96,[n 1][1]: 9  being also one of Scriabin's first published works with M.P. Belaieff in 1897,[n 2][1] in Leipzig, Germany, together with his 12 Études, Op. 8 (1894–95).

Structural analysis

Scriabin's 24 preludes were modeled after Frédéric Chopin's own set of 24 Preludes, Op. 28: They also covered all 24 major and minor keys and they follow the same key sequence: C major, A minor, G major, E minor, D major, B minor and so on, alternating major keys with their relative minors, and following the ascending circle of fifths.

It is considered an outstanding set among Scriabin's early works, with easy-to-difficult numbers, among them No. 2 in A minor, No. 3 in G major, No. 6 in B minor, No. 8 in F♯ minor, No. 14 in E♭ minor, No. 15 in D♭ major, No. 16 in B♭ minor, No. 18 in F minor, and No. 24 in D minor.[2]

Tempo markings

  • No. 1 in C major – Vivace
  • No. 2 in A minor – Allegretto
  • No. 3 in G major – Vivo
  • No. 4 in E minor – Lento
  • No. 5 in D major – Andante cantabile
  • No. 6 in B minor – Allegro
  • No. 7 in A major – Allegro assai
  • No. 8 in F♯ minor – Allegro agitato
  • No. 9 in E major – Andantino
  • No. 10 in C♯ minor – Andante
  • No. 11 in B major – Allegro assai
  • No. 12 in G♯ minor – Andante
  • No. 13 in G♭ major – Lento
  • No. 14 in E♭ minor – Presto
  • No. 15 in D♭ major – Lento
  • No. 16 in B♭ minor – Misterioso
  • No. 17 in A♭ major – Allegretto
  • No. 18 in F minor – Allegro agitato
  • No. 19 in E♭ major – Affettuoso
  • No. 20 in C minor – Appassionato
  • No. 21 in B♭ major – Andante
  • No. 22 in G minor – Lento
  • No. 23 in F major – Vivo
  • No. 24 in D minor – Presto

Prelude in C major, Op. 11, No. 1

Alexander Scriabin's Prelude in C major, Op. 11, No. 1, was composed in November 1895 in Moscow.[1]: 9  Here Scriabin's virtuosic sustain pedaling assembles clusters of up to seven different diatonic notes in an exquisite sonority that Scriabin himself used to describe as a "psychic shift".[3]

The whole melody of this prelude consists of 240 eighth-notes,[3] being the opening chord of this piece C–D–E–F–G–A, with the C-major tonic in the bass.[3] The time value for each eighth note changes whenever the tempo flexes, as can be noticed in the second group of notes in the 2nd bar, which measures less than half the tempo of the second group in the 14th bar.[3] This piece has 26 bars and takes about one minute to be played with a Vivace tempo marking.

Prelude in E minor, Op. 11, No. 4

Scriabin's Prelude in E minor, Op. 11, No. 4, composed in Moscow in 1888, was the first of the 24 preludes, Op. 11 written by Scriabin.[1]: 8  Intended originally as a ballade,[4] the piece was reworked to its present form and entitled Prelude.[5] Despite the fact that both hands have beautiful melodies indicated with tenutos in bars 1–3–9–11, and the alto voice in the 16, the one for the left hand seems to take the credit as the most beautiful between the two.[5] Tenths arpeggiated in bars 20–23 lead to the top note of the chord to fall on the beat.[5]

This composition's structural form is A (bars 1–8), A repeated (9–14), bridge (15–19), and coda (20–24),[5] being that the second phrase repeats the first a fourth lower.[6] It is 24 bars long with a Lento tempo marking, and it takes about two minutes to be played.

Prelude in E major, Op. 11, No. 9

Scriabin's Prelude in E major, Op. 11, No. 9, is 36 bars long and takes almost a minute and a half to perform, being played at an Andantino pace. Despite its key, the left hand voice often plays C♯ minor passages, while the right hand plays relatively consistently within the bounds of E major, giving the piece a unique tone colour.

The piece begins with a gentle left hand melody in C♯ minor accompanied by distinctly major right hand block chords. The frequent major ninths and major sevenths contribute luxurious tone colour of the piece. In the eighth bar, a chromatic scale rises back up to the C♯ to repeat the first four bars of the initial melody. This time, a triplet with a dotted rhythm is employed as an additional counterpoint in the right hand.

In the thirteenth bar, we see further development of the melody, using sweeping but short crescendos and decrescendos. The next four bars act as a bridge to the second section at bar 17, where a soaring tenor melody is accompanied by luscious harmonies in the right hand. This section continues until the 30th bar, when an A-major chord is played but then, when the pedal lifts, only the third C♯ is heard, and the initial melody is repeated, using the right hand harmony from the ninth bar. The piece ends with three block chords, in a very powerful dominant cadence, with the concluding E-major chord, arpeggiated.

One of the critically acclaimed performances of this piece is that of Mikhail Pletnev on his disc Scriabin: 24 Preludes/Sonatas 4 & 10.

Prelude in C-sharp minor, Op. 11, No. 10

Scriabin's Prelude in C♯ minor, Op. 11, No. 10, is 20 bars long and takes under a minute-and-a-half to be played. It is marked at Andante. It has two sections of mysterious major seventh intervals and tritone harmonies, split up by a lyrical E major section. Like many of Scriabin's slower pieces, it is played very rubato.

The first section is, as mentioned, very mysterious, as Scriabin employs many tritones and seventh intervals which do not fall into the key of C♯ minor. The first 8 bars feature modulations to D♯ minor and F♯ minor. The ninth bar, marked con anima, introduces an E major melody using more conventional harmonies, but the piece only delves yet again deeper into the depths of the mystery four bars later. Here, marked fortississimo, the initial melody comes out in full force using the broad tessitura scope of the piano.

At the seventeenth bar, the piece calms to quiet block chords of F♯ minor, C♯ minor-7, and B major-9 (without the bass B), finally resolving to an arpeggiated final C♯-minor chord, reminiscent of the ninth prelude immediately preceding this one. This shows Scriabin's ability to find commonality in his most diverse works.

One of the critically acclaimed performances of this piece is that of Mikhail Pletnev on his disc Scriabin: 24 Preludes/Sonatas 4 & 10. Another is the 1956 recording by Vladimir Horowitz found the RCA/Victor issue "Horowitz Plays Scriabin."

Notes

  1. ^ Scriabin did not write the 24 preludes chronologically, but instead in different places over the course of eight years. Prelude No. 4 was written in Moscow in 1888, followed by No. 6 in 1889 in Kiev. No. 10 was written in 1893–4 in Moscow, and No. 14 in 1895 in Dresden. Nos. 3, 19, 24 in 1895 in Heidelberg, and Nos. 12, 17, 18 and 23 also in 1895 in Witznau. No. 5 was written in 1896 in Amsterdam, Nos. 8 and 22 also in 1896 in Paris, while Nos. 1, 2, 7, 9, 11, 13, 15, 16, 20 and 21 were written that same year in Moscow.
  2. ^ Belyayev divided the preludes into four parts of six preludes each.

References

  1. ^ a b c d Hwa-Young, Lee (2006). Tradition and Innovation in the Twenty-Four Preludes, Opus 11, of Alexander Scriabin (PDF). University of Texas.
  2. ^ Friskin, James; Freundlich, Irwin (1954). Music for the Piano: A Handbook of Concert and Teaching Material from 1580 to 1952. Courier Dover Publications. p. 241. ISBN 0486229181.
  3. ^ a b c d Leikin, Anatole (2011). The Performing Style of Alexander Scriabin. Ashgate Publishing, Ltd. pp. 35–54. ISBN 978-0754660217.
  4. ^ Evgeniia Nikolaevna Rudakova, A. I. Kandinskiĭ (1984). Scriabin. Paganiniana Publications. p. 48. ISBN 9780866220064. OCLC 11735082.
  5. ^ a b c d Hinson, Maurice (2003). Anthology of Romantic Piano Music with Performance Practices in Romantic Piano Music: Book & DVD. Alfred Music Publishing. p. 16. ISBN 0739032879.
  6. ^ Adamenko, Victoria (2007). Neo-Mythologism in Music: From Scriabin And Schoenberg to Schnittke And Crumb. Pendragon Press. p. 54. ISBN 978-1576471258.

External links

January 01, 2023
preludes, scriabin, préludes, opus, major, vivace, source, source, played, scriabin, 1910, welte, mignon, player, piano, minor, allegretto, source, source, played, scriabin, 1910, welte, mignon, player, piano, minor, lento, source, source, played, bösendorfer,. Preludes Opus 11 No 1 in C major Vivace source source Played by Scriabin in 1910 for Welte Mignon player piano 1 46 No 2 in A minor Allegretto source source Played by Scriabin in 1910 for Welte Mignon player piano 1 47 No 4 in E minor Lento source source Played on Bosendorfer 290 1 42 No 6 in B minor Allegro source source Played on Bosendorfer 290 0 58 No 9 in E major Andantino source source Performed by Axel Lange 1 31 No 10 in C sharp minor Andante source source Performed by Axel Lange 1 26 Problems playing these files See media help Alexander Scriabin s 24 Preludes Op 11 is a set of preludes composed in the course of eight years between 1888 96 n 1 1 9 being also one of Scriabin s first published works with M P Belaieff in 1897 n 2 1 in Leipzig Germany together with his 12 Etudes Op 8 1894 95 Contents 1 Structural analysis 2 Tempo markings 3 Prelude in C major Op 11 No 1 4 Prelude in E minor Op 11 No 4 5 Prelude in E major Op 11 No 9 6 Prelude in C sharp minor Op 11 No 10 7 Notes 8 References 9 External linksStructural analysis EditScriabin s 24 preludes were modeled after Frederic Chopin s own set of 24 Preludes Op 28 They also covered all 24 major and minor keys and they follow the same key sequence C major A minor G major E minor D major B minor and so on alternating major keys with their relative minors and following the ascending circle of fifths It is considered an outstanding set among Scriabin s early works with easy to difficult numbers among them No 2 in A minor No 3 in G major No 6 in B minor No 8 in F minor No 14 in E minor No 15 in D major No 16 in B minor No 18 in F minor and No 24 in D minor 2 Tempo markings EditNo 1 in C major Vivace No 2 in A minor Allegretto No 3 in G major Vivo No 4 in E minor Lento No 5 in D major Andante cantabile No 6 in B minor Allegro No 7 in A major Allegro assai No 8 in F minor Allegro agitato No 9 in E major Andantino No 10 in C minor Andante No 11 in B major Allegro assai No 12 in G minor Andante No 13 in G major Lento No 14 in E minor Presto No 15 in D major Lento No 16 in B minor Misterioso No 17 in A major Allegretto No 18 in F minor Allegro agitato No 19 in E major Affettuoso No 20 in C minor Appassionato No 21 in B major Andante No 22 in G minor Lento No 23 in F major Vivo No 24 in D minor PrestoPrelude in C major Op 11 No 1 EditAlexander Scriabin s Prelude in C major Op 11 No 1 was composed in November 1895 in Moscow 1 9 Here Scriabin s virtuosic sustain pedaling assembles clusters of up to seven different diatonic notes in an exquisite sonority that Scriabin himself used to describe as a psychic shift 3 The whole melody of this prelude consists of 240 eighth notes 3 being the opening chord of this piece C D E F G A with the C major tonic in the bass 3 The time value for each eighth note changes whenever the tempo flexes as can be noticed in the second group of notes in the 2nd bar which measures less than half the tempo of the second group in the 14th bar 3 This piece has 26 bars and takes about one minute to be played with a Vivace tempo marking Prelude in E minor Op 11 No 4 EditScriabin s Prelude in E minor Op 11 No 4 composed in Moscow in 1888 was the first of the 24 preludes Op 11 written by Scriabin 1 8 Intended originally as a ballade 4 the piece was reworked to its present form and entitled Prelude 5 Despite the fact that both hands have beautiful melodies indicated with tenutos in bars 1 3 9 11 and the alto voice in the 16 the one for the left hand seems to take the credit as the most beautiful between the two 5 Tenths arpeggiated in bars 20 23 lead to the top note of the chord to fall on the beat 5 This composition s structural form is A bars 1 8 A repeated 9 14 bridge 15 19 and coda 20 24 5 being that the second phrase repeats the first a fourth lower 6 It is 24 bars long with a Lento tempo marking and it takes about two minutes to be played Prelude in E major Op 11 No 9 EditScriabin s Prelude in E major Op 11 No 9 is 36 bars long and takes almost a minute and a half to perform being played at an Andantino pace Despite its key the left hand voice often plays C minor passages while the right hand plays relatively consistently within the bounds of E major giving the piece a unique tone colour The piece begins with a gentle left hand melody in C minor accompanied by distinctly major right hand block chords The frequent major ninths and major sevenths contribute luxurious tone colour of the piece In the eighth bar a chromatic scale rises back up to the C to repeat the first four bars of the initial melody This time a triplet with a dotted rhythm is employed as an additional counterpoint in the right hand In the thirteenth bar we see further development of the melody using sweeping but short crescendos and decrescendos The next four bars act as a bridge to the second section at bar 17 where a soaring tenor melody is accompanied by luscious harmonies in the right hand This section continues until the 30th bar when an A major chord is played but then when the pedal lifts only the third C is heard and the initial melody is repeated using the right hand harmony from the ninth bar The piece ends with three block chords in a very powerful dominant cadence with the concluding E major chord arpeggiated One of the critically acclaimed performances of this piece is that of Mikhail Pletnev on his disc Scriabin 24 Preludes Sonatas 4 amp 10 Prelude in C sharp minor Op 11 No 10 EditScriabin s Prelude in C minor Op 11 No 10 is 20 bars long and takes under a minute and a half to be played It is marked at Andante It has two sections of mysterious major seventh intervals and tritone harmonies split up by a lyrical E major section Like many of Scriabin s slower pieces it is played very rubato The first section is as mentioned very mysterious as Scriabin employs many tritones and seventh intervals which do not fall into the key of C minor The first 8 bars feature modulations to D minor and F minor The ninth bar marked con anima introduces an E major melody using more conventional harmonies but the piece only delves yet again deeper into the depths of the mystery four bars later Here marked fortississimo the initial melody comes out in full force using the broad tessitura scope of the piano At the seventeenth bar the piece calms to quiet block chords of F minor C minor 7 and B major 9 without the bass B finally resolving to an arpeggiated final C minor chord reminiscent of the ninth prelude immediately preceding this one This shows Scriabin s ability to find commonality in his most diverse works One of the critically acclaimed performances of this piece is that of Mikhail Pletnev on his disc Scriabin 24 Preludes Sonatas 4 amp 10 Another is the 1956 recording by Vladimir Horowitz found the RCA Victor issue Horowitz Plays Scriabin Notes Edit Scriabin did not write the 24 preludes chronologically but instead in different places over the course of eight years Prelude No 4 was written in Moscow in 1888 followed by No 6 in 1889 in Kiev No 10 was written in 1893 4 in Moscow and No 14 in 1895 in Dresden Nos 3 19 24 in 1895 in Heidelberg and Nos 12 17 18 and 23 also in 1895 in Witznau No 5 was written in 1896 in Amsterdam Nos 8 and 22 also in 1896 in Paris while Nos 1 2 7 9 11 13 15 16 20 and 21 were written that same year in Moscow Belyayev divided the preludes into four parts of six preludes each References Edit a b c d Hwa Young Lee 2006 Tradition and Innovation in the Twenty Four Preludes Opus 11 of Alexander Scriabin PDF University of Texas Friskin James Freundlich Irwin 1954 Music for the Piano A Handbook of Concert and Teaching Material from 1580 to 1952 Courier Dover Publications p 241 ISBN 0486229181 a b c d Leikin Anatole 2011 The Performing Style of Alexander Scriabin Ashgate Publishing Ltd pp 35 54 ISBN 978 0754660217 Evgeniia Nikolaevna Rudakova A I Kandinskiĭ 1984 Scriabin Paganiniana Publications p 48 ISBN 9780866220064 OCLC 11735082 a b c d Hinson Maurice 2003 Anthology of Romantic Piano Music with Performance Practices in Romantic Piano Music Book amp DVD Alfred Music Publishing p 16 ISBN 0739032879 Adamenko Victoria 2007 Neo Mythologism in Music From Scriabin And Schoenberg to Schnittke And Crumb Pendragon Press p 54 ISBN 978 1576471258 External links EditPreludes Op 11 Scriabin Scores at the International Music Score Library Project Scriabin Prelude Op 11 No 4 performed by Evgeny Zarafiants on YouTube Scriabin Prelude Op 11 No 4 in E Minor Keyscape analysis on Center for Computer Research in Music and Acoustics at Stanford University Retrieved from https en wikipedia org w index php title 24 Preludes Op 11 Scriabin amp oldid 1113844437, wikipedia, wiki, book, books, library,

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