prelude

The tradition & historical record

A prelude (German: Präludium or Vorspiel; Latin: praeludium; French: prélude; Italian: preludio; Russian: прелюдия) is a short piece of music, the form of which may vary from piece to piece. While, during the Baroque era, for example, it may have served as an introduction to succeeding movements of a work that were usually longer and more complex, it may also have been a stand-alone piece of work during the Romantic era. It generally features a small number of rhythmic and melodic motifs that recur through the piece. Stylistically, the prelude is improvisatory in nature. The term may also refer to an overture, particularly to an opera or an oratorio. A prelude and fugue generally consists of two movements in the same key for solo keyboard. In classical music, the combination of prelude and fugue is one with a long history. Many composers have written works of this kind. The use of this format is generally inspired by Johann Sebastian Bach's two books of preludes and fugues, The Well-Tempered Clavier, completed in 1722 and 1742 respectively. Bach, however, was not the first to compose such a set: Johann Caspar Ferdinand Fischer wrote a 20-key cycle in his 1702 work Ariadne musica. Many composers have written sets of 24 Preludes, such as Bach, Chopin, Scriabin, Shostakovich, and Debussy. ¹

The first preludes to be notated were organ pieces that were played to introduce church music, the earliest surviving examples being five brief praeambula in the Ileborgh Tablature of 1448. These were closely followed by freely composed preludes in an extemporary style for the lute and other Renaissance string instruments, which were originally used for warming up the fingers and checking the instrument's tuning and sound quality, as in a group of pieces by Joan Ambrosio Dalza published in 1508 under the heading tastar de corde (in Italian, literally, "testing of the strings"). Keyboard preludes started appearing in the 17th century in France: unmeasured preludes, in which the duration of each note is left to the performer, were used as introductory movements in harpsichord suites. Louis Couperin (c.1626–1661) was the first composer to embrace the genre, and harpsichord preludes were used until the first half of the 18th century by numerous composers including Jean-Henri d'Anglebert (1629–1691), Élisabeth Jacquet de la Guerre (1665–1729), François Couperin (1668–1733), and Jean-Philippe Rameau (1683–1764), whose very first printed piece (1706) was in this form. The last unmeasured preludes for harpsichord date from the 1720s. The development of the prelude in 17th-century Germany led to a sectional form similar to keyboard toccatas by Johann Jakob Froberger or Girolamo Frescobaldi. Preludes by northern German composers such as Dieterich Buxtehude (c.1637–1707) and Nikolaus Bruhns (c.1665–1697) combined sections of free improvised passages with parts in strict contrapuntal writing (usually brief fugues). Outside Germany, Abraham van den Kerckhoven (c.1618–c.1701), one of the most important Dutch composers of the period, used this model for some of his preludes. ¹

Charles-Valentin Alkan (1813–1888) wrote a set of 25 preludes, Op. 31, published in 1847. His key scheme differs from Chopin's in that the major keys ascend chromatically and are followed by their respective minor subdominants, though Alkan also starts on C major. The last piece returns to C major, hence the additional prelude (a device Alkan repeated in the Esquisses, Op. 63, and that César Cui employed in his own 25 Preludes, Op. 64). As a further distinction between his and Chopin's sets, Alkan provides programmatic titles for several of his preludes, including the most famous of the set, La chanson de la folle au bord de la mer (The Song of the Madwoman by the Seashore). Lera Auerbach (born 1973) wrote three full sets of 24 preludes, which cycle through all of the major and minor keys, for piano solo; violin and piano; and cello and piano (2003). Johann Sebastian Bach (1685–1750) wrote the two volumes of The Well-Tempered Clavier (1722, 1744). Both volumes contain 24 preludes (and associated fugues) proceeding up the chromatic scale with alternating parallel major and minor keys (C major and C minor; C♯ major and C♯ minor; D major and D minor; etc.). Ludwig van Beethoven (1770–1827) wrote two preludes, Op. 39, as a teenager; each one cycles through all of the major keys of the piano. Felix Blumenfeld (1863–1931) composed a set of 24 preludes, Op. 17 in 1892, following Chopin's key scheme, as well as a set of four, Op. 12. York Bowen (1884–1961) wrote a set of 24 preludes, his Op. 102, in 1938. ¹

The text above is adapted from the Wikipedia article “Prelude (music)”, available under the Creative Commons Attribution-ShareAlike 4.0 licence. ¹

prelude is musical compositions that introduce another or larger instrumental work, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition. ²

The source record links this tradition to 26 external registers, which can be verified through the citation. ²