Sergey Rachmaninoff Prelude - Classical Piano Music · PDF fileSergey Rachmaninoff . Prelude . in C-sharp Minor Opus 3, no. 2. PS Instructive Edition & PS Urtext

Sergey Rachmaninoff

Prelude in C-sharp Minor

Opus 3, no. 2

PS Instructive Edition

&

PS Urtext

pianostreet.com

Content:

2. About the piece

3. Practice tips

4. PS Instructive Edition

9. PS Urtext

About the Prelude in C-sharp Minor

Rachmaninoff composed the Prelude in C-sharp minor in

the late summer of 1892, at the age of 18, and first

performed it at the Moscow Electric Exhibition in

September of 1892. This was the beginning of the career

of one of the world’s most popular piano pieces - it shortly

became known simply as "The Prelude." Audiences would

clamor for it by shouting "C-sharp minor!" while

applauding other pieces, and even towards the end of

Rachmaninoff’s career it was reported that no recital of

his ever ended without this prelude as a final encore.

The immense popularity of this prelude perhaps even

made it harder for Rachmaninoff to reach out with his

later works, which were always viewed and understood in

terms of his early success and the Prelude’s status as a

near-popular song. Critics have often been quick to

highlight their own superiority by dismissing the C-sharp minor prelude as a shallow and mediocre work.

It is tempting to describe this piece in terms of paradox: it sounds sensationally virtuosic and looks very difficult to

play—both in terms of the score’s layout and in the gestures and movements required by the pianist—yet it by

no means belongs to the most difficult piano repertoire, and is often approached and mastered by advanced

amateur pianists. Its musical content is really simple and could perhaps even be called thin, but so far it hasn’t

lost any of its massive effect, and promises to live on and speak as powerfully to future generations.

The atmosphere of the first section may be likened to a solemn procession or ritual; in contrast, the chromatic

sequential phrases in the second section (measures 14-42) are almost frantic. When the first theme returns, it is in

“a mood of grandeur and power, as if illustrating the inevitable survival of some great and mighty truth”

(Godowsky), but the Coda returns to the mysterious and reflective atmosphere - as if the question posed at the

beginning is left unanswered after all.

The juxtaposed fortissimo and pianissimo passages suggest the tolling of bells and their echoes, and the piece

picked up its nickname, "The Bells of Moscow," quite early in its life.

As for its inspiration, Rachmaninoff once told an interviewer: “...one day the prelude simply came and I put it

down. It came with such force that I could not shake it off even though I tried to do so. It had to be - so there it

was”.

2/12

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Preparatory exercises and practice tips

The first section (until M. 11):

The most effective way to learn the first section is to separate the music into its smaller elements which you

practice and then gradually put together.

Start with the chords but omit the middle voice and practice them as octaves, each hand separately. Then put

both hands together and establish a sense of two voice polyphony.

The next step is to add full chords in the right hand while maintaining octaves in the left. Then do the opposite;

play full chords in the left and octaves in the right. Practice each of the four models below a few times without

the bass. When mastered, repeat with the bass (grey notes) added. Learn each new bar in the first section this

way.

Example, bar 2:

Alternative fingering for the chords:

In measure 12, Rachmaninoff introduces slurs over the three-note motive C#-E-D# suggesting an expressive

phrasing as opposed to the more bell-like appearance of the motive earlier in this section. Some editions

suggest a slur over the three-note motive consequently from measure 2. If aiming for this fully legitimate

approach, a more suitable fingering is to use 4-5-4 in the RH top voice and 5-4-5 in LH bottom voice, assuming

your hands are big enough.

The Agitato-section (M. 14-35):

Practice the triplets grouped into chords. Then rhythmize, vary the articulation and combine the chords in

different ways. Finally practice the top voice of the triplets supported by a heavy arm and the two following

triplets with a light and quick touch.

You can also rhythmize the triplet-pattern (long-short-short) while maintaining a heavy top note. Below are

examples of a few of the ideas.

Example, bar 14:

Experiment and invent your own variations and use them throughout the whole agitato-section. Don’t forget to

also practice this whole section exactly as written in various tempos safely below your current upper limit but

with full musical expression. Most piano students need to practice this section extensively before being ready to

perform the piece. Luckily, it is fun to play!

The “martellato”-section (from beat 3 in M. 35 until M. 42):

First learn the chord progressions like crotchet-chords.

Also practice making each diminished chord

(the 1st and 3rd in the example) into an arpeggio starting

with the two notes in the left hand followed by the three in

the right hand.

The Tempo primo section (M. 45-52):

Use the same practice method as in the first section. Make sure you don’t sit too close to the piano. For

obtaining a full fortissimo sound you need plenty of space and free, heavy arms. Keep your body upright and

supportive but also supple, leaning to the sides to accommodate the big leaps.

3/12


{

{

{

Lento

Opus 3, No 2

Sergey Rachmaninoff

Piano Street Instructive Edition

PRELUDE

4

8

c

c

&

##

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ff

3

2

Using both the second and third finger

here will give your hand the stability

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3

2

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Stay with your hands on this c-

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sound dying away. Then move

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the ppp chords. You've got

plenty of time!

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1

3

5

1

3

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4

5

Using the second finger for the middle voice throughout is a simple solution

that both provides a good angle for the right hand and helps achieving a

suitable bell-like sound.

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&

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2

5

2

5

2

2

As the music moves to

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play with a slightly

fuller sound.

2

2

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2

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2

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2

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4

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Smaller hands could use the fifth finger for the top voice

throughout, but still try to achieve the notated legato.

5

3

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In his recordings, Rachmaninoff moves the tempo

forward quite a lot in these two measures.

4

2

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4

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3

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ø øMake the lowest g-sharp the loudest, and use half pedal

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4

2

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As a contrast, play these

three chords really cleanly,

with full pedal changes.

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4/12


{

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11

Agitato

14

17

20

&

##

##

5

3

5

3

5

3

5

3

?

ppp

4

1

5

2

This fingering might seem a little

awkward at first, but is the only

one that will allow you to play this

passage with real finger legato.

4

1

1

5

4

2

3

5

2

1

Note the added slurs in measures 12-13. Stay close

to the keys and play this passage extremely legato.

1

&

?##

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1

2

4

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1

3

5

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1

3

5

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ø ø ø

1_5

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1

2

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4

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1_5

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Rachmaninoff in his recordings brings

out the left hand very markedly in this

measure, and makes a big ritardando.

ø ø

&

##

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1

3

4

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1

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3

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4

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3

4

1

2

Bring out the change from four-note to two note

slurring: use armweight on the first note of the slur

and play the second note lightly on the way up.

5

crescendo

4

#

5

5

4

3

3 3

3

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##

Alternative

pedalling:

ø

Consider using this pedalling to help bring the four-note motif forward and to emphasize the change to two-note slurring in measure 16.

2

ø ø

Use half pedal here to keep

the low c sharp ringing.

1

ø

2

1

5

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ø

2

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1

ø

2

3

ø

ø

4

2

ø

ø

3

&

##

##

Rachmaninoff makes a marked rallentando

here in all his recordings of the piece.

54

diminuendo

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1

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The continued twice-in-a-bar pedalling here might seem a bit schematic, but works very well, at least when the passage is played at the intended speed.

3

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5/12


{

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24

28

32

35

38

&

##

##

5

diminuendo

4

5

4

n

Make sure you reach a low point

here before the outburst in m. 27.

Play lightly with no harsh or heavy

accents and consider using a little

less pedal in this measure.

3

n

crescendo

5 3

#

5

#

3 5

5

#

5

Don't force the sound here. Play the left hand

c-sharp really powerfully but for the rest, keep

a light touch and make speed the top priority.

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n

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2

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4

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4

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full sound at the beginning of the measure.

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energy and power.

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Despite the fff, refrain from making loudness and power the main objective here. You

haven't reached the real climax of the piece yet! Aim for lightning speed, and play

the chords quite crisply, while using a lot of pedal.

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the pedal down for long streches while in the higher regions of the keyboard, and to change more often as the music moves down to a lower register.

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{

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41

Tempo primo

45

48

&

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m.d. fff pesante

Despite the 'Tempo primo' marking, the rhythmic approach should be quite different here than in the first bars. The floating,

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54

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Consider making the full pedal

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{

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Opus 3, No 2

Sergey Rachmaninoff

Piano Street Urtext

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Documents

Sergey Rachmaninoff Prelude - Classical Piano Music · PDF fileSergey Rachmaninoff . Prelude . in C-sharp Minor Opus 3, no. 2. PS Instructive Edition & PS Urtext