The prelude starts with an eight measures phrase based on a simple harmonic progression:

The first four measures of the phrase have an ascending melodic motion while the last four measures have a descending one. A twice repeated ascending second motive (G-A) is transported an ascending third in the fourth measure. In measure 5, the motive transforms into a descending second:

The melodic motive appears as an inner voice transformed by augmentation:

The use of a 2/8 meter with triplets makes it somewhat challenging to read:

Robert Ståhlbrand, piano. Courtesy of Piano Society

We find up to 4 voices in this dense musical texture:

The first four measures of the second phrase are identical to those of the first one, but on measure 13, the ascending movement continue and the chromatism increases:

Robert Ståhlbrand, piano. Courtesy of Piano Society

The ascending motion and chromatism continues in the third phrase:

Robert Ståhlbrand, piano. Courtesy of Piano Society

Narcis Bonet suggests transcribing this prelude using a 6/16 time signature changing to 5/16 in some measures following the Stretto indication. Here we show measures 17 to 24 of his transcription:

Transcription by Narcis Bonet

Narcis Bonet's article is available in Spanish, French and Catalan.

The last phrase ends the prelude over a tonic pedal:

Robert Ståhlbrand, piano. Courtesy of Piano Society


Complete prelude:

Robert Ståhlbrand, piano. Courtesy of Piano Society

© 2019 José Rodríguez Alvira. Published by teoria.com


  

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