In addition to the 24 preludes of op. 28, Chopin completed two other preludes, each published individually. The first of these, though actually the last to be composed, is the Prelude in C-sharp minor, composed in 1841. Unlike Chopin’s waltzes and mazurkas which spanned his entire career and offer a remarkable picture of the stylistic development of a composer, the preludes were all composed between 1835 and 1841 and only this last prelude shows the slightest hints of a more subtle and profound style. In terms of length and scope, it is akin to the D-flat major Prelude of opus 28.
Opening with a passage of descending chords of the sixth, some foreign to the key, Chopin draws the listener into the ethereal world of the C-sharp minor Prelude. Over a rising accompaniment of eighth notes, establishing a fantastical backdrop, sounds the prelude’s somewhat austere melody. Initially pensive and introspective, the melody at times breaks into a passionate exclamation over rich harmonies only to subside back into its thoughtful demeanor. Through the middle portion of the prelude, the harmony becomes quite adventurous, reaching distant keys that further enhances the unearthly quality of the piece. Chopin journeys in only a few measures, and as if by magic, from the distant key of F major back to the tonic key and the recapitulation of the opening material. Following a pause on an augmented sixth harmony, a cadenza precedes the prelude’s brief coda. A final statement of the principal motif and the prelude evaporates away in an ascending arpeggio and soft tonic chords.Joseph DuBose
Classical Music | Piano Music
Frédéric Chopin
Prelude in C sharp minor Op. 45 Play
Recorded on 11/11/2008, uploaded on 02/28/2010
Musician's or Publisher's Notes
In addition to the 24 preludes of op. 28, Chopin completed two other preludes, each published individually. The first of these, though actually the last to be composed, is the Prelude in C-sharp minor, composed in 1841. Unlike Chopin’s waltzes and mazurkas which spanned his entire career and offer a remarkable picture of the stylistic development of a composer, the preludes were all composed between 1835 and 1841 and only this last prelude shows the slightest hints of a more subtle and profound style. In terms of length and scope, it is akin to the D-flat major Prelude of opus 28.
Opening with a passage of descending chords of the sixth, some foreign to the key, Chopin draws the listener into the ethereal world of the C-sharp minor Prelude. Over a rising accompaniment of eighth notes, establishing a fantastical backdrop, sounds the prelude’s somewhat austere melody. Initially pensive and introspective, the melody at times breaks into a passionate exclamation over rich harmonies only to subside back into its thoughtful demeanor. Through the middle portion of the prelude, the harmony becomes quite adventurous, reaching distant keys that further enhances the unearthly quality of the piece. Chopin journeys in only a few measures, and as if by magic, from the distant key of F major back to the tonic key and the recapitulation of the opening material. Following a pause on an augmented sixth harmony, a cadenza precedes the prelude’s brief coda. A final statement of the principal motif and the prelude evaporates away in an ascending arpeggio and soft tonic chords. Joseph DuBose
More music by Frédéric Chopin
Mazurka Op. 33 No. 1 in g-sharp minor
Waltz Op 34 N° 2
Mazurka Op 67 N° 4
Nocturne in D-flat Major, Op. 27, No. 2
Prelude in F major, Op. 28, No. 23, Moderato
Fantaisie-Impromptu in C-sharp Minor, Op. 66
Impromptu no. 3 in G-flat major, op. 51
Barcarolle in F-sharp Major, Op. 60
Mazurka Op 63 N° 2
Fantasy, Op. 49
Performances by same musician(s)
La Cathédrale engloutie, from Preludes, Books 1, No.10
Sonata in E minor L.22 K.198
Berceuse Op.57
Sonetto 47 del Petrarca
Italian concerto, BWV 971
La Fille aux cheveux de lin, from Préludes Book 1, No. 8
Sonata in B minor L.449 K.27
Sonata No. 2 in b-flat minor, Op. 35
Pagodes, from Estampes
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