Chopin: Prelude No.15 in Db Major, Op.28
Chopin
Chopin was born in Zelazowa Wola, near Warsaw in Poland. He was playing piano
concertos
at
the age of eight. Chopin became a successful composer, teacher and
performer in Vienna and Paris. His piano music includes Polish folk music and dances
such as
the mazurka and polonaise, and reflects
his
love of his homeland. Chopin
composed Prelude Number 15 whilst isolated in a monastery in Vallderosa in Spain
because he had tuberculosis, an extremely infectious disease at the time. He died about a year later in Paris at the age of 39.
Prelude No.15 is
nicknamed the ‘Raindrop’ because it was
written during a storm whilst
Chopin was
at
a monastery in Valldemossa. The repeated Ab / G# quavers throughout represent the rain.
Prelude
A Prelude is usually an introductory piece linked to another movement e.g. a fugue or sonata. However, this prelude is a stand alone composition. Chopin had been studying ‘The Well-Tempered Clavier’ by J.S. Bach which contains 48 preludes and fugues – two in every major and minor key. The ‘Raindrop Prelude’ is one in a collection of 24 by Chopin.
Pedal
A pedal, or pedal note is a long, unchanging or constantly repeated note. A dominant pedal is on the 5th note [dominant] of the key. A tonic pedal uses the 1st note [tonic] of the key.
Structure
The structure is in ternary form [ABA} with a shortened final section that ends with a codetta. The middle section is longer than usual and contrasts with the first by changing to the tonic minor key [C# minor], having a narrow range melody in the bass and a greater variety of dynamics. The coda [end passage] introduces a new but short melody. However, all sections are given unified by the constant quaver rhythm dominant pedal notes.
The lyrical / cantabile [in a singing style] right hand melody in the A section begins with a tonic triad descending to the dominant, then climbs stepwise before descending stepwise towards the end of the phrase. The melody then contains ornaments such as septuplets [seven notes played in the usual time value of four], acciaccaturas, appoggiaturas [grace notes], turns etc. and is sometimes chromatic [using notes not belonging to the original key]. The first ‘A’ section melody has four bar phrases that are repeated with only small variations.
The B section melody begins in the bass, and has a narrower range. The opening 4 notes which rise and then descend stepwise are repeated as a rising sequence [the same melodic pattern played higher] in the next bar. There is then an ascending then descending tonic minor triad ending with a repeated dominant note. Much of the B section is also based on four and eight bar phrases, some of which are repeated.
The new melody in the coda starts unaccompanied and is then moved to an inner part before the final cadence. Its descent stepwise followed by a leap is repeated lower as the music subsides.
Rhythm
In the ‘A’ sections there are regular left hand quavers. The right hand melody includes dotted rhythms and gentle syncopation [off-beat rhythm].
In section ‘B’ the melody consists mostly of crotchets and longer notes in the bass, while the quaver pedal transfers to the top [and later an inner part].
[NB C# is the enharmonic change of Db- the same note called by a different name.
Dominant notes
and chords emphasize the key because they like to fall to the tonic, as in
a perfect cadence.]
The piece begins in Db major. In section ‘A’ Chopin begins by emphasizing the key with imperfect and perfect cadences and a dominant pedal. The music then briefly moves to the dominant and relative minor related keys before modulating back to the tonic. The first ‘A’ section ends with an imperfect cadence [ending on the dominant] which prepares the way for the middle section.
Section B begins in the tonic minor [C# minor]. The two loudest part of the section seem to be in E major [the relative major of C# minor], but there are no cadences to verify the E major key, and C# minor soon returns. The section ends with an imperfect cadence in C# minor. There is then another enharmonic modulation to bring the music back to Db major for the repeat of the ‘A’ section, and to end the piece.
{NB Homophonic: a melody accompanied by chords or broken chords; Monophonic: one unaccompanied melody]
The texture is homophonic, except for two monophonic bars at the start of the coda. In the ‘A’ section the texture consists of a melody and accompaniment [melody dominated homophony], and is often quite sparse with mainly 2 note chords above the repeated pedal note to support the right hand melody. The middle section has a thicker chordal texture. At the beginning of section B the repeated pedal note is moved to the top right hand part, while the melody and bass consist of low notes in the left hand. In the loud sections the texture is thickened by octave doubling in both hands, often resulting in 6 notes sounding at the same time. The pedal note moves to an inner part within the texture.
Use of the Piano
In section ‘A’ only the middle range of the piano is used. In section B Chopin makes use of the sonorous bass register [the upper register is not used at all]. Apart from some of the florid ornaments, the piece is not as technically demanding as some other Romantic era piano compositions. However, the pianist needs to produce a legato / cantabile tone, and a wide dynamic range with crescendos and diminuendos in the middle section. The tone is reinforced with octave doubling in the middle section, and the resonant quality of the piano is brought out through frequent use of the sustaining pedal. The soft damper pedal can be used at the start of the middle section, where the music is marked ‘sotto voce’. A rubato playing style [bending the rhythm in order to play emotionally] is also a feature of the music.
How Are Contrasting Moods Achieved Between Sections
A and B?
Section A is in Db major; section B is in
C# minor.
Section A has
a lyrical right hand melody. Section B has
a melody in the left hand [and right hand later]
Section A has
a light texture of a melody with simple broken quaver accompaniment. Section B
has
a thicker homophonic chordal texture.
Section A is higher in pitch than Section B
Features
of Romantic Music
Intense expression of feelings
and emotions in music
Longer and more developed melodies
Melodies more chromatic
More freedom in
the use of musical form and structure
Harmony is more chromatic with unresolved discords
Dramatic dynamic contrasts
Music describes emotions, a story, characters
or
words
Use of folk music and dance rhythms in compositions
as composers
became very nationalistic and patriotic
Expansion of the orchestra with many new wind and percussion instruments
The piano was
reshaped and enlarged to seven octaves, felt replaced leather
hammers, strings were longer and stronger, the body was made of metal instead of
wood
and sustaining and soft pedals were developed
Composers such as Chopin, Brahms and Liszt were also virtuoso performers
Features of Chopin’s Music
Chopin composed almost entirely for the piano
Long lyrical melodies with graceful ornamentation
Spreading arpeggios
Broken chord accompaniment
Subtle pedaling effects
Discrete use of the romantic ‘tempo rubato’ in the music
Virtuoso passages played very quickly
A wide range of touch and tone quality
A deeply expressive range of dynamics
