Chopin: Prelude, Op.28, No.15

The section explores the composition Prelude, Op.28, No.15 by Chopin.

Introduction to Chopin

• Born: 1810 in Poland, Frédéric Chopin is one of the most influential composers and pianists from the Romantic period.
• Piano Virtuoso: As a virtuoso pianist, Chopin primarily composed for solo piano, revolutionising piano writing with his techniques and innovations. He moved to Paris after making a name for himself in Vienna, where he became a leading figure in the music world.
• Ill Health: Throughout his life, Chopin suffered from poor health, particularly respiratory issues, and he died at the age of 39 in Paris.
• Compositions: Chopin wrote 24 preludes, 27 études, 21 nocturnes, 4 impromptus, 2 piano concertos, and many other pieces for smaller ensembles. His music was influenced by Polish folk music and native dance forms such as the polonaise and mazurka.

Chopin’s Preludes

• 24 Preludes: Chopin wrote a set of 24 preludes, one in every major and minor key. These pieces are short and can be performed individually or as a set.
• Innovation: In the past, preludes were often introductions to larger works, but Chopin's preludes are standalone pieces. They vary in mood, tempo, and character.
• Prelude No.15: This prelude, in D♭ major, is commonly known as the ‘Raindrop’ Prelude because of the persistent repeated notes (A♭) that resemble the sound of raindrops falling. However, it is important to note that Chopin did not give the piece this nickname, as he disliked descriptive titles. It was composed in 1839.

Elements of Music in Prelude No.15

The Score

• The score of Prelude No.15 is very detailed and contains various markings to guide the performer, including:
  • Pedal markings: Indicating where to apply and release the sustain pedal (ped.).
  • Fingerings: Small numbers are shown on some notes to suggest appropriate fingerings.
  • Dynamic markings: Indicating the changes in volume throughout the piece, such as crescendo (gradually getting louder) and diminuendo (gradually getting softer).
  • Italian terms: Used to indicate specific musical directions.

Structure

• Ternary Form (A-B-A1): The structure of Prelude No.15 is in ternary form, meaning it consists of three sections: A, B, and A1.
  • Section A presents the main theme.
  • Section B contrasts with A, providing a middle section.
  • Section A1 repeats the theme of A but with slight variations.

Melody

• The melodies in Prelude No.15 are highly expressive, often incorporating:
  • Ornamentation: Such as a septuplet (seven semiquavers played in the time of four) preceded by an acciaccatura (a crushed note), adding richness and complexity to the melody.

Tempo and Metre

• Tempo: The tempo varies between sections:
  • Section A is marked sostenuto, meaning it should be played slowly and with a held-back feel.
  • Section B is marked poco più animato, which means to play it slightly more animated or faster.
  • Section A1 should be played at the same tempo as A.
• Metre: The piece is written in common time (4/4), which is the standard time signature for most of the piece.

Rhythm and Metre

• Chopin incorporates complex rhythmic devices, reflecting his virtuosity:
  • Septuplets: Used in section A, seven semiquavers are played in the time of four, creating an exciting and unusual rhythm.
  • Variation in the repeated melody: In A1, the same melody from section A is decorated with ten semiquavers instead of seven, adding complexity and variation.

Instrumentation and Timbre

• The prelude was written for solo piano.
• The piano sustain pedal is an essential part of the piece, allowing for the legato and blended sound that is characteristic of the prelude’s overall mood.

Texture

• The texture changes throughout the piece:
  • Sections A and A1 feature a melody and accompaniment texture, with the melody in the right hand and accompaniment in the left.
  • Section B is more homophonic, with both hands playing together to support the melody.
  • In A1, there are two bars of monophonic texture (no accompaniment), creating a sense of intimacy and contrast before the final coda.

Tonality and Harmony

• Key: The piece is in D♭ major, but there is a modulation in section B to C♯ minor, the enharmonic equivalent of D♭.
• Repeated Dominant Pedal: The opening bars feature a dominant pedal (A♭), which sounds like raindrops. This pedal is repeated in section B (on G♯), maintaining the image of falling raindrops throughout the piece.

Dynamics

• The dynamics in Prelude No.15 reflect the expressive nature of Chopin's writing:
  • Section A is marked piano (p), indicating a quiet, soft dynamic.
  • Chopin uses crescendo (gradually getting louder) and diminuendo (getting softer) to emphasise the phrasing.
  • Section B starts with sotto voce (in a subdued voice) and builds to fortissimo (ff) at bar 40, creating an intense contrast.
  • In section A1, there is a diminuendo that leads into a smorzando (a gradual dying away) towards the end of the piece.
  • The final eight bars start forte (f) and finish at pianissimo (pp), gradually fading away to conclude the piece.

Key Takeaways

• Chopin was a virtuoso pianist and composer from the Romantic period, known for his piano compositions.
• Prelude No.15 is often called the ‘Raindrop’ Prelude due to the repeating A♭ notes that mimic the sound of raindrops.
• The piece is in ternary form (A-B-A1), with contrasting sections and changes in tempo, rhythm, texture, and dynamics.
• The sustain pedal, ornamentation, virtuoso techniques, and expressive melodies are key features of Chopin's writing in this prelude.
• The piece uses tonal shifts, such as a modulation to C♯ minor in section B, and has rich dynamic contrasts that emphasise the Romantic style of emotional expression.