Chopin had written a collection of 24 preludes, short piano pieces, with one in each key. George felt he was ready to do the same. But once he sat down with music paper, the number was reduced to seven in manuscript, five in public performance, and then finally three on publication in 1926. So much for big plans.
Prelude in B-flat, allegro ben ritmato e deciso
It begins with a five-note blues motif; virtually all the melodic material is based on this theme. Syncopated rhythms based on the Brazilian baião and chords containing flattened sevenths occur throughout; these give the piece a strong jazz feel. The piece is in ternary format (A-B-A). There are snippets of various virtuoso techniques such as repeated notes, octaves, scales and crossovers, each of which is used for only a moment before moving on to a new idea.
Prelude in C# minor, andante con moto e poco rubato
Also in ternary format, it begins with a subdued melody winding its way above a smooth, steady bass line. The harmonies are built on thirds, emphasizing both the seventh and the major/minor duality of the blues scale. In the second section, the key, tempo and thematic material all change; only the similarity of style binds the two sections together. The opening melody and bass return in the final section, more succinct but otherwise unchanged, and the piece ends with a slow ascent on the keyboard. Gershwin called it “a sort of blues lullaby.”
Prelude in E-flat minor, agitato
After a brief and dramatic introduction, the main theme is revealed: two melodies that together form a question-and-answer. This theme is used throughout to provide harmonic structure. The question is harmonized using E-flat minor chords, the answer by E-flat Major chords. After a brief, highly syncopated middle section, the melodic pair returns assertively in octaves, causing a battle between Major and minor. Major wins, and the piece concludes with a flourish.
This is Gershwin at the keyboard, recorded in 1926.
Follow the bouncing notes.
