DESCRIPTIVE ANALYSIS OF THE PRELUDES (BOOK
AX)aA DESCRIPTIVE ANALYSIS OF THE PRELUDES(BOOK I) OF CLAUDE DEBUSSYTHESISPresented. to the Graduate Council of theNorth Texas State College in PartialFulfillment of the RequirementsFor the Degree ofMASTER OF MUSICByMary Nan Hudgins, B. Mus.Denton, TexasJanuary, 1956
TABLE OF CONTENTSPageLIST OF ILLUSTRATIONS.iv.18ChapterI.II.III.HISTORY OF THEPRELUDE. .THE PRELUDES (BOOK I) OF DEBUSSYCONCLUSION.BIBLIOGRAPHY. . . . . . .iii. . . . .59. .62
LIST OF ILLUST RAT IONSPageFigure. . . .3gan Book. .5.81."Prelude," from the Ileboroh Tablature.2."Organ Prelude," from the Buxheim3.Intonazione by Andrea4."Praeludium," Number 1, from The CopL.Gabrieli.Works.115.Measures 1-4 of Danseuses deDelhes. . . .246.Measures 4-5 of Danseuses deDelhes.7.Measures 27-28 of Danseuses de8.Measures 1-2?of Voiles.9.Measures 5-9 of Voiles.10.Measures 23-24 of Voiles.of Louis Couperin.252Eheas.25.26.27.2811.Measures 1-2 of Le Vent dans la plaine.2912.a) Measures 9-10, b) Measures 30-31 of Le Ventdans laplane38-39.3013.Measuresof Te Vent dans 1,.plaine.3114.Measures 57-59 of Le Vent dans Ia plaine.3215.Measures 52-53 of Les sons et les parfumstournent dans 1'air du soir.34ri.16.Measures 1-2 of Les collines d'Ana.3517.Measures 14-15 of Les collines d'Anacapri.3618.Measures 31-35 of Les collines d'Anacapri*19.Measures 55-58 of Les collines d'Anacapriiv.3737
LIST OF ILUSTRATIONS--continuedPageFigure.measures 32-36 of Des p22.Measures 1-3 of La fille aux cheveux de n23.Measures 19-21 of La fille aux cheveux de lin4424.Measures 19-20 of La serenade interrompue4525.Measures 46-1 7 of Ta serenade interrompue . .4526.Measures 80-84 of La serenade interromue .4627.Measures 133-137 of La serenade interrompue .4728.a) Measure 16, b) Measures 7-8 of.21.39Measures 1-4 of Des ps sur la neige.20.40sur la neie.Measures 23-27 of La Cath'drale engloutie30.Measures 1-4 of La Danse de Puck.31.Measures 8-9 of La Danse de Puck. .32.Measures 32-33 of La Danse de Puck. . .33.Measures 49-52 of La Danse de Puck. .9.034.Mea sures 95-96 of La Danse de Puck. .S35.Measures 1-4 of Minstrels.36.Measures 9-12 of Minstrels.37.Measures 37-40 of Minstrels.38., Measures 58-62 of Minstrels.Measures 63-66 of .S55.52.S.S56.57.57.43.La Cathedrale engloutie.0.58
CHAPTER IHISTORY OF THE PRELUDEThe history of the prelude is of interest since itrepresents not only one of the earliest types of keyboardmusic, but the earliest type of idiomatic keyboard music asdistinct from the vocally-influenced types.In the earlyperiod (c. 1450-1650) the prelude is a single compositionwhich may be used for any suitable purpose, either in thechurch or in the home. 1The prelude, as a form, apparently resulted from thefact that fifteenth-century North Germany was far removedfrom the big musical centers such as the Burgundian court atDijon or the cathedral of Cambrai in Northern France wherevocal music at the time was highly advanced.This veryremoteness probably encouraged the growth of this keyboardform since it is very likely that competition with the moreadvanced vocal music would have proved a handicap ratherthan a stimulus.The German organists were able to developslowly and patiently the resources of the great instrument1Willi(Cambridge,Apel, "Prelude," Harvard Dictionar1944).1of Music
2without any outside influences. 2The preludes of thisperiod are short pieces (10-20 measures) which areremarkable for their free keyboard style, mixed of passagesand chords, and thus offer a marked contrast to the strictcontrapuntal style of contemporary vocal music.The first recorded prelude is taken from a manuscriptby AdarIleborgh, written in 1448, in Stendal, NorthGermany.3The inscription to the fifty preludes thereinreads as follows:Here begin preludes in various keys (composed) in themodern style, clearly and diligently collected, withdiverse mensurae appended below, by brother AdamIleborgh, in the year of our Lord 1448, during thetime of his rectorate in Stendal.There follows the inscription for the first staff of music:"Here follows a prelude in the key of C, which can betransposed into the keys of D, F, G and A." 4Afterdeciphering this music, it appears thus:2 WilliApel, Masters of the Keyboard (Cambridge, 1947),p. 25.3 "Thismanuscript is in the library of the CurtisInstitute of Music . . . and is probably the oldest andmost valuable codex in the United States," Ibid.4 Ibid.
3Fi.1--"'Prelude,"The nextFundamentum organisandithereonly agivinghaveonly ahadnumerousinfewslighttheshortTablatureexample of the prelude appearsPaumann'sareIleborghfro-m theeyesexamplesideaof theof hisinstructiveofofhis1452.in mporaries.pieces,histherebyhis work mustAlong withFundamentumthecontains
4 a few preludes which are, however, according to Apel,5 lessinteresting than those of Ileborgh and were possibly notwritten by Paumann himself.Following the Xundamentum was the Buxheim Organ Book of1475.This collection contains, among other things, thirtypreludes which show definite advancement over those byIleborgh by being more extended and better developed, ascan be seen in Figure 2.5 lbid.,p. 28.
A2TF13izFig. 2--"Organ Prelude," from the Buxheim Organ BookIn the Ricercari moteti canzoni (1523) of Marcantonioda Bologna are found lengthy pieces written in the chordaland scalic style of the .toccata, rather than in the contrapuntal style of the motet.These apparently served in thefunction of a prelude because each of the two ricercars isfollowed by a piece in the same key.The ricercars areevidently the "motets" of the title. 6The repertory includes also pieces in the Hans Kotter'stablature (c. 1520) and in Leonhard Kleber's tablature(c. 1520).The lute preludes preserved are in the tablaturesof Francesco Spinaccino (1507) and Joan Ambrosio Dalza (1508),illi Apel, "Ricercar," Tarvard Dictionary.
6Pans Judenkunig(1523), Hans Neusiedler(1552), and others.(1536), Hans GerleToward the end of the century WilliamByrd (1543-1623) and John Bull (1563-1628) wrote a number ofpreludes which are noteworthy for their virtuosic character,and to which the simultaneous lute pieces of JohannesBesardus (1617) offer a striking contrast of style andexpression.In the fifteenth century, composers had learned toamplify their works by linking several of the popular danceforms together.At first this involved only two dances, andfor some reason neither the Germans nor the French went muchbeyond this simple coupling.But in Italy Ottaviano deiPetrucci (1466-1539) published his fourth lute book (1508)which contained a respectable form consisting of threedances in which a pavan was employed as an introductoryTwenty-five years later are to be found severalmovement.well-developed suite forms consisting of from two to fivedances.The initial tuning of the lute is said to have ledto this particular prelude form by evolving into a shortintroductory piece.7It seems appropriate to mention some of the variousnames applied to these free forms of this and later periods.7 PaulH. Lang Music in Western Civilization (NewYork, 1941), pp. 246-T47.
7AndreaIleborgh's were called ricercari or tastar de corde.Gabrieli(1510-1586) termed his pieces Intonazioni, and itis interesting to note that he was one of the first composers of toccatas, which found their origin in theprelude.Others of the prelude style are likewise foundunder the names of praeludium, preamble, sinfonia, sonataand pavane.These terms were, however, used to denote thestylized introductory movements preceding the dances properand, as independent introductions, paved the way for theoverture in the late Baroque suite.When Gabrieli became of note as an organist at SaintMarcus cathedral in Venice, his importance in the field ofkeyboard music lay mainly in the establishment of a neworgan style which is free from contrapuntal elements and inwhich idiomatic keyboard formations,scale passages, predominate.such as full chords and(See Figure 3.)d17p141:7 vIf
8Fig. 3---Intonazione by Andrea GabrieliClaudio Merulo (l533-l6O4), a colleague and felloworganist of Gabrieli at 3aint Marcus, wrote a number oftoccatas of iorth.He amplified its formal structure,stylizing a form which consisted of three to five sectionswritten alternately in a free improvisatory style derivedfrom the early toccatas and in the strictly contrapuntalstyle of the contemporary ricercar.This toccata form wastaken over in the seventeenth century by the Torth German
9organ masters and thereby found its way into the toccatas ofBach.8Dieterich Buxtehude (1637-1707), Franz Tunder (16141667), Matthias Weckman (1621-1674), Georg Bkhm 11(1661-1733), Nikolaus Bruhns (1665-1697) and Heinrich Scheidemann(1596?-1663), the most noteworthy composers of the NorthGerman school, favored the prelude and toccata as forms.It is interesting to note that the preludes of Scheidemannopen with a section in free style and usually close with asection in fugal style, thereby pointing the way for thecombination of prelude and fugue.As a matter of fact, thetitle Praeludium cum FuEa was frequently used for compositions which consisted of two fugues enclosed by threesections in free style--a prelude, an interlude and apostlude.9The North German school also cultivated the organchorale based on German Protestant Church hymns and otherwise known as chorale preludes.These were used in thechurch service as a prelude preceding the singing of thehymn by the congregation.-It is apparent now how the prelude developed in twohundred years from a short, isolated idea into a form whose8 Apel,Masters of the Keyboard, p. 55.%Ibid., pp. 110-113.
10function was to introduce, usually, a longer and moreseriously calculated piece.Along with Buxtehude and Scheidemann, other composerswere making great progress with these combinations.Probably the most important document, particularly in theevolution of temperament before J. S. Bach, was the Ariadnemusica (1695) of Johann Kaspar Ferdinand Fischer (16501746).This was a collection of preludes and fugues withreference to the Ariadne of Greek mythology who helpedTheseus find his way out of the labyrinth.Fischer'smusical labyrinth seemingly is the multitude of major andminor keys, and he wrote a prelude and fugue in nineteenkeys at a time when only five or six were being used.Obviously, this work is an important forerunner of J. S.Bach's Jell-Tempered Clavier.Fischer also gained impor-tance by virtue of his highly developed suites which wereamong the earliest to have a prelude preceding the dancemovements.Although miniature in length, these smallpieces are truly admirable.A motive is fully exploited,the harmony modulated and brought back to its beginning.Louis Couperin (1626-1661) created a unique type ofprelude completely free in rhythm and, therefore, notatedwithout the conventional note value.1 010'illiApel,(See Figure 4.)"Prelude," Harvard Dictionary of Music.
41Fig. 4--tPraeludium," Number I from Theof Louis Couperin.pete WorksHandel (1685-1759) composed preludes to suites in thefree and improvisatory style, and preludes and fugues in afree-voiced texture after the Italian manner.1 1The most important collection of preludes and fuguesfor the harpsichord is J. S. Bach's Well-Tempered Clavier.This work consists of two sets of twenty-four preludes andfugues in all keys, major and minor, illustrating theadvantages of the new equal-tempered tuning.It is amazingto note that the inscription to this monumental work readsas follows:1 1 ManfredBukofzer,Yqrk, 1947), p. 341.Music in the Barocue Era (New
12The Well-Tempered Clavier or Preludes and Fuguesthrough all the tones and semitones both as regardsthe tertia major or Ut Re Mi and as concerns thetertia minor or Re Mi Fa.For the Use and Profitof the Musical Youth Desirous of Learning as wellas for the Pastime of those Already Skilled in thisStudy drawn up and written by Johann Sebastian Bach,Capellmeister to His Serene Highness the Prince ofAnhalt-Cthen, etc., and Director of Tis ChamberMusic Anno 1722.12What irony that this revered monument was humbly intendedonly to serve as study material.-We would be mistaken if we considered Bach's mostintimate works, such as the :ell-Tempered. Clavier orthe Two and Three-Part Inventions "free works of artin the sense that Chopin's Preludes are." Bachexcused them as being of pedagogical value ratherthan as entert inments. 1 3With reference to the Preludes, Robert Schumann, whowas a very competent jwdge of Bach's work, was of theopinion that many of them had no original connection withthe Fugues.This opinion is substantiated by the fact thatBach did create the prelude as an independent form and thathe himself collected all the preludes of both volumes of theWell-Tempered Clavier into an independent whole, and alsothat several of them in the first book were originallyconceived as independent compositions in Friedmann Bach'sClavier-Br chlein (1720).l12 Hans T. David and ArthurMendel,1Reader(New York, 1945), p. 85.editors, The Bach13 AlfredEinstein, Music in the Romantic Era (NewYork, 1947), p. 12.14Phillip Spitta, The Life of Bach(London,18 99),p. 152.
13So, it would seem that although one definition of"prelude" states that it is a piece of music designed tobe played as an introduction to another composition,1 5 thisis not necessarily so, even during the period when thatfunction was the usual custom.The Preludes are of various styles, although most ofthem seem to be kept in one and the same form--that whichBach was accustomed to adhere in his independent preludes;a subject is worked out from an animated phrase that sometimes develops into a theme, but often wanders from oneharmony to another or is distinct only in rhythm.A modelof this form is the C major prelude from the first book.The preludes to the suites of Bach must also bementioned.The English suites open with preludes, and thegreat partitas in the Klaviertbug with preludes, symphonies,fantasies, overtures, preambles and toccatas; the Frenchsuites, however, begin at once with the allemande.After Bach, the prelude enters into its third stage ofdevelopment, that is, it is no longer an introductory piecebut stands alone and comes under the heading of Charactersttck.16It is conceivable that Bach, having compiled allof the preludes of the15ell-Temered Clavier in a separateApel, "Prelude," Harvard Dictionary of Music.
14volume, and also having actually composed small independentpreludes, was the pivot on which the prelude swung back andbecame once again an isolated piece.As a form, the prelude lost its popularity except for afew rather undistinguished attempts, until Frederic Chopin(1810-1849), the great Polish pianist and composer, wrotehis twenty-four Preludes, Op. 28 (1839) in all keys.Thesepieces are short free forms with only an idea expressed andlittle or no development.Niecks does not feel that Chopincreated a new type in the prelude because they are ofvarious types in form and character.Despite the differentmoods and tonalities, there is a unity of feeling in thesepreludes that are grouped in approved Tachian manner.1 7It is interesting to see what Chopin's contemporarieshad to say about these pieces and, in particular, to notethe effect of surptise they caused:This heterogeneous collection of pieces reminds meof nothing so much as of an artist's portfolio filledwith drawings in all stages of advancement--finishedand unfinished, complete and incomplete compositions,sketches and more memoranda, all mixed indiscriminatelytogether. The finished works were either too small ortoo slight to be sent into the world separately, andthe right mood for developing, completing, and givingthe last touc to the rest was gone and could not befound again.lO17 FrederickNiecks, Frederick Chopin as a Man andMusician, Vol. II (New York, 1879, pp. 251 -255.IS Ibid.
15Schumann had a few delightful things to say of thePreludes:I must mention the preludes.I will confess thatI had expected something different: compositionscarried out in the grand style, like his etudes. Wehave almost the contrary here; these are sketches, thebeginnings of studies, or, if you will, ruins, eagles'pinions, wild and motley pell-mell.But in everypiece we find in his own pearly handwriting, "This isby Frederic Chopin"; even in his pauses we recognizehim by his agitated breathing.He is the boldest,proudest poet of these times. To be sure, the bookalso contains much that is sick, feverish, repellent;but let everyone seek for what becomes him.Only letthe Philistine keep away.1 9The celebrated pianist-composer Sergei Rachmaninov (18731943) wrote a set of twenty-four Preludes in all keys,emulating thereby not only his predecessor Chopin but evenBach.As will be pointed out later, this was not the onlyChopinesque device employed in these works.The famousPrelude in C-Eharp ,inor comes from the early Opus3,FivePieces for Piano, written in 1892; not until 1904 did hecomplete the Ten Preludes, Opus 23.The second of thisgroup, called the "Revolutionary" appears very similar tothe Chopin Etude bearing the same name.Not only the moodand character are imitative, but also the sweeping bass,characterized by difficult finger work for the left hand.In 1910, he completed the cycle of keys by composingThirteen Preludes as Opus 32.1 9 Robert1946), p. 137.Although Rachmaninov was aSchumann, On Music and Musicians(New York,
16contemporary and fellow-countryman of that other composer ofpreludes, Alexander Nicolaevitch Scriabin (1871-1915), hedid not adhere to the same modern principles of harmony.The preludes of Rachmaninov are rhapsodic and passionate,employing the harmonic style of the romantic school.Alexander Scriabin composed eighty-nine preludes forthe piano, some of which are Chopinesque in quality andcontent.Before he became a devotee of mysticism, Scxbibin was acomposer of exquisite miniatures which have beenfavorably compared with the best of Chopin. 2 0Scriabin's first group of preludes is his Opus 11.Inthis group, as in the other collections, there exist twentyfour in all--one in every key.After his Opus 31, hisharmonic writing became more complicated.During his lastperiod he succumbed to a great religion-philosophy which hecalled the "Mystery."He invented a new harmony based onthe "Mystic Chord" built out of fourths.2 1The preludes ofOpus 66 and Opus 74 were conceived during this period whenSabaneyev said Scriabin's style reaches "an extraordinaryexquisiteness and refinement, the harmony a rare complexity,along with a saturation of psychological content.o2220David Ewen, jhe Complete Book of 20th Century Music(New York, 1952), p. 359.21Ibidp. 360.2 2 Ibid.,p. 363.
17From what has been presented concerning the developmentof the prelude, much can be surmised.three periods of this development.Apparently there wereDuring the first period(1450-1650) the prelude was a short, free, improvisatoryform not connected with any other piece or pieces.Latercomposers began to employ the preludes as introductorypieces to dance suites and fugues, thereby creating thesecond period.After Bach, the form once again becameindependent and rhapsodic, thus completing the cycle.Theuse of all keys in writing these groups of preludes fromBach to Scriabin is a point of interest.
CHAPTER II"TE PRELUDES (BOOK I) OF DEBUSSYAchille-Claude Debussy (1862-1918) wrote twenty-fourPreludes for piano (1810-1913), one in every key.As wasdiscussed in Chapter I, this custom had prevailed throughoutthe centuries since Bach, with every important composer ofthis particular form.Nor does similarity between thesepreludes and those by other composers previously writtenstop at this Point.These pieces, like the others, are freeand improvisatory and, with
Measures 52-53 of Les sons et les parfums tournent dans 1'air du soir. . . . . . . . 34 16. Measures 1-2 of Les collines d'Ana ri . . . . 35 17. Measures 14-15 of Les collines d'Anacapri . . 36 18. Measures 31-35 of Les collines d'Anacapri* 37 19. Measures 55-58 of Les collines d'Anacapri . 37 iv. LIST OF ILUSTRATIONS--continued Measures .
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. Crawford M., Marsh D. The driving force : food in human evolution and the future.
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
