General Overview

24 Preludes, Op. 17, was composed by Palmgren in 1907 when he was 29 years old. As the title suggests, it is presumed to have been modeled after Chopin's 24 Preludes, Op. 28. However, it is also possible that it was directly inspired by Busoni's 24 Preludes, Op. 37 (published in 1881), as Busoni was Palmgren's piano teacher. Unlike Chopin, Palmgren did not arrange the collection in order of key; instead, it comprises a mixture of pieces with titles (13 pieces) and untitled pieces (11 pieces).

This collection was composed concurrently with the production of the opera Daniel Hjort. In composing this work during the final year of his twenties, Palmgren experimented with quite a few innovative techniques. The compositional styles are diverse, ranging from works of national romanticism to those showing the nascent signs of impressionism, and pieces that explore modern musical techniques, such as the continuous use of dissonances and the percussive treatment of the piano. Each piece is crafted based on a single technique. A notable characteristic is the richness of harmonic invention. For the first time, pieces are observed where the register is biased solely towards the low or high ranges. This clearly indicates Palmgren's intention to establish new compositional methods.

As suggested by the prevailing theory (opinions of researchers such as Korhonen) that Palmgren was particularly conscious of Rachmaninoff among the composers active in Russia at the time, he showed a strong interest in Rachmaninoff's works. Therefore, it is presumed that Palmgren was aware of Rachmaninoff's Preludes, Op. 23 (1901–1903). The fact that Rachmaninoff completed his Preludes between the ages of 28 and 30 also motivated Palmgren to complete his own collection of preludes by the age of 29. However, due to the publishing house's business circumstances, the complete publication of all 24 pieces was not finished until 1920, a considerable gap from the composition dates, and it was only in later years that the work became recognized as 24 Preludes. Palmgren composed Nos. 1–11 in Finland and published them in separate volumes in 1907. Nos. 12–24 were composed in Italy and were published at different times: in 1913, 1915, and 1920.

Explanations of Each Piece

No. 1 in E minor, Andante

A very small, poetic piece of 17 measures. It was published in Finland in June 1907. A melancholic melody shifts, with the left and right hands forming harmonies as it progresses. A single-motive theme is used repetitively. The tonality modulates with each phrase, progressing ambiguously, returning to the tonic key at measure 12 and concluding.

No. 2 "In Folk Style" in A major, Andante semplice

In binary form. While the opening is written in three voices, the number of voices gradually increases to four to six. This is characteristic of Palmgren's frequent use of choral writing. The main melody is based on a simple and familiar folk song, and the chords are constructed with the same rhythm in both hands, similar to choral composition techniques.

No. 3 in E major, Allegretto con grazia

This piece clearly expresses the character of a bright and light folk dance, with clearly delineated melodic lines. It employs a pianistic technique that evokes a sense of "light" through the extensive use of the high register.

No. 4 in C-sharp minor, Tempo di Valse (poco moderato)

The piece uses four measures as a unit, with a repetitive melody consisting of repeated dotted half notes on the same pitch. The accompanying chords ascend chromatically, expressing subtle nuances of color through their progression. The melody (especially the eighth-note figures) is shifting, introspective, and anxious. This work is considered to be in the process of approaching Impressionistic techniques.

No. 5 in G major, Presto

A refreshing and exhilarating piece with a clearly defined tonality and a sense of rapid motion. It is a sparkling work that extensively uses the high register. In section A, a fresh melody is sung fluently. From measure 9, in section B, the inner voices descend with rhythmic variations. Measures 13–17 create a sense of urgency through sequences. Although measures 26–31 show a shadowed depiction in the transitional passage, the recapitulation from measure 31 onwards returns to a transparent expression.

No. 6 "Sarabande" in G minor, Andante cantabile

Palmgren composed several dance pieces throughout his life, including sarabandes, musettes, polonaises, minuets, tarantellas, and polskas. Op. 17-6 is one of his earlier dance compositions. It features a polyphonic style, with the melody flowing in tranquility. In A-B-A-coda form, the theme is melancholic. It frequently uses non-harmonic tones and chromaticism in the inner voices, creating an ambiguous atmosphere.

No. 7 in D major, Un poco mosso

A simple and clear melody flows steadily in four voices. The inner voices are on the off-beat, maintaining a second in the exposition and partially a third from the middle of the development. The rustic melody shifts to the high register from measure 10, and the recapitulation concludes quietly in the middle register.

No. 8 in B minor, Allegro feroce

This piece features a continuous succession of dissonances, possessing an intensity that reveals inner conflict. The melody is characterized by the use of a lowered dominant. Augmented fourths and diminished fifths appear throughout, creating an unsettling and tense atmosphere along with chromatic progression.

The melody, in unison between both hands, begins in the low register and gradually ascends. From measure 19, the right hand plays in octaves, engaging in an interplay of three-voice melody and chords. The octave melody from measure 43 is passionate and imbued with madness. From the Presto section, repeated chords lead to continuous modulations, accelerating into a Prestissimo.

No. 9 "Lullaby" in G-sharp minor, Tranquillo

This piece uses a folk song as a motif, connecting chords. A G-sharp pedal point is used in the bass. The chords intertwine with a melancholic melody, progressing steadily. It presents a quiet, monochrome world.

No. 10 "In Folk Style" in A-flat major, Andante semplice

A work of national romanticism, where a gentle, folk-like melody is depicted polyphonically in a chorale-like manner. From measure 11, it modulates to D-flat major, evoking a sense of nostalgia. From measure 17, it returns to the tonic key, and in the coda from measures 21–23, the simple theme resonates with weighty chords, reminiscent of organ playing.

No. 11 "Dream Shadow" in C major, Vibrato (non troppo presto)

The piece oscillates with sixteenth-note vibrato, creating a shimmering effect. It repeatedly modulates using the whole-tone scale at the beginning, connecting triads in inversions, and only in the concluding section does it use the tonic I chord of C major, its main key. It unfolds ceaselessly like a phantom. This piece demonstrates Palmgren's challenge to approach Impressionistic compositional techniques and attempt a change in his style.

No. 12 "The Sea" in A minor, Allegro feroce

Pieces from No. 12 onwards were composed in Italy during the summer of 1907. The majestic and compelling theme of the piece uses the whole-tone scale. It expresses intense inner conflict through a continuous succession of arpeggios. The arpeggios are constructed by combining sixteenth-note triplets and thirty-second notes. The characteristics of the whole-tone scale—"tonal ambiguity" and "unease"—dominate the entire piece, with the thematic motif being repeated and expressed across a wide range of the keyboard, including the middle, high, and low registers.

Notably, Palmgren injured his right middle finger just before arriving in Pesaro, Italy, which is why this piece is written to be playable even without the use of the right middle finger. Furthermore, the dominance of left-hand arpeggios is thought to have been a way to alleviate the burden on the right hand.

No. 13 in B major, veloce

The piece begins in D minor but modulates rapidly through D major, D-sharp minor, B major, E major, F-sharp major, and B major. The melody, which does not clearly define a point of arrival, is asserted to be an experimental work that attempts the technique of "wandering melody" in addition to the traditional "shifting through harmonic progression."

No. 14 in D minor, Pesante

The melody, primarily consisting of octaves with added short appoggiaturas, is depicted fiercely with marcato. The accompaniment is expressed resolutely with rich harmonic sonorities spanning from octaves to tenths. The rough melody creates a sense of tension. The melody oscillates between the low and high registers. The richness of the harmonic colors is striking. Chords surge as if pounding out dark passions.

No. 15 "Rondeau" in B-flat major, Con grazia (Allegro)

This piece has a strong dance character. In A-B-A form, a familiar and light melody serves as the main theme. From the middle section, it modulates to B-flat minor, and the bass is depicted with an ostinato. This is an introspective phrase, as if wandering through a dark and mysterious forest. In the recapitulation, the brightness is restored, and the piece concludes peacefully.

No. 16 in F major, Andante con moto

The main key is F major, but the piece uses numerous augmented triads, making the tonality ambiguous. The theme fluctuates, ascending and descending within a second interval, either in chords or octaves. The harmonies wander as if in constant worry. The bass line also does not clearly define the tonality. From measure 17, the outer voices are in unison, and the inner voices form chords on the off-beat. From measure 37, accents are used to emphasize anxiety. From measure 47, the recapitulation begins, and in the coda, after repeated dominant notes in the bass, the tonic chord of F major appears for the first time.

No. 17 in F minor, Allegro agitato

In 5/4 time, chords are placed within octaves and struck repeatedly, progressing with an ostinato. Similar to No. 14, the piano is treated percussively, exploring modern harmonic music. The melody moves in contrary motion to the accompaniment, expressing dark emotions. The theme begins in the low register, then from measure 6, both hands play an octave higher in the middle register, gradually moving to the high register. An ascending unison creates tension, and at measure 16, the hands reverse roles and move in contrary motion. In the concluding section, an ascending melody reappears in the right hand, concluding in C major.

No. 18 "Duet" in F-sharp minor, Rubato

The melody alternates between soprano and bass, engaging in a dialogue. Chords continue to mark a triple meter rhythm in the middle register. Similar to No. 13, the melody wanders, creating a floating sensation.

Although the main key is F-sharp minor, it continuously modulates from the beginning to measure 15 through C major, C-sharp major, and D major, progressing with an ambiguous atmosphere. It frequently uses chords containing non-harmonic tones, reaching a climax at measure 41. In the recapitulation from measure 52, the melody is played in the bass, singing as if wandering.

No. 19 "Bird Song" in F-sharp major, Allegro giocoso

The time signature and bar lines are omitted from the notation, allowing the melody to roam freely. It is depicted with a free-flowing style, using polymetric techniques. It rushes with sixteenth notes and stops on chords. This piece can be described as improvisatory.

No. 20 "Elegy" in E-flat minor, Lugubre

This piece is presumed to be an elegy for his father, who committed suicide in 1899. It vividly reflects his feelings towards his father, who chose suicide out of despair, unable to halt the decline of the family business, depicting a heavy psychological state filled with melancholy and suffering.

It extensively uses the low register, with the left hand ascending ponderously in octaves. A somber melody accompanies the left hand with chords. It becomes unison partway through. It reaches a climax at measure 15, then descends from the high register with chords, maintaining a weighty atmosphere before subsiding.

No. 21 in C minor, Un poco mosso

The left hand forms the bass line with an ostinato (F-E-flat-D-E-flat, F-E-flat-D-G), while the inner voices intertwine with triplets. The right hand proceeds steadily with A-flat and E-flat as sustained notes. At measure 24, a change occurs in the bass rhythm. From measure 27, the sustained notes in the right hand are repeated with syncopation. It is a simple style of writing, and the overall quiet movement evokes a mirage.

No. 22 "In Folk Style" in E-flat major, Alla marcia

This piece has a dance-like character. It is sung with a clear, familiar melody. It is structured with crisp rhythms, reminiscent of folk dance steps.

No. 23 "Venice" in B-flat minor, Malinconico

Compared to Palmgren's other work on the theme of "Venice," Gondolier's Song Op. 64-a-1 (1918), this piece is considerably darker and imbued with a sense of pathos. In 9/8 time, the accompaniment of chords, evoking the swaying of waves, progresses, depicting a fantastical melody. The melody, moving in augmented fourths and augmented fifths, seems to wander anxiously.

No. 24 "Battle" in D-flat major, Allegro marziale

Chords placed within octaves resonate with driving force in a polonaise rhythm. From the beginning to measure 16, the right hand plays the polonaise rhythm in the accompaniment. At the end of each phrase, octave double stops are struck fiercely with ffz. From measure 18, it modulates to G-flat major. The hands exchange roles, and the melody dominates the high register. After a transitional passage from measures 28–32, the recapitulation begins at measure 33. It concludes with a magnificent fffz, striking heroic and explosive chords repeatedly. Although this piece is reminiscent of Chopin's "Heroic Polonaise," it is presumed to have been dedicated to Eugen Schauman, a young man considered a hero in Finland, which was then under Russian rule. It concludes with a magnificent fffz, striking heroic and explosive chords repeatedly, full of valor and joy.