22. Scherzando: Non troppo Allegro

This prelude, while mysterious in atmosphere, also contains an element of enjoyment. The primary crucial element in this prelude is articulation. Strict adherence to the meticulously notated articulations on the score is essential, as is maintaining the note values of other voices. For instance, in measure 3, beat 3, the tenor part constitutes the melodic line; as it is a quarter note, it should be sustained for its full duration. However, other voices are marked staccato, and this must also be observed. In essence, strive to make the voices as independent as possible.

Another noteworthy element is rhythm. This piece proceeds in 3/4 time until measure 15. However, from measure 16, it shifts to 2/4 time, and Kabalevsky divides these two beats into three groups of sixteenth notes: 3+2+3. The first note of each group is marked with either a tenuto or an accent. The key is not to perceive a duple meter, but rather to play by feeling each individual unit within the groupings. This 2+3+2 grouping also appears in later measures (e.g., measure 25, measure 27, etc.). From this point, the time signatures change rapidly. In measures where this 2+3+2 grouping is absent, one should feel the beats of the prevailing time signature.

Regarding dynamics. In the case of this prelude, as it is not written in a particularly dramatic style, I personally believe that fortissimo or extreme pianissimo are unnecessary. A formal analysis reveals an ABA structure: A spans measures 1-14, and B spans measures 15-42. Within this B section, measure 38 marks the point of highest tension, yet even here, only a single forte marking is indicated. The point where the 'color' changes is measure 24, where there is a sudden modulation to B minor (h-moll). The return to A occurs from measure 43 onwards.

While the piece generally proceeds in an understated manner, measures 58-60 constitute a cadenza. This section alone should be played freely and improvisationally. Regarding the eighth notes in measure 60, rather than a sudden doubling of speed from the sixteenth notes of the preceding two measures, devise a way to reach measure 60 naturally.

The overall atmosphere should be light and incisive, rather than dramatic, and should proceed without fluctuations in tempo.