24. Allegro feroce

This is the final piece in the set of preludes, and also the longest in terms of measure count. It is a technically demanding piece, and musically, its expression also presents challenges. To briefly discuss its musical character, it depicts a flamboyant carnival featuring various characters. Among them, angels and devils appear alternately. Therefore, the tempo should proceed steadily, without the use of rubato or similar fluctuations. The music is fundamentally intense, with many percussive elements. Let's examine it in order.

• The opening two measures serve as an orchestral signal. The initial tempo marking is Allegro feroce, meaning fast and fiery. In measure 3, the first character appears. While this character is rather innocuous, emphasize the left hand on the fourth beat of measure 7 and the first beat of measure 8.
• In measure 10, another character emerges. Here too, emphasize the bass sixteenth notes. Measures 14-15 are again orchestral.
• In measure 17, a new character appears in B minor. The following sections will be abbreviated. As the performer sees fit, experiment with varying the color, changing the pedaling, and employing various other devices according to the different keys and characters.
• As the music progresses, it reaches its peak. From measure 32, play broadly and heavily, as if it were an orchestral tutti. Then, the intensity further increases at measure 39, reaching measure 47. This marks the climax. Increase the weight and volume even further.
• The diminuendo begins from measure 55. From this point, gradually execute a diminuendo, but proceed while retaining an eerie quality. The long trills should also be played intensely at first. At measure 70, gradually apply a diminuendo to reach pp. During this period, the tempo remains steady.
• In measure 71, the storm has passed, and an angel whispers. However, the devil still exists, revealing an eerie shadow (at measure 75, it shifts from major to minor, and measures 76-77 present an unsettling shriek). In measure 78, it returns to major, and peace arrives. However, at measure 83, the devil shrieks again.
• And from measures 86-105, the music enters an unknown world. The return to reality occurs from measure 101 to 105.

These interpretations are merely examples. Performers are encouraged to use their imagination to express this series of carnival scenes in an eerie, joyful, and mysterious manner.