Matsudaira, Yoritsune : Prélude en sol pour piano
Work Overview
Instrumentation:Piano Solo
Genre:prelude
Copyright:Under Copyright Protection
Commentary (2)
Author : Hirano, Takatoshi
Last Updated: April 20, 2018
[Open]
Author : Hirano, Takatoshi
A short piece composed in 1940.
Around this time, Matsudaira planned to compose a collection of "Preludes for Piano" and seems to have completed several pieces. However, due to difficulties in coexisting Western tonality and Japanese modes, the collection never saw the light of day as a complete set. Unlike "Prelude in D," composed six years earlier, this piece is not included in the Tcherepnin Collection. In contrast to "Prelude in D," which is marked Andante cantabile, this is a light Vivace piece with the indication leggiermente (lightly). A figure consisting of four sixteenth notes continues like a moto perpetuo. There is no key signature, but G major appears at the end. As indicated by the fact that only the third of the four figures presented in the opening two measures is played on the black keys, chromatic motion is dominant. In the climax of the middle section, there is a fluctuation in meter. At the end, it settles on the G major tonic chord after a peculiar dominant chord. It was included in Yoritsune Matsudaira: A Collection of Pieces for Piano, published by Zen-On Music Company in 1971, and subsequently in Yoritsune Matsudaira: Collected Piano Works in 1991.
Author : Hirano, Takatoshi
Last Updated: April 20, 2018
[Open]
Author : Hirano, Takatoshi
A piano piece composed in 1940 by Yoritsune Matsudaira. Around that time, he tried to compose Préludes pour piano and wrote some of them, but he was unable to publish it after having difficulties in using both tonality and ancient Japanese modes. Unlike Prélude en Ré, Prélude en Sol is not included in the Tcherepnin Collection. While the former has the indication of Andante cantabile, the latter is accompanied by the indication of leggiermente. Figures with four sixteenth notes are incessantly repeated. The score has no key signatures, but the music proves to be in G major in the end. However, chromaticism is dominant, as is shown by the fact that only the three of the four figures in the first two measures are played on black keys. Meter fluctuates a little before the climax established in the middle of the piece, and a dominant with many accidentals is resolved to the tonic.