This prelude is a piece with many repetitions of the same material. Repetition suggests that the composer might have envisioned an ensemble, with changes such as an increase or decrease in instruments, or a shift to different instruments. However, since such details are not explicitly indicated in the piano score, performers must employ appropriate ingenuity.

The least desirable performance would be one that simply repeats the same material identically. Introducing some form of variation, no matter how subtle, is a key hint for performing this prelude.

Identifying the Main Theme

Consider the main theme of this prelude to be the right-hand part from the anacrusis of measure 1 to the third beat of measure 2. The left hand follows the right hand in a canon-like motion, but for the purpose of this explanation, the left hand will not be counted as part of the theme's occurrences. This means the theme appears in five locations.

Occurrences of the Main Theme

• Measures 1-2
• Measures 3-4
• Measures 11-12
• Measures 13-14
• Measures 21-22

These are the five locations.

Detailed Analysis of Theme Repetitions

After the theme appears in measures 1-2 from the beginning, it immediately reappears in measures 3-4, almost identically. The only difference is that the left hand in measure 4 is written an octave higher than in measure 2, so some variation should be introduced. A typical example of such variation would be playing measures 1-2 forte and measures 3-4 piano.

The theme in measure 11 is in E major. When compared to A major, which has higher tension? The third and fourth themes begin an octave lower for the fourth one. These should also be varied. Learners should consult with their teachers to decide on dynamics and other aspects.

The fifth theme does not repeat. This theme provides a sense of returning to the original key, so playing it forte would be appropriate.

After the two themes in measures 1-4 conclude, 16th notes begin from measure 5. These 16th notes continue without interruption until measure 8. The point of highest tension in this first half is the E in the right hand on the first beat of measure 9. Therefore, the tension should gradually build from measure 5 towards this point. This "sense of direction" is crucial.

Measures 6, beats 1-2 and 3-4 are identical. Similarly, measures 7, beats 1-2 and 3-4 are also identical. Therefore, variation is desired here as well. For example, one could play measures 6, beats 1-2 forte, beats 3-4 piano, and then measures 7, beats 1-2 mezzo piano, and beats 3-4 mezzo forte. A clear crescendo is desired in measure 8, so the dynamic flow just described would be suitable.

How to play these two measures after reaching the peak point in measures 9-10 is left to the performer (or teacher). The author's score has a 'p' marking. Of course, this would also be acceptable.

Although the theme in measures 13-14 is an octave lower than the theme in measures 11-12, it can be thought of as a different instrument.

After the themes in measures 11-14 conclude, new material, which has not appeared before, emerges. The first material is in C-sharp minor, ending with a perfect cadence on C-sharp on the third beat of measure 17. From there, after two sequences, a new cadence occurs on the third beat of measure 20. This cadence on the third beat, though a half cadence, has the same melodic contour as the end of the original theme (C-sharp - B).

From measure 23, 16th notes begin, similar to the first half. The same material as in measures 8, beats 1-2 is used, forming a descending sequence. The author believes the quarter notes in the left hand should be played dry and detached. Since it's a descending sequence, a diminuendo should be applied, followed by a crescendo from the third beat of measure 24 towards the cadence on the first beat of measure 26.

Concluding Thoughts on Peak Points

However, in this prelude, the final measure, measure 30, is written with a thick texture, suggesting it might be the peak point of the second half. If that is the case, measure 25 might not need to be played with such intensity. One peak point in each half (first and second) should suffice. For your reference.