Overview
🎹 Structure and General Characteristics
Number of pieces : Book 1 includes 12 preludes for solo piano.
Genre: Each piece is a “prelude”, a short and free form, allowing for a great exploration of moods and pianistic techniques.
Style: The work is emblematic of Debussy’s musical impressionism. He seeks to evoke images, sensations, lights and colours rather than developing musical themes in a rigid formal structure .
Tonality : There is a frequent use of pentatonic scales, ancient modes and whole-tone scales, which creates a “floating” and ethereal sound , typical of Debussy.
🖼 ️ Evocative Titles
A crucial feature is the placement of the titles:
Each prelude has a descriptive title (such as ” The Sunken Cathedral ” or “Footsteps in the Snow ” ).
However, Debussy placed them at the end of each piece , not at the beginning. This approach encourages the performer and the listener to first form their own impression of the music, without being immediately influenced by the descriptive program.
🌟 Notable Pieces from Book 1
Each prelude is a small masterpiece, but some are particularly famous :
I. Dancers of Delphi: A slow and solemn piece, evoking an ancient fresco.
II. Sails: Very often interpreted , it uses almost exclusively the partonal range, creating a hazy atmosphere , evoking either boat sails or light sails .
VI. Footprints on the snow: Slow and sad, it paints the silence and solitude of a winter landscape with obstinate rhythmic patterns and dissonant harmonies.
VIII. The girl with flaxen hair: The most melodious and popular prelude in the collection, of exceptional sweetness and lyrical simplicity.
X. The Sunken Cathedral: A monumental piece that uses harmonies reminiscent of distant bells and Gregorian chant to describe the legend of a cathedral that rises from the sea and then disappears .
💡 Heritage
Debussy’s Preludes, Book 1, are considered an essential work in the piano repertoire, having exerted a major influence on later composers through their harmonic innovation and their use of the piano to create a rich sound palette of colours and atmospheres .
List of titles
I. Dancers of Delphi
Dedication : To Mr. [Gaston] Choisnel
II. Sails (NB The term can mean “sails ” [of a boat] or “sails ” [lightweight fabrics ])
Dedication : To Mr. [Jacques] Durand
III. The wind in the plain
Dedication : To Mr. [Louis] Laloy
IV. “Sounds and perfumes swirl in the evening air ” (Quote from Charles Baudelaire)
Dedication : To Mr. [Georges ] Hénin
V. The hills of Anacapri
Dedication : To Mrs. [Louise] Liebich
VI. Footprints in the snow
Dedication : To Mr. [Gabriel] Mourey
VII. What the west wind saw
Dedication : To Mr. [Max] d’Ollone
VIII. The girl with flaxen hair
Dedication : To Mrs. [Marguerite] Long
IX . The Interrupted Serenade
Dedication : To Mr. [Henri ] Büsser
X. The Sunken Cathedral (Based on the legend of Ys)
Dedication : To Mr. [André ] Caplet
XI. Puck’s Dance
Dedication : To Mrs. [Camille] Chabrier
XII. Minstrels ( Evocation of a music hall or minstrel show)
Dedication : To Mr. [Jean] Jobert
History
🗓 Context and Composition Period
Book 1 of the Preludes (CD 125; L. 117) was written by Debussy during a period of intense creative activity , extending from December 1909 to February 1910, a remarkably short period of time for twelve pieces of such richness.
At this time, Debussy was at the peak of his artistic maturity and was looking for new avenues of expression for the piano, the instrument he knew best .
💡 Inspiration: Liberation from the Prelude
Debussy consciously adopted the prelude genre, made famous notably by Bach (The Well-Tempered Clavier ) and, more immediately , by Chopin and his 24 Preludes. However, he broke free from it:
The Model : Like Chopin before him, he gave the prelude autonomy by making it a complete work in itself, and not a simple introduction.
Form: He rejected the strict order of tonalities (which organized the collections of Bach and Chopin) in favor of a sequence of atmospheres and contrasts.
🌍 Imaginary Journey and Symbolism
Debussy drew his inspiration from the artistic currents of his time:
Imagination: In the absence of travel, Debussy often said that one had to “supplement with imagination.” Book 1 is a kind of imaginary travelogue, taking the listener from the ancient ruins of Delphi (Dancers of Delphi) to the sun-drenched hills of Capri (The Hills of Anacapri), passing through natural French landscapes ( The Wind in the Plain) or evocations of Breton legends (The Sunken Cathedral).
Symbolism: Close to the symbolist poets (he had frequented Mallarmé and was inspired by Baudelaire, from whom he quotes a verse for the title of Prelude IV), Debussy did not seek to describe, but to suggest .
🤫 The Enigma of Titles
The most famous story of these Preludes concerns the presentation of the titles .
Rather than placing the descriptive title at the beginning of each piece , Debussy wrote them at the end, in parentheses and preceded by ellipses :
Example: “… The Sunken Cathedral ”
This trick reveals his philosophy: he wanted the performer and the listener to have a first free listen , to form their own musical and sensory impression before the title gave them a key, confirming or enriching their experience .
🎵 Reception and Creation
The collection was published in 1910 by its publisher, Jacques Durand. The first complete performance of Book I was given by the pianist Jane Mortier at the Salle Pleyel in Paris, on May 3, 1911.
From the moment of its publication, Book I was hailed as a masterpiece, confirming Debussy as the undisputed master of piano music at the beginning of the 20th century , paving the way for a new era of piano music focused on colour, resonance and atmosphere .
Characteristics of Music
Claude Debussy’s Preludes, Book 1, is a pivotal work that perfectly embodies the pinnacle of musical impressionism. The musical characteristics of this collection are centered on color, atmosphere, and a break with traditional harmonic and formal conventions.
Here are the distinctive musical features of the ensemble:
🎶 1. Revolutionary and Modal Harmony R
The most striking aspect is the innovative approach to harmony:
Exotic and Ancient Modes: Debussy frequently uses pentatonic scales (five notes), which produce an airy, Chinese-like sound ( The Girl with the Flaxen Hair), and whole-tone scales (six notes at equal intervals , without semitones), which eliminate the sensation of tonal resolution, creating a hazy, floating atmosphere ( Sails). He also draws on medieval ecclesiastical modes , giving the pieces an archaic or solemn character ( Dancers of Delphi).
Parallel Chords : This involves shifting perfect chords or whole ninths without regard to traditional vocal rules. These “parallel chords ” are used for their sonic color and mass movement, not for their harmonic function.
Unresolved Dissonances: Dissonances are often used as colors in themselves and are not always resolved in a conventional way . They add richness and ambiguity to the sonic texture.
🎨 2. Sound Texture and Color (Pianistic Timbre)
Debussy treats the piano as a source of timbres and effects, moving away from its percussive function:
Resonance and Pedal: The use of the damper pedal (or sustain pedal) is essential. It serves to blend the harmonics and create a sonic haze that sustains the resonances, as in The Sunken Cathedral.
Extreme Registers : The frequent use of the extreme registers of the keyboard (very low or very high ) contributes to the atmosphere and the spectral pianissimo (Footsteps on the snow).
Subtle Dynamics: The nuances are often very soft (piano and pianissimo), favoring suggestion and evanescence rather than vigorous affirmation.
3. Free Rhythm and Structure
The structure of these pieces is determined by the expressive content, and not by pre-established formulas such as sonata form:
repetitive motifs (ostinatos) that create a feeling of constant movement or stasis. In “Des pas sur la neige” (Footsteps in the Snow), a haunting and mournful accompaniment rhythm is maintained throughout the piece.
Fluctuating Tempo: The writing suggests great flexibility in tempo (rubato tempo) to follow the waves of emotion or the evolution of moods. Numerous indications such as cedez ( yield, slow down) or rested are present .
Form : The forms are free, designed to illustrate or suggest the image of the title. For example, The Sunken Cathedral adopts an almost processional form, evolving from distant murmurs to a powerful crescendo (the emergence of the cathedral) before fading away again .
In summary , the Preludes, Book 1 are characterized by the exploration of new scales, the use of chords for their colour, and an approach to the piano aimed at evoking visual and sensory impressions, making Debussy the undisputed master of modern piano writing.
Style(s), movement(s) and period of composition
The style and period of Claude Debussy’s Preludes, Book 1 (1909-1910) are crucial to understanding early 20th-century music .
🎵 Movement and Style: Impressionism
The movement to which the Preludes belong is Musical Impressionism.
Impressionism is a term borrowed from painting (Monet, Renoir) and applied to the music of Debussy and Ravel. It is characterized by the pursuit of sonic color, atmosphere, and suggestion rather than direct emotional expression or classical thematic development. Emphasis is placed on timbre and resonance .
The Music is Innovative and New: In 1909, this music was radically innovative. It broke with the hegemony of German Romantic and Post-Romantic music ( Wagner , Strauss), which still dominated Europe. Debussy sought a more French music , based on clarity , elegance , and fluidity .
🕰️ Period and Currents
The Preludes, Book 1, are situated at the crossroads of several eras:
End of Post-Romanticism: Although the work still contains moments of great lyrical expressiveness (notably in The Girl with Flaxen Hair), it marks a definitive turning point away from the great emotional epics of late Romanticism.
Nationalism: There is a subtle nationalist dimension. Debussy rejected Germanic rhetoric to create a typically French music , inspired by the spirit of Couperin or Rameau, but expressed in a modern language.
The Beginning of Modernism: The use of non-traditional scales (whole-tone scale, pentatonic), tonal ambiguity , and the importance given to harmonic color are traits that foreshadow musical modernism. Debussy is often considered the pioneer of modern French music .
✨ Specific Characteristics
Debussy’s style in the Preludes is the opposite of strict forms:
Anti-Classical: The work is deliberately anti -classical and anti-traditional in that it does not use established forms (sonata, fugue). Each piece is a free form, guided by the image or atmosphere it seeks to evoke.
Tonal Ambiguity : The constant use of modes and the avoidance of clear cadences give a fluctuating and ambiguous character to the tonality . The focus is no longer on the progression of chords, but on the resonance of each chord taken in isolation .
In summary , the Preludes, Book 1 are the embodiment of the Impressionist style, an innovative work that marked the transition between Post-Romanticism and Musical Modernism, and which prioritizes color and atmosphere over structure and thematic development.
Analysis: Form, Technique(s), Texture, Harmony, Rhythm
The analysis of Claude Debussy’s Preludes, Book 1 reveals a major stylistic break, characterized by a focus on sensation and sound color rather than on traditional formal structures .
🎵 Methods , Techniques and Textures
Method (s) and Technique(s)
The main method of composition is suggestion and evocation (Impressionism). Debussy uses music to paint scenes , moods or images inspired by poetry, nature or legends .
Innovative Piano Technique: The piano writing is highly technical and innovative. It exploits the resonances of the instrument by frequently using the soft pedal (sustain pedal) to create a blend of sounds and harmonics.
Emancipation of Timbre: The piano is no longer treated as a percussive instrument, but as a source of colors and timbres. Melody often emerges from the middle of the texture, and motifs transform into ” sound patches” (Sounds and scents swirl in the evening air).
Texture: Polyphony or Monophony?
The music of the Preludes is predominantly polyphonic or, more precisely , homorhythmic or richly homophonic.
It is generally not monophonic (a single melodic line).
Nor is it polyphony in the strict sense of Bach’s counterpoint. The texture is often characterized by a multiplicity of sonic planes (melody, chordal accompaniment, rhythmic ostinato ), but these planes frequently move together to form blocks of chords. The texture is dense and layered, as in The Sunken Cathedral, where the different elements overlap to construct the sound of the bells and the emerging edifice .
🎶 Shape and Structure
Shape
The Preludes are pieces of free and non-standardized form. Each prelude is a short musical vignette that explores a single idea or atmosphere . The form is guided by the expression and unfolding of the image suggested by the title.
Structure
The structure is often episodic and cumulative:
It is constructed through the accumulation and variation of short motifs.
There is no thematic development in the classical sense of the term (as in sonata form). The structure is generally based on an ABA’ scheme (an exposition , a contrast, and a varied return), but with a fluidity and an absence of clear sutures between sections.
The pieces often open and close in an evanescent manner ( diminishing towards a pianissimo), creating a sensation of appearance and disappearance (Sails, Footprints on the Snow).
🎼 Harmony, Scale, Key and Rhythm
Harmony and Tonality
Harmony is the domain of the greatest innovation:
Tonal Ambiguity : Tonality is often floating and ambiguous . Debussy avoids clear tonal functions (tonic/dominant) and traditional cadences, creating an impression of weightlessness and suspension.
Color Chords: Chords (often 7th , 9th , 11th , and 13th ) are used for their color and sonic richness, not for their harmonic function. The famous parallel chords are used as sonic blocks that move simultaneously .
Ranges
Debussy uses a range of scales to diversify the colour:
Diatonic range: Still present, but enriched.
Pentatonic scale: Widely used for its airy sound , without semitones, often associated with the Orient (The girl with flaxen hair).
Whole Tone Scale: A scale of six notes separated only by whole tones, which eliminates any tonal attraction and creates an atmosphere of dream or mist (Veils).
Ancient/Ecclesiastical Modes: Frequently used to give an archaic, mystical or solemn character ( Dancers of Delphi).
Pace
The rhythm is extremely varied and often non-metric in the strict sense:
Obstinate Rhythms: Rhythmic patterns are often repeated obstinately ( ostinato ), creating a stable and hypnotic base (Footsteps on the snow) .
Flexibility : The tempo is very flexible, with many rubato indications (rhythmic freedom) to match the emotional image.
Contrasts: The pieces alternate between a slow and solemn rhythm (The Sunken Cathedral) and a fast and energetic movement (The Wind in the Plain or What the West Wind Saw).
Tutorial, interpretation tips and important gameplay points
🎹 Tutorial and Interpretation Tips for Debussy’s Preludes, Book 1
Playing Claude Debussy’s Preludes, Book 1 requires more than just technique: it demands a poetic approach and a sensitivity to tonal color. Here is a tutorial, performance tips, and key points.
I. 💡 The Fundamental Principles of Interpretation
1. Sound and Resonance
The goal is not to hit the notes, but to shape the sound.
Arm Weight (Not Finger Weight): Use the weight of the arm to press the keys, allowing for a warm, round, and non-percussive sound.
Mastering the Pedal: It’s the soul of this music. The sustain pedal should be used to blend harmonics and create a sonic halo, never to mask mistakes or muddy the sound. Change the pedal at each harmonic shift or as Debussy indicates, sometimes even over dissonances for a hazy effect (as in Voiles).
Subtle Dynamics: The heart of these pieces often lies in the pianissimo piano register. Practice playing softly while maintaining clarity and expression.
2. Elastic Rhythm (Rubato)
Avoid Static Performance : Although the rhythm is often precisely indicated, it must be played with great flexibility. The tempo must breathe to follow the flow of the musical image (like the wind in The Wind in the Plain or the surf in The Sunken Cathedral).
repetitive accompaniment figures (ostinatos, as in Footprints in the Snow), ensure that they remain discreet and create a still and persistent background sound, without becoming mechanical.
II. 🖼 ️ Specific Advice by Technique
A. The Processing of Agreements
Parallel Chords (Color Blocks): In parallel chord passages ( where the chords move in a homogeneous way ) , do n’t aim for functional accuracy, but rather the color of the sound block. Play them with a slightly detached touch , almost as if you were painting a mass.
Distant Chords (The Sunken Cathedral): For the deep, solemn chords, use a slow, deep attack to simulate the sound of submerged bells. Let the piano’s resonance do the work for you.
B. The Melody
Melody : In Debussy, the melodic line is not always in the highest voice . It is often in the middle of the texture. It must be brought to the fore by a firmer and more singing touch, while the accompaniment remains light and transparent.
Cantabile Lyrique (The Girl with Flaxen Hair): Even in its gentleness, the melody must be sung. Connect the notes and use subtle rubato to imitate human breathing.
C. Vibrations and Tremors
Tremolo and Arpeggios : Rapid figures or arpeggios ( as in Ce qu’a vu le vent d’ouest or Voiles) should not be played as mere exercises. Their purpose is to create a vibrant texture, an atmospheric agitation. Play them with extreme lightness , seeking a subtle shimmer rather than pure speed.
III. 🎯 Key Points for the Study
Read the Directions: Debussy uses a rich and often poetic vocabulary (“soft and muted”, “with a slow emotion”). These directions are not optional; they are key to the interpretation .
Visualize the Image: Before playing a piece , read the title ( at the end!) and allow yourself to visualize the scene : snow, waves, dancing, or a cathedral. The music should become the soundtrack to this mental image.
Work by Harmonic Sequences: Study slowly, focusing on the harmonic change. Make sure the sound of each chord is rich and the resonance is handled correctly before moving on to the next chord.
Clarity : Despite rubato and flexibility, precise rhythmic values (such as eighth notes and sixteenth notes) must be clearly established in your head to avoid chaotic distortion.
Interpreting the Preludes is a quest for atmosphere . Success comes when you manage to transport the listener into Debussy’s evanescent and colourful world .
A successful piece or collection at the time?
🌟 Reception of the Work (1910-1911)
1. Artistic and Critical Success
Immediate Recognition: Although radically different from the mainstream music of the time, the Preludes were met with great interest and immediate recognition in musical circles and by specialist critics .
Affirmation of Style: These pieces cemented Debussy’s reputation as the undisputed master of musical impressionism. They were perceived as the culmination of his style, making him one of the leading figures of the French avant-garde .
Performance : The first complete performance of Book 1 by pianist Jane Mortier took place in May 1911 in Paris, demonstrating that the work was considered an important event and worthy of being presented in concert .
2. The Public and Novelty
Innovative Music: Debussy’s music was considered innovative and even difficult for some of the general public accustomed to the melodies and structures of Romanticism. The modal harmonies and unresolved dissonances required an ear attuned to new sounds .
Pieces with Individual Success: However, several pieces from the collection enjoyed immediate and popular success :
“The girl with flaxen hair” was particularly appreciated for its sweet and simple melody , becoming one of Debussy’s most frequently played pieces .
” The Sunken Cathedral ” captivated with its grandeur and descriptive power.
💰 Piano Sheet Music Sales
The piano scores for the Preludes , Book 1, published by Durand & Cie in 1910, sold relatively well for a work of music considered ” serious ” or ” modern ” :
High Sales Mark : One indicator of success is the inscription that appears on some early copies of sheet music from this period. Indications such as “29th thousand ” (29th thousand ) are found, meaning that 29,000 copies (or an equivalent editorial designation ) had been printed or sold by a certain date. For a work of this level of complexity and novelty at the beginning of the 20th century , such a figure indicates very good commercial success .
An Essential Repertoire: The fact that the work quickly became an essential piece in the repertoire of professional and advanced amateur pianists ensured a steady stream of sales for the publisher Durand.
In conclusion:
Yes , the Preludes, Book 1 were considered a success by the musical elite and critics upon their release. They were also a notable commercial success for a modern work, largely due to Debussy ‘s growing fame and the immediate charm of certain individual preludes.
Famous Recordings
📜 Historical Recordings and the Great Tradition
These recordings are often characterized by a more flexible approach to tempo and a sensitivity linked to the era of composition.
Walter Gieseking ( 1950s): Considered for a long time the absolute reference for the interpretation of Debussy and Ravel. His touch is of unparalleled finesse and transparency , emphasizing the nuances of color and the ethereal atmosphere of Impressionism .
Alfred Cortot ( 1930s): A historic recording that testifies to the French tradition of interpretation. His approach is more romantic and dramatic than Gieseking’s, with great rhythmic freedom and strong expressiveness .
🌟 Standard and Reference Recordings
These interpretations offer an excellent balance between poetry, technical clarity and respect for Debussy’s indications.
Claudio Arrau ( 1970s): Offers a profound and architectural reading. Less focused on floating impressionism than Gieseking, he explores harmonic structure and gives the pieces a powerful weight and resonance, notably in The Sunken Cathedral.
Samson François ( 1960s ): A lively and characterful interpretation , typical of the modern French school . His playing is often described as witty, elegant , and sometimes audacious, favoring contrast and the brilliance of textures.
Pascal Rogé ( 1980s): Often cited as a modern reference for its clarity, sonic beauty and pure elegance , in line with the French tradition .
🎶 Modern and Contemporary Interpretations
These recordings offer renewed, sometimes more analytical, perspectives on the score.
Pierre-Laurent Aimard (2000s): A modern, very clear and analytical approach . Aimard highlights the structure and timbres with great precision, emphasizing Debussy’s connection with 20th- century modernism.
Jean-Efflam Bavouzet ( 2000s): His series of recordings of the complete works of Debussy was highly acclaimed . Bavouzet offers an incredibly detailed reading, respectful of tempi and dynamics, with a very clear and articulate sound .
Mitsuko Uchida ( Recent): Known for her depth and psychological finesse, her interpretation of Debussy is intimate and very nuanced , revealing the emotional complexity behind the impressionistic image.
These recordings offer a wide range of approaches, from Gieseking’s poetic evocation to Aimard’s architectural clarity .
Episodes and anecdotes
1. The Mystery of Final Titles
is the most famous and significant anecdote in the collection.
The Decision: Debussy deliberately placed the descriptive titles of each prelude (such as Voiles or La Cathédrale engloutie) at the very end of the piece , written in parentheses and preceded by ellipses .
The Reason: Debussy did not want the listener or performer to be influenced by the “program” before hearing the music. He wanted the music to speak for itself , for the listener to form their own impression, and for the title to serve only as confirmation or enrichment after the listening experience. This was a clear rejection of the literal, descriptive music of Romanticism.
2. The Secret of Veils (Prelude II)
One of the most enigmatic preludes has inspired two main interpretations:
Boat Sails: The simplest evocation of the sea and the light sails of a boat.
The Dancer’s Veils: The composer was reportedly fascinated by the famous American dancer Loïe Fuller ( inventor of the Serpentine Dance performance). She used enormous silk veils and plays of light to create abstract forms in motion. The almost exclusive use of the partone scale in this prelude , creating music without contours or clear destination, could be a musical transposition of her luminous and vaporous illusions.
3. The Literary Inspiration of the Prelude IV
The fourth prelude has an unusually long title, because it is a quotation:
“Sounds and perfumes swirl in the evening air ” : This title is taken directly from the poem ” Evening Harmony ” by Charles Baudelaire, from the collection Les Fleurs du mal.
The Feast of the Senses: By using this quote, Debussy indicates that he seeks to achieve a musical synesthesia: to fuse the experience of sounds and smells to create a sensation of intoxication and sensuality, all in a rich and melancholic harmony.
4. The Legend of the Sunken Cathedral (Prelude X)
This prelude is inspired by Celtic mythology:
The Legend of Ys: The work depicts the Breton myth of the city of Ys (or sometimes a cathedral ), submerged by the sea as punishment for sins .
The Miracle of Sound: According to legend, in clear weather, the cathedral and its city can rise from the waves. Debussy translates this through a musical progression from an initial murmur (the calm of the sea), to a powerful crescendo evoking the sounds of organs and bells (the emergence of the building), before fading away again in the lower register, as if the cathedral were returning to the depths.
5. Debussy ’s Favorite Piano
An anecdote about the instrument:
Bechstein versus Blüthner : Debussy owned a Bechstein piano in his study and a Blüthner in his living room. He felt that his music sounded “at its best and in the most perfect way on a Bechstein , ” emphasizing that the instrument played an essential role in the resonance and color he sought to achieve in his Preludes .
These anecdotes show that each prelude is an inspired miniature, drawing its source from art, poetry, legend or the observation of everyday life, and that it was crucial for Debussy to preserve the purity of the first musical impression.
Similar compositions
🇫🇷 From Claude Debussy himself
Preludes , Book 2 (1912-1913): The logical continuation and the most directly comparable work. These twelve preludes continue the exploration of the piano and include masterpieces such as Mists, Autumn Leaves, and Fireworks.
Prints (1903): A collection of three piano pieces that explore exotic scenes and sonic textures (Pagodas, Evening in Granada, Gardens in the Rain). Very close to the spirit of the Preludes.
Images, Books I and II (1905, 1907): Technically and harmonically very sophisticated pieces, considered by Debussy to be the most subtle he had written (includes Reflets dans l’eau and Poissons d’or).
🎶 From the Impressionist and French Context
Maurice Ravel – Miroirs (1905): A suite of five pieces for piano which, like the Preludes, explore sound effect and impressionistic virtuosity (for example, Oiseaux tristes, Une barque sur l’océ an).
Maurice Ravel – Gaspard de la nuit (1908): Less impressionistic and more modern in its virtuosity, but similar in its poetic inspiration (after Aloysius Bertrand) and its creation of extreme sound vignettes .
Erik Satie – Gymnopédies ( 1888 ): Although they are harmonically simpler and more minimalist, they share with Debussy a rejection of Romanticism and a focus on atmosphere and melancholic ambiguity .
🌍 Other Traditions (Influence and Continuation)
Alexander Scriabin – 24 Preludes , Op. 11 (1888 – 1896): Although Scriabin is still rooted in the Romantic tradition (Chopin), he evolves towards an increasingly mystical and colorful harmonic language , foreshadowing the language of Debussy.
Sergei Rachmaninov – 24 Preludes (completed in 1910 ): Written at the same time as those of Debussy, they are more rooted in the Russian Romantic tradition, but also explore the full range of solo piano through a collection of short pieces .
Olivier Messiaen – Eight Preludes ( 1928 – 1929): Messiaen follows in the tradition of the French school , and his preludes push further the exploration of limited transposition methods and harmonic colors inspired by Debussy.
These works will give you an excellent insight into how composers of the time used the short form of the prelude or vignette to explore new sounds and emotions at the piano.
(The writing of this article was assisted and carried out by Gemini, a Google Large Language Model (LLM). And it is only a reference document for discovering music that you do not yet know. The content of this article is not guaranteed to be completely accurate. Please verify the information with reliable sources.)