The music of the Prelude (Moderato non troppo, completed October 14, 1950) features sonorous and majestic octaves responding to notes of smaller values. It is often compared to the folk choir scenes found in Mussorgsky's works, particularly Boris Godunov, and to the sound of bells found in other Russian composers' works.

This short prelude, built solely on the opening dialogue, flows directly into a light, gigue-like fugue (3 voices, Allegro molto, completed October 16, 1950), which stands in sharp contrast to it. The energetic subject's first half consists of rapid ascending sixteenth notes, while the second half features a distinctive leaping motif with long and short rhythms. The ascending scale motif, in particular, possesses a strong color that comes to the forefront of the music even in the episodes and stretto, creating a vivid impression.