This is a famous Prelude, yet it is performed in a remarkably wide variety of ways. Here, the author will explain what is considered to be the appropriate performance practice for this piece.

General Notes on the Piece:

The melody line is undoubtedly cantabile and should be performed as such. This necessitates meticulous attention to the balance between the melody line and the left-hand triplet accompaniment. A common pitfall in performing this piece is when the left hand is too loud, which exacerbates the timing discrepancy (2 against 3) with the right-hand eighth notes, resulting in a stiff and mechanical sound. Therefore, the left hand should be played as pp as possible, yet the bass notes must not sound thin.

The same figuration continues in measures 3, 4, and 5. These three measures each have a different mood. Please express the difference in mood for each measure. The same phenomenon occurs in measures 9, 10, and 11. Unlike measures 3-5, in measures 9-11, the harmony of the final measure (m. 11) differs. While measure 5 evokes a sense of psychological anticipation, measure 11 is understood as an expression of sadness. Therefore, please change the timbre in measure 11.

From measure 13, a two-measure sequence continues until measure 18. Have you noticed that the left-hand accompaniment rests for the first time in measures 14 and 16? This is an expression of rising tension. The ultimate peak is reached in measure 21, so measures 13-18 can be considered a preparatory phase leading up to that point.

A point of caution regarding this two-measure sequence is, for example, the right hand in measure 13, beats 1-2, which involves a leap of a seventh. While pianists can easily reach the G-flat on the second beat in such instances, singers take time during large leaps. Emulate this vocal technique and do not immediately rush into the seventh leap on the second beat. The same applies to measures 15 and 17.

These three sequences gradually increase in volume, and from the fourth beat of measure 18, the melody becomes octaves. At this point, control the volume so that the change to octaves feels natural, without making it obvious. In other words, instead of suddenly increasing the volume just because it changes to octaves, build up sufficient volume beforehand, and then, at the point of the octave change, play with a slightly restrained volume to create a natural flow.

In measure 21, even upon reaching the peak, some performances have excessively prolonged the arpeggiated chord on the fourth beat simply because rit. is indicated. Ritardando means to gradually slow down, not to disrupt the timing or stop; therefore, continue counting the beats. Of course, taking a certain amount of time on the fourth beat is necessary to avoid an unnatural result, but one must not take too much time.

From measure 21 to measure 33, you should generally reach pp through a diminuendo. That is, if you play p exactly as marked in measure 22, you will not be able to apply a diminuendo thereafter, resulting in a flat performance. Human emotions do not cool down so abruptly. To retain the impact of measure 21, measure 22 should not be played too softly.

Now, in measure 32, the whole note D-flat on the first beat in the left hand extends for a full measure and is tied into the next measure. You definitely do not want to break this note. Therefore, play the inner voice triplets written in the bass clef with your right hand. And keep the whole note sustained with your left hand.