No. 11 in F Major

Prelude

This prelude thickens to as many as five voices in some places. Even this prelude alone demands a great deal of effort, requiring meticulous attention to every detail. Another characteristic of this prelude is its length, spanning three pages (Henle edition) or 72 measures. Long pieces of this kind can sound quite tedious if not performed well. Similar pieces, such as Sinfonia Nos. 5 and 9, do not have particularly prominent climactic sections, and on the surface, the score appears to progress in a seemingly endless, uniform manner. A performance that feels long to the listener often occurs when the performer themselves does not fully understand the piece. Between performances of the same duration, one that feels shorter is superior to one that feels longer. Performers should analyze the music and devise ways to present a clear and distinct “form” to the listener.

By doing so, listeners will no longer perceive the piece as long. When performers finish sight-reading such pieces and begin shaping the music, it becomes easier to understand if they divide the piece into several sections. Let's assume we divide this piece into three sections. Then, the first section would be up to measure 16 (strictly speaking, up to the first beat of measure 17). From measure 17, the theme begins in C major. The next section would be from measure 17 to measure 56. From measure 57, it returns to F major. Of course, this is merely an example. You may also divide it into four sections instead of three.

If dividing into four, the sections would be measures 17-32 and 33-56. Of course, other divisions are also acceptable, but for the purpose of this explanation, I would like to proceed with this division as a premise.

When looking at measures 1-17, first identify which part has the highest tension. A simple method is to look for places where the pitch rises, but this is not always correct. For example, in this case, the highest note in the right hand is G, which appears in measures 1 and 11. However, when comparing these two, it becomes clear that the G in measure 1 is part of a distinctly subdued section. Therefore, let's see how far the phrase from measure 1 extends.

A natural break occurs at measure 4. Let's consider this as one unit. Subsequently, measures 5-6 and 7-8 form two-measure sequences. When comparing 5-6 and 7-8, harmonically, 5-6 has higher tension, and 7-8 is a resolving section, so it would be good to increase the volume in 5-6. Let's examine how 5-6 and 7-8 are constructed here. For example, look at the figuration in measure 5. You will notice it is very similar to measure 2. Measure 5 is like reading measure 2 from right to left, from the third beat towards the first beat. Measure 7 is also the same; therefore, these two sequences are not considered themes.

Given this, we consider the theme from measure 1 to reappear in measure 9. Comparing the themes in measure 9 and measure 1, measure 9 clearly has higher tension. And when considering its progression towards the G in measure 11, these four measures from 9-12 are considered the section where tension builds most in the initial part. Now, as for where the tension peaks within these four measures, I leave that to the performer's discretion. It could be considered the whole-note chord on beats 1-2 of measure 10. Although the third beat of the same measure is a resolving chord for measures 1-2, considering the G awaiting in measure 11, one must also consider whether it is appropriate to diminish this resolution and release the tension. Some people might argue that measure 11 should be the loudest in terms of volume.

When performing Bach's music, dynamic levels often progress smoothly, like a wave. This involves gradual crescendos or diminuendos, and sudden fortes or pianos, like those in Beethoven, may not be as common. However, there are exceptions. Earlier, I mentioned that the 7-8 sequence is not as strong as 5-6. Consequently, measures 7-8 might be p. However, if it becomes louder from measure 9, this would be a sudden, subito dynamic change, which I believe can be acceptable. If 7-8 were louder than 5-6, it would lead smoothly into measure 9. But this is not the case here. So, what to do?

There is an English word, 'ignition.' This refers to something in its initial stage, meaning to activate, start, or begin. For example, car ignition refers to the part where you insert the key to start the engine. Measure 9 also has an 'ignition,' which is the three eighth notes Es-D-C in the bass clef on the third beat of measure 8. The reason this marks the beginning of the next measure is the presence of the note E-flat (Es). Sequences in various keys eventually return to F major in measure 10. E-flat does not exist as a diatonic note in the key of F major. Therefore, the Es-D-C on the third beat marks the beginning of the theme in measure 9, and it is not unnatural to suddenly increase the volume from this point (the upbeat of the third beat of measure 8). Please try it.

Measures 13-16 are a section that modulates to C major and settles. A gradual diminuendo would be appropriate here. From measure 17, the second section begins in C major. Upon closer inspection, you'll notice that measures 17-20 are almost identical to measures 1-4. Furthermore, the two sequences in measures 21-24 also match the sequences in measures 5-8. The differing part begins from measure 25. Measures 27-28 change into a sequence of 25-26. It is reasonable to consider that the tension becomes even higher than in the first section.

While measures 13-16 served as a bridge to settle in C major, measures 29-32 certainly attempt to establish D minor, but there is a sense of restlessness. Measure 16 ends on the tonic, whereas measure 32 ends on the dominant. It feels as though it cannot simply end here.

The section that just concluded is the branching point if we divide this piece into four. Since a new D minor section begins from measure 33, it is logical to consider this a branching point. The eight measures from measure 33 (33-40) have similarities to measures 1-8 and 17-24. The first half, in particular, is similar, but the latter half is not a two-measure sequence. It completely establishes D minor. Then, the sequences begin in two-measure units from measure 41, with tension steadily increasing through 41-42, 43-44, and 45-46.

It is likely that measures 47 to 56 are the section of highest tension in this prelude. How these measures are performed is left to the performer, but my view is that they should lead towards measure 55, thus I believe they should be given a clear direction towards measure 55.

From measure 57, the calm theme in F major returns, leading to the coda and the end.