Prelude and Fugue No. 2: Difference between revisions
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In Prelude No. 2, "The tempo marking of Andante con moto, the dynamic level of mezzo piano, and the 6/8 meter combine to create a pastoral mood, a marked contrast to the first prelude of the collection. The composition is in ABA song form, with coda.....This is the most sensitive and delicate prelude of the three and shows more innovation on the part of the composer in style and harmony than do its companions."<ref>Seaton, Douglass. ''The Mendelssohn Companion,''London: Greenwood Press, 2001, p.636.</ref> | In Prelude No. 2, "The tempo marking of Andante con moto, the dynamic level of mezzo piano, and the 6/8 meter combine to create a pastoral mood, a marked contrast to the first prelude of the collection. The composition is in ABA song form, with coda.....This is the most sensitive and delicate prelude of the three and shows more innovation on the part of the composer in style and harmony than do its companions."<ref>Seaton, Douglass. ''The Mendelssohn Companion,''London: Greenwood Press, 2001, p.636.</ref> | ||
The fugue is a four-voice fugue of high quality counterpoint and contains a lot of chromaticism. "The subject appears first in the pedal and, after the exposition (ending m. 10), appears in alternation with episodic and sequential material until the coda, m. 57. Within a five-measure portion of the brief coda, Mendelssohn incorporated the fugue subject three times in stretto."<ref>Seaton, Douglass. ''The Mendelssohn Companion,''London: Greenwood Press, 2001, p.636.</ref> | |||
==Registration and Organs== | ==Registration and Organs== | ||
Latest revision as of 02:28, 27 February 2015
Background
In Prelude No. 2, "The tempo marking of Andante con moto, the dynamic level of mezzo piano, and the 6/8 meter combine to create a pastoral mood, a marked contrast to the first prelude of the collection. The composition is in ABA song form, with coda.....This is the most sensitive and delicate prelude of the three and shows more innovation on the part of the composer in style and harmony than do its companions."[1]
The fugue is a four-voice fugue of high quality counterpoint and contains a lot of chromaticism. "The subject appears first in the pedal and, after the exposition (ending m. 10), appears in alternation with episodic and sequential material until the coda, m. 57. Within a five-measure portion of the brief coda, Mendelssohn incorporated the fugue subject three times in stretto."[2]
Registration and Organs
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See the footnote in the "Notes" section at the bottom of the page. [3]
Fingering and Pedaling
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Articulation and Phrasing
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Ornamentation
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Tempo and Meter
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Scores and Editions
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Recordings
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Free Online
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Other Resources
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Notes
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