Prelude in C-sharp minor (Rachmaninoff)
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The Prelude in C-sharp minor, (Russian: Прелюдия) Op. 3, No. 2, is a prelude for piano by Sergei Rachmaninoff written in 1892.
It is a part of a set of five pieces entitled Morceaux de Fantaisie (French, lit. "Fantasy Pieces") that were published as his Op. 3. They were written almost immediately after Rachmaninoff graduated from the Moscow Conservatory, when he was nearly penniless, depressed, and in poor health. After showing the set to Tchaikovsky, who revealed to Alexander Siloti that he was particularly impressed with the Prelude, the nineteen year old composer premiered the piece at the Moscow Electrical Exposition on September 26, 1892. The entire set premiered on December 27, 1892, in Kharkov.
The prelude is organized into three main parts, ABA, and a coda. Three opening chords at fortissimo introduce the grim C-sharp minor tonality that dominates the piece. The cadential motif repeats throughout. In the third measure, the volume changes to a triple piano (ppp or pianissimissimo) for the exposition of the theme. The second part is propulsive and marked Agitato, beginning with highly chromatic triplets. This passionately builds to interlocking chordal triplets that descend into a climactic recapitulation of the main theme, this time in four staves to accommodate the volume of notes. Certain chords in the section are marked with quadruple sforzando (sƒƒƒƒ). The piece closes with a brief seven-measure coda which ends quietly.
The prelude became one of Rachmaninoff's most famous compositions. In the United States, early editions carried the name "The Bells of Moscow", perhaps to attract buyers, and give it a popular name. While Rachmaninoff probably wrote it as the primary piece of the Morceaux set, he came to loathe the piece as its fame overshadowed other works of better quality. It was so popular that it was referred to as "The Prelude" and audiences would demand it as an encore at his performances, shouting "C sharp!" Even today, the complete Morceaux de Fantaisie is rarely performed as a whole. Because of its celebrity and since it is one of Rachmaninoff's most pianistically simple works, it is often played by amateurs or students.
It was recorded by the composer both electrically and on Ampico piano rolls.
The prelude formed the basis for George L. Cobb's Russian Rag.
