Préludes pour piano (Preludes for piano) is an early work for piano by the French composer Olivier Messiaen composed in 1928–1929, when the composer was 20 years old. Messiaen considered it to be his first work of any value.[1] The composition is based on Messiaen's modes of limited transposition,[2] and betrays an influence of Debussy's preludes.[3]
The pieces were premiered by the composer in a private performance at the Concerts Durand which took place on January 28, 1930. The first public performance was given by Henriette Puig-Roget on March 1, 1930, at the Salle Érard at the Société Nationale de Musique in Paris.[4][5]
Movements
The work is in eight movements, each accompanied by a description consisting mostly of the associated colors. It takes about 34 minutes to play in full.
Original Title
English Translation
Description
1
La colombe
The Dove
Orange, with violet veins.
2
Chant d'extase dans un paysage triste
Song of Ecstasy in a Sad Landscape
Gray, mauve, Prussian blue at the beginning and end; diamond and silver at the middle.
3
Le nombre léger
The Light Number
Orange, with violet veins.
4
Instants défunts
Dead Instants
Smooth gray with reflections of mauve and green.
5
Les sons impalpables du rêve
The Impalpable Sounds of a Dream
Polymodal, consisting of a blue-orange mode with a chordal ostinato and cascades of chords, and a violet-purple mode having a copper timbre. Note the pianistic writing, composed of triple notes, rapid passages in chords, canon in contrary motion, hand crossing, various staccatos, brassy louré, gem effects.
6
Cloches d'angoisses et larmes d'adieu
Bells of Anguish and Tears of Farewell
The bells combine several different modes: the "hum" (deep bass) and the upper harmonies of the bells sound with luminous vibrations. The farewell is purple, orange, violet.
7
Plainte calme
Calm Plaint
Smooth gray with reflections of mauve and green.
8
Un reflet dans le vent
A Reflection in the Wind
The small storm which opens and concludes the piece alternates veins of orange, and green with black stains. The central development section is more luminous. The second theme, very melodious, and wrapped in sinuous arpeggios, is blue-orange in its first occurrence, and green-orange in its second one. Violet, orange and purple dominate the entire piece.
