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24 preludes for piano from the early virtuoso period, 1790-1835


Cycles of 24 Preludes written before Chopins preludes opus 28, part 1
Jeroen Riemsdijk

In a letter dated 1
st
-10
th
December 1842, Hector Berlioz mentions a
performance at the court of Saxe-Weimar by the thirteen year-old Arthur
Kalkbrenner, son of the then famous pianist and composer Friedrich
Kalkbrenner. The elder Kalkbrenners intention is to present his son as a
child prodigy, showing the Duke
1
his sons talent by letting him perform
an extemporaneous improvisation. After some wrong chords Arthur
runs to his father and says to him: Daddy, I have forgotten the rest.
2
It is
not the first time Kalkbrenner is cheating his audience and is caught in
the act.
3

Some twenty years earlier, in 1823, on the occasion of one of the Sunday
soirees at the residence of the Mendelssohn family in Berlin, Kalkbrenner
was performing what seemed to be an impressive extemporaneous
improvisation. The next day some scores written by Kalkbrenner arrived
from Paris, including his Effusio Musica, opus 68.
4
Fanny Mendelssohn
thus discovered that the improvisation of the previous day had merely
been a performance of Kalkbrenners Effusio. The same story applies
when Kalkbrenner was improvising for the publisher Adolph Marx
5
; the
extemporaneous effusion Kalkbrenner played at a concert in Ireland in
August 1824
6
could be an indication of the same trick.

According to Harold C. Schonberg, Mendelssohn was one of the most
sensational improvisers of all time. His improvised fugues were
legendary. There is nothing known about the improvisation talents of
Kalkbrenner, but a Memoir of Mr. Frederick Kalkbrenner published in
The Quarterly Musical Magazine and Review in 1824 mentions that he
was improvising fugues with Hummel: He became friends with
Hummel, together with whom he often played, especially on the
outstanding organ of Baron Vezlart, close to Schnbrunn, where they
regularly improvised four hands fugues.
7
According to biographer
Nautsch, this Memoir should not be taken too seriously because it is
likely that Kalkbrenner himself had a part in editing the text thereby
producing a flattering autobiography.
8
The musical meeting of
Kalkbrenner and Hummel took place at the end of 1803 and continuing
2
for the seven months while Kalkbrenner was staying in Vienna and both
were studying counterpoint with Albrechtsberger.
9


A specific kind of improvisation was that of the art of preluding -
improvising before the beginning of an actual composition. This had a
long established tradition, especially among performing composers.
10

During the first half of the nineteenth century, when the pianoforte made
its entrance, several treatises were written to elucidate on the art of
preluding to the growing number of amateur pianists, their teachers and
aspiring concert pianists. A treatise by Kalkbrenner, Trait dharmonie
du pianiste, principes rationnelles de la modulation pour apprendre a
prluder et a improviser opus 185, was published in 1849, the year he
died. Prior to Kalkbrenners treatise, others had published similar
studies.
11
Kalkbrenners treatise was aimed specifically at young pianists.
At the same time, albums with preludes were published whose function it
was to educate in the art of preluding - to study them and to borrow from
them, when appropriate. These albums comprised techniques of
preluding, using patterns of embellishment, modulations and cadences
(often of a virtuoso kind).

Czerny, in his Systematische Anleitung zum Fantasieren auf dem
Pianoforte, opus 200, draws a parallel between the art of preluding and
written introductions for fantasies, variations etc. with the remark that
every well-written introduction could serve as an example on how to
prelude oneself.
12

There are also many shorter and longer introductions to be found in
regular serious repertoire, for example in the Polonaises by Chopin and
tudes d'excution transcendante by Liszt, which only give an indication
of the endless creativity and diversity of forms and characters in which
these masters of improvisation were preluding.
13
They can take the shape
of a storm (tempest) introduction like Liszts Rakoczi March, his
Mephisto Waltz and Chopins direct and simple introduction to his
Polonaise opus 44 or the more technically and harmonically advanced
Polonaise opus 53; alternatively, such introductions may be of a dreamy,
poetic nature such as Chopins Polonaise-Phantasie. Liszts introduction
to his "Feux Follets" is a fine example of the most subtle and fast
passagework.
3

The prelude as a single piece or collection is a genre that goes back far in
time.
14
The cycle of 24 Preludes for Piano through all tonalities can also
be considered a genre piece. With his 24 Prludes through all tonalities,
opus 28, Chopin popularised this genre. For many of his successors his
cycle was an example and source of inspiration. Strangely enough, little
attention has been paid to those composers who preceded Chopin in this
practice of writing 24 preludes through all tonalities. There are no
existing publications which deal more or less systematically with 24
preludes written before Chopins opus 28. Therefore I will endeavour to
here establish how many cycles of 24 preludes for piano were written
before those composed by Chopin. The New Grove makes reference to
only one cycle in an article about the prelude, those of Hummel, and in
some other publications only one or two examples are mentioned. New
Grove: More typical of the Romantic period and its aftermath, however,
are the many independent preludes for piano, whose prototype was
Chopins matchless set of 24 Preludes op.28 of 18369. (They were not
the first: Hummel had published a set of 24 preludes in the major and
minor keys, op.67, some 20 years earlier.)
15
Hamilton (2008) and
Goertzen (1996) mention the cycles of Kalkbrenner and Kessler. The 24
preludes by Chaulieu are mentioned by Jim Samson.
16
The Wrfel
preludes are mentioned in Zielinskis Chopin biography (2008) and by
Goldbergs (2008).
Composers have written in the 24 major and minor keys for several
genres. Some composers of 24 preludes also wrote 24 studies (Hummel,
Kalkbrenner, Kessler). Hassler composed Etude en quatre-vingt valses,
opus 29 and 49. J. G. Goldberg composed at an earlier date his 24
Polonaises. Although in many cases Bach has been taken as example,
there is good pedagogic and methodical reason for piano students to be
able to play freely in all tonalities.
17
Different tonalities give different
orientation of the keyboard and can challenge pianists to improve the
sensation of subtle differences in tone colour of the key characteristics.
Recently, Van Sambeek Editie published a reprint of the 24 Preludes,
opus 88 by Friedrich Kalkbrenner. They were originally published in
1827, twelve years before Chopins opus 28. It is interesting to see what
place these Prludes take among the preludes composed during that time.
One may consider the following:
4
Which other composers wrote 24 preludes before Chopins opus 28?
What was the first cycle of 24 preludes written for piano?
Which cycle of 24 preludes for piano is the first that may be performed as
a cycle? (Is it opus 28 by Chopin?)
Many of the first albums with preludes, whether 24 or not, are meant as
pedagogic works - introductions in the art of preluding, and have no
artistic pretentions. We are speaking about publications from the period
1790-1840.

The interest in the art of preluding from that era is a recent development
that begins with the publication of an article by V.W. Goertzen in 1996 -
By Way of Introduction: Preluding by 18th- and Early 19th-Century
Pianists - where the author connects the written preludes to the common
performing practice of improvisation of an introduction before the actual
written composition begins. The art of preluding is very vividly described
in the chapter A suitable prelude in After the Golden Age: Romantic
Pianism and Modern Performance (2007) by K. Hamilton. Hamilton
gives examples showing how this tradition survived well into the
twentieth century. He provides many examples of how the art of
preluding took shape in written introductions of the most diverse kind and
how this tradition was hilariously exaggerated by the pianist-composer
von Blow who, before beginning Beethovens opus 111, would play the
first bar of Beethovens Pathetique as a short introduction. Hamilton
shows evidence that in several cases preluding was regarded not as an
option, but as a necessity. Shane Levesque presents in his article
Functions and Performance Practice of Improvised Ninetheenth-Century
Piano Preludes a long list of purposes for preluding before a piece.
Functions that serve a performer only, such as warming up the fingers;
functions that serve to support a performer-instrument connection, such
as trying out an unfamiliar piano; functions that serve to support a
performer repertoire connection, like to prepare the key; and functions
that serve to support a performer-audience connection, like to arouse the
audiences attention.
Edited until here

One could base preludes to two traditions. The preludes from Das
Wohltemperierte Klavier (I:1724-II:1744) by J.S. Bach usually are build
5
on one single musical idea and have not seldom a virtuoso character.

They are composed pieces. Only few of them, I: nos. I, 2, 5, 6, II, I5, and
II: no 3, have a preluding character.
18
The Prludes from lArt de Toucher
le Clavecin (1720) by Bachs contemporary Couperin are written
improvisations, according to its composer. Couperin explains: Although
these measured preludes are written, however, there is a got dusage
(fashion) of that use must follow. I'll explain: The Prelude is a free
composition, where the imagination is engaged in anything that presents
itself. But as it is rare to find geniuses capable of improvising them in the
moment, they are depending on these pre-fixed preludes
(non-improvised preludes), to play them with ease (manire aise),
without too much focus on precision of movement (mouvement), unless I
have indicated mesur. Thus, one can venture to say that in many
things, the music (as opposed to poetry) is his prose and verse.
19


This practice of preluding counts for many of the prelude
collections for piano, written before the publication of Chopins Preludes
opus 28 in 1839. It puts an interesting light on the nature of Chopins
Opus 28.

On which tradition Chopins preludes were based? Can they be
considered as composed improvisations, a kind of cultivated preluding?
Or are they common composition, miniature character pieces?
Biographer Zielinski writes in his standard biography of Chopin, that his
preludes form a clear unity. According to Chominski the rising and
ascending second interval form a central motive throughout the cycle.
Also Eigeldinger argues that the preludes opus 28 form a musical unity,
because the rising sixth that drops back to a fifth form a leading
composition element in his preludes.
20
Chopin showed great admiration
for the preludes and fugues by Bach and he took them to Mallorca in the
period that he finished his set of preludes. Several comments have
pointed out that they have served as examples for Chopins preludes. The
disciplined form of Bachs preludes has certainly been example for
the disciplined style of his Studies opus 10 and opus 25.
On the other hand, Shane Levesque wrote in his article about
the function and performing practice of improvised preludes in the
6
nineteenth century: Chopin did not compose only twenty-six preludes,
but likely improvised hundreds: revising, notating, and publishing his
best examples in twenty-four major and minor keys.
21

Andr Gide wrote: I have to admit, I dont understand the title that
Chopin has given these short pieces: Prludes. Prludes to what?
22

Chopin was known with many of the prelude collections of his
precedors. Chopin combined at his performance Prludes, Nocturnes en
Etudes as one group, and called it a Suite. Pianists occasionally have
performed a Chopin Prlude before another composition of Chopin, for
example the Prelude nr. 20 in c-minor as introduction to the Nocturne in
c-minor opus 48 nr. 1. Busoni for example performed the 7th Prlude in
A-major before the Black-key Study in G-flat
23
.
During the period 1790-1839 many collections of preludes have
been written. I have found about 26 collections, among them
are preludes by Clementi, Cramer, Ries, Moscheles, Szymanowska and
Czerny. Moscheles wrote 50 Preludes, opus 73, who could be used as
preludes for his Studies, opus 70
24
. Dussek wrote three sonatas (opus 31)
and added three preludes at the end of the album, who could be used
optional. Preludes were also combined to Fugues. Mendelssohn wrote six
of them, taking J.S. Bach as an example. Common was the combination
of Preludes and Exercises
25
, for example of Clementi, Szymanowska,
Wrfel, Herz en Sowinski. The 25 Preludi e Esercizi by Clementi contain
irregular mixture of preludes for some of his 24 Esercizi. His first
Esercizio is preceded by not less then 5 preludes, while towards the end
many of the Esercizii have no preludii. Clementis Gradus ad
Parnassum (1817-1826) contain Preludes, Studies and Fugues which
where called Preludes and Exercises by the Londense Repository of the
Arts in 1827, imitating Bachs Wohltemperiertes Klavier.
Especially Czerny, as composer and pedagogue, has been dealing
extensively with the phenomenon of preludes for piano. A short view
on his opus list show following works. Preludes, cadensen and a short
Phantasia in Brillant Style, opus 61; 48 tudes en forme de Prludes,
opus 161; L'Art de Preludier, opus 300; 50 Exercises, Studies and
Preludes for beginners, opus 359; 24 Easy in the most common
keys, opus 501; Studies for young pianists; 24 Preludes, opus 694; 60
Preludes, opus 696; 24 Preludien und Fugen, opus 856.

7
Overview of Prelude-cycles until Chopins opus 28
1787 Muzio Clementi Preludes en cadenzas. Musical characteristics
1789 Tomasso Giordani Preludes voor klavecimbel of piano door alle
toonsoorten op 33b
1790 Muzio Clementi 25 Preludi e Esercizi per pianoforte
1791 Daniel Steibelt Prludes ou Caprices, opus 5
1803 Muzio Clementi 12 Prludes
1805 Adalbert Gyrowetz Prludes
1813 Philiph Antoni Corri Original system of preluding
1814 Johann Nepomuk Hummel Vorspiele vor Anfang eines Stckes
aus allen 24 dur und moll Tonarten zum ntzlichen Gebrauch fr Schler,
opus 67
1817 ca. J. H. Mller, Prludes et exercises
1818 Johann Baptist Cramer 26 Preludes in the principal major and
minor keys for the pianoforte
1818 Tobias Haslinger XXX Vorspiele in den gebruchlichsten Dur und
Moll Tonarten fr das Pianoforte
1818 Francois-Joseph Ftis Prludes progressifs, opus 4
1820 Maria Szymanowska Vingt Exercises et Prludes
1820 Ferdinand Ries 40 Prludse pour le pianoforte en plusieurs Tons
majeurs et mineurs pour servir dintroductions a toutes Sortes de
mouvements, opus 60
1820 Carl Czerny 48 Exercises en forme de preludes ou cadences, opus
161
1821 Wilhelm Wrfel Verzameling etudes in de vorm van preludes in
alle grote en kleine toonsoorten
1822 Henri Herz Exercices et Prludes pour Piano dans tous les tons
majeurs et mineurs, opus 21
1820/25 ca Charles Chaulieu Vingt-quartre petits prludes, opus 9
1826 Heinrich Gherhard Lenz Collection de prludes dans tous les tons
usites pour le pfte
1827 Moscheles 50 Preludes in the major and minor keys intended as
short introductions to any movement, and as preparatory exercises to the
authors studies, for the pianoforte, opus 73
1827 Friedrich Kalkbrenner 24 Preludes for the pianoforte, in all the
major and minor keys, being an introduction to the art of preluding
1827 Anselm Httenbrenner 72 Prludien
8
1834 Joseph Kessler 24 Preludes, opus 31
1835 Felix Mendelssohn 6 Preludien und Fugen, opus 35
1836 Felix Mendelssohn 3 Preludien fr Klavier, opus 104a
183? Wojciech (Albert) Sowinski Vingt quatre prludes et exercises
dans tous les ton majeurs et mineurs, opus 20 (Parijs va 1830)
1839 Frederic Chopin 24 Prludes, opus 28
Some of these composers, especially Hummel, Moscheles,
Kalkbrenner
26
, Field, Ries, Herz en Czerny are connected to a new form
of virtuoso composing and piano playing, that is called Style brillant
27
.
Also young Chopin was initially composing in this style. Jim Samson
describes this style as follow. Beside of renewal of proportions and
rhythm, the Style brillant introduced also a new way of expression, that
was different from the habits of the previous (18th) century: the free,
colourful and brilliant humour, the often plebs roughness, the beloved
dance rhythms especial in the final movements of concertos, the new
revelling in feelings and a sentiment, that was more to the taste of the
bourgeois audience in concerts than of the guests in salons, and finally
the melancholic dreaminess.
28


Except being a style of composing, the style brillant was also a way of
playing piano, represented by pianists like Hummel: Variations in
nuance, clear articulation, sharp contrasts and speed of execution.
29
The
virtuoso piano playing is the style of bravura and brilliance.

According to Chopin-biographer Jim Samson, the brillant style is most
connected to Vienna. Categories were anything but watertight, but in
general the light-toned, light actioned and well-damped Viennese
instrument encouraged a brilliant style of rapid, non-legato passage-
work and a cantilina which would be subject to elegant embellishment.
This was the manner favoured by Mozart and taken over in part by
Hummel and Kalkbrenner. The heavier, deeper-toned English instrument,
on the other hand, fostered a legato cantabile style associated above all
with Clementi and continued by Cramer and Dussek.
30
One though
should also consider the brilliant capacities of the French instruments
Erard and Pleyer, the last being the equivalent of the Viennese piano with
its light touch. And from the Paris Pianist-Composers, it was Henry Herz,
9
who, throughout his life - like Czerny - wrote Variations and Phantasies
in a brilliant manner.

The brillant style often is found in the title of compositions, such as
Rondo brillant, Phantasie brillante, Variations brillantes, and in case
of Chopin also as Polonaise brillante and Valse brillante. For
publishers such addition was a plus and a good legitimating to publish a
composition.
It is worth to relate the style brillant to the improvised preluding and
preludes written for piano in this period. In many of the preludes written
before Chopins opus 28 this new spirit of virtuosity and bravura is
present. Exceptions are for example made by Mendelssohn, whose
variations opus 54 as reaction to the style brilliant where called
Variations serieuses and whose preludes are more in line with those of
Bach.
These early piano-preludes show how every composer-pianist has their
own brilliant texture and maybe even more present than in the concertos
the diversity of the style brilliant is showed. The pianistic texture that is
used by Hummel in his short preludes is significantly different form that
of Kalkbrenner and Herz. Chopin changes from the style brilliant to
Romantic style around 1831, with his Scherzo nr. 1 in b.
Czerny for example on the other hand continues to write his compositions
life-long (he died in 1857) in the brilliant style.
A list of 24 preludes for piano can be made out of the previous list
with preludes collections.
1814 Hummel Vorspiele vor Anfang eines Stckes aus allen 24 dur und
moll Tonarten zum ntzlichem Gebrauch fr Schler opus 67
1821 Wilhelm Wrfel Verzameling etudes in de vorm van preludes in
alle grote en kleine toonsoorten
1822 Henri Herz Exercices et Prludes pour Piano dans tous les tons
majeurs et mineurs Opus 21
1820/25 ca Charles Chaulieu Vingt-quatre petits prludes opus 9
1827 Friedrich Kalkbrenner 24 preludes for the pianoforte, in all the
major and minor keys, being an introduction to the art of preluding
1834 Joseph Kessler 24 preludes opus 31
183? Wojciech (Albert) Sowinski Vingt quatre prludes et exercises
dans tous les ton majeurs et mineurs opus 20
10

There are at least seven cycles of 24 preludes trough all keys, written
before the publication of Chopins opus 28.











Notes

1
Karl Friedrich von Sachsen-Weimar-Eisenach was Duke from 1828 to
1853. Hummel was here Kapellmeister at court from 1819 on.
2
Nautsch p 106.
3
Not seldom in publications Kalkbrenner is ridiculised in terms of:
charlatan and vain.
4
Musicians like Hall and Liszt had great apreciation for this work dit
werk zeer.
5
The question is, if this is a misunderstanding. Gerig describes an
identical situation in his book Famous pianists and their techniques. In
1834 Kalkbrenner came to visit him (Marx), bemoaning the fact that
since the days of Hummel no one was carrying on the noble art of
improvisation except himself.Then he went to the piano and improvised
for fiftteen minutes without interuption impressing Marx with his use of
various themes and the brilliance of his fugal treatment. But the next day
Marx received a package of newly published music from paris. What
should he find included in it but the previous days improvisation by
Kalkbrenner, note for note (Gerig p 131-132) Marx was friends with the
family Mendelssohn, so it possible that the two stories belong to the same
incident, so that marx was present at the performance even when an other
date is mentioned. The two stories resemble too much. The Effusio was
published in 1823 by Schlesinger in Berlin, so in the period that the event
11

took place at the Mendelssohns. Around 1834 the composition was most
likely known iby many pianists.
6
AMZ 26, 830; QMM-Memoir p 511
7
Quarterly Musical Magazine and Review -Memoir p 507
8
Nautsch p. 5
9
During his staying Vienna Kalkbrenner met and heared Clementi
and Beethoven playing and followed lessons with Haydn.
10
Hamilton p. 103.
11
Shane Levesque (2008): mentions following writers of
NineteenthCentury keyboard traiteses: Philiph Antony Corri, Carl
Czerny, Francois-Jospeh Ftis, Andr Grtry, Johann Nepomuk
Hummel, August Frederic Christopher Kollmann, Ignas Mocheles
and Friedrich Wieck.
12
Goertzen p. 326.
13
Zie Hamilton.
14
In Gattungen der Musik fr Tasteninstrumente (2003) in connection
to building an extensive pedagogic repertoire for pianoforte since 1780, is
spoken about the use of the traditional prelude against the substantial
new genre of Etude.(p. 279)
15
New Grove online 2010
16
Kalberg, 1992
17
Edler 7.2 p 287.

18
Iliffe, Frederick, p. 58
19
Quoique ces prludes soient crits mesurs, il y a cependant un got
dusage quil faut suivre. Je m
explique: Prlude est une composition libre, o limagination se livre
tout ce qui se prsente elle. Mais, comme il est assez rare de trouver des
gnies capables de produire dans linstant, il faut que ceux qui auront
recourt ces prludes rgls les jouent dune manire aise sans trop
sattacher la prcision des mouvements, moins que je ne laie marqu
exprs par le mot de mesur. Ainsi, on peut hasarder de dire que dans
12

beaucoup de choses, la musique (par comparaison la posie) a sa prose,
et ses vers.
20
Kallberg p. 124? .Eigeldinger p. 167-194.
21
Levesque, p 109
22
Kallberg p 133.
23
Hamilton p 102.
24
The remark could as well bes een as a promotion for his Studies opus
50.
25
A distinction was made between etude, exercise and study.
26
Czerny considered Hummel, Moscheles en Kalkbrenner as belonging
to the same school with an equal style of performing.
27
Ratner (1980, blz. 19) uses the term The Brilliant Style in the context of
composers like Scarlatti, Correli and Vivaldi. Style brilliant, as used by
Daube (1797), Trk(1789) en Koch(1802), refers to the use of fast
passagework, for virtuosity and intense feelings.
28
Zielinski p. 50.
29
Rittermann p 18 in Samson 1992.
30
Samson p. 46.



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Laaber Deel 7.2(2003) en deel 7.3 (2004).
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structure, significance, in: Chopin Studies ed, by J. Samson
Camebridge University Press 1988.
Gerig, Reginald Famous Pianists and their technique Indiana
University Press 1974/2007
Goertzen, Hamilton, Kenneth, After the Golden Age: Romantic
Pianism and Modern Performance, Oxford University Press 2007.
Kallberg, Jeffrey, Small forms: in defence of the prelude. in:
The Cambridge Companion to Chopin, Cambridge University
Press 1992.
Levesque, Shane, Functions and Performance Practice of
Improvised Ninetheenth-Century Piano Preludes, Dutch Journal
13

of Music Theory Vol. 13 No. 1 Febr. 2008 Amsterdam University
Press.
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Sess. (1896 - 1897)
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Rittermann, Janet, Piano music and the public concert, In: Samson, J.
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Samson, Jim, The music of Chopin. Oxford University Press 1985.

Timbrell, Charles French Pianism. A Historical perspective. Kahn &
Avrill London 1992/99.

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Early 19th-Century Pianists.

The Journal of Musicology, Vol.14, No.3, 1996, pp.299-337 University
14

of California Press.

Zielinski,Tadeusz A., Chopin. Sein Leben, sein Werk, seine Zeit. Schott
2008.

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