Preludes, Other Genres, and Affect
本文从古典风格融合及调式与情绪的角度讨论第十首E小调Prelude
The Well-Tempered Clavier is a foundational work composed by Johann Sebastian Bach in 1722, generally regarded as one of the most important works in classical music history (Woodstra, Brennan & Schrott 52). It is a collection of two sets of preludes and fugues in all 24 major and minor keys, written as etudes that intended “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study” (Johnson). Not only are the preludes used for training for virtuosity, they also contain interesting melodic, harmonic, and rhythmic principles that can be taken as prompts for analysis. My chosen prelude, “WTC Book 1 Prelude 10 in E minor,” makes references to other genres in Western music that form sophisticated musical conversations. Moreover, the use of E minor as the tonic, as well as other key signatures that appeared in this piece, create emotional affects that build toward a sentimental overall atmosphere.
My analysis will follow the form of the piece, which is divided into three sections: the beginning section from measure 1 to 20, the cadence from measure 21 to 22, and the presto section from measure 23 to 41. I will discuss the genres and their techniques and associations referenced in each section, the key, the harmony and their implications, and how these elements work together in “dialogue.”
The first section is consistent with crystal sounds. The right hand plays a lyrical and expressive melody line that bears much resemblance with a slow movement in a sonata, or an elaborate cantilena in an aria. The florid style features stepwise melodic motion with melismatic moments made up of 32nd notes or trills, clearly seen in many places such as the very beginning in measure 1. It is easy to imagine this part being sung. The left hand is composed of a 16th-note bass line with block chords, recalling the style of a recitative that is swift and brisk. Despite that most recitatives mimic natural speech flow, this bass line contains a steady rhythm similar to the measured pulse in a cadenced speech. It also gives the section rhythmic punctuation, supporting while setting off the freedom of the melody line on the right hand.
Much like arias that express emotion, the keys in this section follow certain harmonic structures that arouse specific affects, conveying different emotions. Starting from the tonic, E minor, in measure 1, the melody modulates to its parallel major, E, at measure 4. Then, it modulates again to the relative major, G, around measure 7 to measure 9, followed by the key of A and A minor briefly, until it slowly modulates back to the tonic at the cadence section at measure 21.
Each key carries an affective character. As the melody moves along and its keys modulate, the emotions also adjust. According to “Affective Character of Keys,” the home key of this piece E minor is considered “pensive,” “profound” and “deep.” The emotion is “grieving” and “sorrowful” (Nordstrom 2). Correspondingly, the aria-like melody line starts in such a thoughtful yet melancholic manner, conveying a sense of loss. As it modulates, the emotion also evolves. At measure 4 on E major, the sorrow and despair deepens. Considered “despairing” and “deathly sorrow[ful],” the melody of E major reaches a little climax of pain. The following keys of G and A retreat from the sadness for a brief moment across a few measures, as if the pensive thought moves to a brighter time in memory. Nevertheless, the atmosphere quickly restores to the general sorrowfulness, expressed in A minor that is considered “lamenting” and “melancholic.” Just like in an aria, emotional affect carries narrative qualities and moves along with the story or musical thought. Although without words, the piece speaks and develops as the harmony guides the sentiment and imagination.
The second section is the cadence, where the right hand plays block chords against the 16th-note melody on the left hand. Here, the right hand takes on the role similar to the basso continuo that grounds the melody. Yet, played on the higher register, a sense of strength is delivered. This sets up expectations of change that transits the piece into a more energetic and vigorous section.
In the presto section, the tempo becomes significantly faster. Both left and right hands play 16th notes in a legato manner where all notes are smoothly connected. The melodies of both hands are in parallel motion with occasional exceptions such as in measure 30, where the right hand holds a long half note, and in measure 33 and 34, where the left hand rests for slightly longer than a quarter note. This part recalls a toccata that features fast-moving and virtuosic passages that emphasize the dexterity of the fingers, which fits well with the purpose of WTC as a collection of etudes.
The texture at the near-end of this section starts to increase, which builds toward the cadential climax. Starting from measure 34, a 3-voice texture emerges when the right hand holds a long half note on top of the 16th-note chain, creating a different rhythmic layer. Here, the 16th notes serve as counterpoint against the long half note, which is a characteristic seen in cantus firmus. In measure 38, the texture increases even more into 4 voices in the same manner on the left hand, pushing to a crescendo.
This passage also supports the harmonic design, and the rising and falling of the half notes on the right hand gives the music “curves.” For example, from measure 34 to 37, the half notes are organized in a generally falling direction with slight rises. This gives the sensation of sinking down. However, in measure 38 and 39, the direction takes a turn and climbs upward, bringing a sense of intensification, escalation and resolution, leading to the highest heights at the end.
When working with the presto section played in fast tempo and short note values, E minor feels like a stormy and wild heartache. The sorrow in the first section amplifies, the pensive thoughts swirl into a hurricane, and the overall atmosphere of grief is taken into another level. Along this vein, the last chord of the prelude switches to E major, considered as “deathly sorrow[ful],” “piercing and penetrating sorrow[ful],” and “madness.” It concludes the piece as the king of sorrow.
Reference
Nordstrom, Lyle. “Affective Character of Keys.”
Woodstra, Chris, et al. All Music Guide To Classical Music: the Definitive Guide To Classical Music. Backbeat Books, 2005: 59.
