Performer 演奏者
Name : Joey Li
Grade: 10
School: Northfield Mount Hermon School
姓名：李庭洲
年级：10
学校：北野山高中
About the Composer 关于作曲家
Sergei Rachmaninoff (1873-1943) was one of the finest pianists and composers of the early 20th century. Rachmaninoff is known as the very last holdout of the Romantic era – while his contemporaries were exploring possibilities of new musical trends of the early 20th century (including polytonality, atonality, serialism), Rachmaninoff seemed to have his heart stuck back in 1880. His music is full of beautiful soaring melodies, sweeping emotion, a keen sense of the dramatic, as well as tonality, clear structural thinking, and a good amount of “conventionality” of the old days.
谢尔盖·拉赫曼尼诺夫（1873-1943）是20世纪早期最优秀的钢琴家和作曲家之一。他被认为是浪漫主义时代的最后一个坚守者——当他的同代人在探索20世纪早期新音乐趋势（多调性、无调性、连续体）的可能性时，拉赫曼尼诺夫似乎还是执迷于1880年左右的音乐风格。他的音乐充满了优美的旋律、奔放的情感、敏锐的戏剧感、丰富的调性、清晰的结构思维、以及大量“中规中矩”的元素。
About the Piece 作品简介
Prelude in G minor, Op. 23, No. 5, was completed in 1901. It was included in Rachmaninov’s Op. 23 et of ten preludes, despite having been written two years earlier than the other nine. The Prelude's taut structure is in ternary form (ABA), consisting of an opening "A" section with punctuated sixteenth-note chords (marked: Alla marcia, march), a more lyrical and melancholy "B" section with sweeping arpeggios in the left hand (marked: Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march.
The Alla marcia section is in itself in ternary ABA form. Within the first three measures of the Prelude, Rachmaninoff introduces the unifying factors of the piece (notwithstanding the Poco meno mosso section). First, the chordal march of measure one; second, the fragment on the second half of the beat in measure two; third, the fragment on the second half of beat two in measure three.
Measures 1–9 expand on the march theme. Following a cadence in the dominant, the section repeats in measures 10–16 with slight alterations and concludes in a G minor perfect cadence.
The "B" subsection of the Alla marcia section (measures 17–24) mirrors the rhythm of the first measure, presenting a sequence of related chords beginning with E♭.
In contrast to the Alla marcia, the "B" section introduces a lyrical chordal melody over an extended arpeggiated figure. Beginning in measure 35, a two-measure phrase is repeated and then serially extended in measures 39–41. A counter melody appears at measure 42 in the middle voice, intensifying the passage.
Following the middle section, the Prelude transitions to a recapitulation of the march section by gradual increases in tempo and dynamics. The section uses chromatically upward moving chords following embellished diminished seventh figures.
Finally, the piece ends in a highly original way: a short arpeggiated run to a high G, marked pianissimo.
G小调前奏曲，作品23，第5号，完成于1901年。这首曲子被收录在拉赫曼尼诺夫的作品23《十首前奏曲》中，尽管它比其他九首早了两年。前奏曲由工整的三重ABA结构谱成，由一个带有标点的十六分音符和弦的“A”部分（标记：Alla marcia，march/进行曲风格）、一个包含左手刮奏分解和弦的更加抒情和忧郁的“B”部分（标记：Poco meno mosso/稍慢）、以及最后过渡到原来的节奏并重复演奏了最初的“A”部分。
Alla-marcia的本质是三重ABA结构。在前奏曲的前三个小节中，拉赫玛尼诺夫引入了这首曲子的统一因素（尽管有Poco meno mosso/稍慢的部分）：首先是第一小节的和弦进行曲；其次是第二小节两拍半后的片段；最后是第三小节第二拍后的片段。
1-9小节加强了进行曲风格。主要片段终止后，这一部分在10-16小节中重复，稍作改动，以g小调完全终止结束。
“B”段的Alla marcia/进行曲部分（17-24小节）呼应了第一小节的节奏，呈现了一系列以E♭开头的相关和弦序列。
与Alla marcia/进行曲不同的是，“B”部分引入了一种抒情的、以和弦构成的旋律和大幅度的琶音。从第35小节开始，长为两小节的短句被多次重复，然后在39-41小节中连续展开。在第42小节的中音部出现了一个反旋律，加强了这一段的旋律节奏。
在中段之后，前奏曲通过逐渐增加的力度和加快的节奏过渡到了进行曲的重述部分。这一部分使用音色渐渐升高和弦，以及减七度加以装饰。
最后，曲子以一种非常新颖的方式结束：一段短的、直到高音G的琶音，标记为“极弱”。
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