Prelude Op.3No.2 by S.V. Rachmaninoff and prelude Op.11No.10 by A.N. Scriabin : two facets of drama

Abstract

The two considered dramatic preludes were written by the young S.V. Rachmaninov and A.N. Scriabin almost at the same time, with a difference of two years. The article examines the interrelationships and features of these two plays. The basis for the joint study of these miniatures is the same tonality (C-sharp minor), one genre definition, as well as a number of similar features in imagery (drama) and in the dramatic idea (the juxtaposition of the "fatal" beginning and the pleading voice). The interrelations are manifested in form, texture, harmony, and specific compositional techniques. On the other hand, distinctive features are also studied in the form, texture, harmony, concert scale, and features of the melodic relief of these compositions. An attempt is made to substantiate the specificity of the figurative and semantic content of the plays by the peculiarities of the musical language. S.V. Rachmaninov's prelude Op.3No.2 and A.N. Scriabin's prelude Op.11 No.10 are studied by comparison. The method of sequential comparison makes it possible to study in detail the interrelationships, as well as to clearly identify the features, individuality of the figurative and semantic content and musical language of each of the miniatures. For the first time, these two famous preludes are considered in comparison with each other in detail, sequentially in the context of each part. It can be argued that preludes have a number of similar features (dramatic, compositional, textural) that have not been discussed before. As a result of the comparison, both the peculiarities of imagery and the peculiarities of musical language are highlighted in a new way. A number of these features will later, in the course of the evolution of creativity, become distinctive features of the compositional styles of each of the authors. Due to these individual characteristics, one dramatic idea is embodied in each of these preludes in its own way: the idea of contrasting and further interaction of two contrasting images - "rock" and "supplication" is embodied in each prelude in its own way. These features emphasize the difference in the nature of the drama of each of the plays. This difference is related to the individuality of the emotional, figurative, semantic content of creativity and the specifics of the aesthetic positions of the two Russian contemporary composers.