More difficult are Nos. 17, 25 and 11, without, however,
demanding eminent virtuosity. The other Preludes belong to a
species of character-etude. Despite their brevity of outline
they are on a par with the great collections op. 10 and op.
25. In so far as it is practicable--special cases of
individual endowments not being taken into consideration--I
would propose the following order of succession: Begin with
Nos. 1, 14, 10, 22, 23, 3 and 18. Very great bravura is
demanded by Nos. 12, 8, 16 and 24. The difficulty of the other
Preludes, Nos. 2, 5, 13, 19 and 21, lies in the delicate piano
and legato technique, which, on account of the extended
positions, leaps and double notes, presupposes a high degree
of development.
This is eminently a common sense grouping. The first prelude,
which, like the first etude, begins in C, has all the
characteristics of an impromptu. We know the wonderful Bach
Preludes, which grew out of a free improvisation to the
collection of dance forms called a suite, and the preludes which
precede his fugues.
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