About this work
The twelve preludes of the second book often play with distance: a sound seems to come from far away, a figure suddenly crosses the keyboard, then resonance erases its outlines. Space becomes an element of the form.
Mark changes of layer as carefully as changes of dynamic. A distant voice is not merely quieter; its attack, duration and surrounding pedal also need to differ.
Practise fast gestures dry before reconstructing the resonance. You can then choose what the pedal genuinely prolongs and retain precise rhythms beneath the effects of timbre.
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