🇫🇷Charles Camille Saint-Saëns : Suite Prelude and Fugue Op.90
DifficultyThe base difficulty score is calculated using AI-assisted analysis.
MECHANICS
76.0
上級
Mus
★
★
★
★
★
3.0
Intermediate
About This Piece’s Difficulty
Piabase rates this piece at 76.0 for technical difficulty ("Advanced") and 3.0 for musicality.Secure technique is required, and detailed control and the ability to shape the performance as a whole become important.Fundamental musical expression, including dynamics, phrasing, and articulation, becomes an important part of the performance.
Play Status
0
Total
Played
0
Practicing
0
Want to Play
0
Suitability
0
Total
Competition
0
Concert
0
Exam
0
Performance Videos
Pieces at a Similar Difficulty
Alexander Scriabin
2 Pieces “Prelude” Op.59-2
Advanced Tec76.0
Mus★ 3.0
Felix Mendelssohn
3 Fantaisies or caprices Scherzo in e-moll MWV.U71 Op.16
Advanced Tec76.0
Mus★ 3.0
Felix Mendelssohn
7 Character Pieces No.4 in A-Dur MWV.U59 Op.7-4
Advanced Tec76.0
Mus★ 3.0
Dmitri Dmitriyevich Shostakovich
8 Preludes No.3 in e-moll Op.2
Advanced Tec76.0
Mus★ 3.0
Dmitri Dmitriyevich Shostakovich
24 Preludes and Fugues No.11 in H-Dur Op.87-11
Advanced Tec76.0
Mus★ 3.0
Dmitri Dmitriyevich Shostakovich
24 Preludes and Fugues No.15 in Des-Dur Op.87-15
Advanced Tec76.0
Mus★ 3.0
Manuel de Falla
El Amor Brujo 3.Dance of Terror
Advanced Tec76.0
Mus★ 3.0
Felix Mendelssohn
Etude(Prelude) in f-moll MWV.U125
Advanced Tec76.0
Mus★ 3.0
Saint-Saëns’s Suite Prelude and Fugue, Op. 90-1, is the first piece combining a Prelude and a Fugue. The Prelude carefully presents the flow of the melody and harmonic changes, while in the succeeding Fugue, the subject unfolds as it passes between the voices. The progression from a free-flowing introduction to tightly interwoven contrapuntal writing is one of the work’s highlights. In performance, it is important to balance the voices and bring each entrance of the subject clearly to the foreground. Rather than relying too heavily on the pedal, shape note lengths and articulation with the fingers, balancing the Prelude’s singing flow with the Fugue’s forward momentum.