Figuration in Prelude No. 21

In the Preludes Op. 28 (the chronological centre of Chopin’s œuvre), No. 21 is governed from the start by an underlying four-part texture, the alto and tenor progressing by contrary motion between longer bass and soprano notes. At bar 33 this contrary motion is found in both hands over a dominant pedal, and tension builds towards the cadence, the whole passage acting at once as an allusive recapitulation and a conclusion. Here the shape of the figuration prevails over the actual motivic substance; the expressive effect is indescribable. ¹