The musical composition “Preludes” is based on the freely interpreted principles of sonata allegro with monothematic connections between the most important topics. In the most general terms, the form can be defined as a sonata-concentric (sonata allegro with an introduction, an episode in development and a mirror revision of a dynamized nature).
The beginning of the poem is very characteristic of Liszt, who usually refuses solemn introductions and begins many works quietly, as if undercover. In "Preludes", the jerky quiet sounds of the first measures give the impression of mystery, mystery. Then a typically romantic motive of the question arises - do-si-mi (m. 2 down - part 4 up), expressing the “key” initial phrase of the program: “Is our life not a series of preludes for an unknown hymn, the first solemn note of which death will take ? ”), That is, the question of the meaning of life. This motive plays the role of a thematic core for all subsequent music composition.
Grown from the motive of the question, but gaining certainty of self-affirmation, the heroic main theme (C-dur) sounds powerful and solemn in trombones, bassoons and low strings. A connecting and side theme contrasts brightly with the main one, drawing the image of the hero from another side dream of happiness, of love. At the same time, the binder is a “lyricized” version of the main theme, set forth by the cellos in a very melodious manner. In the future, it receives a cross-cutting meaning in the poem, arising on the edges of important sections and, in turn, undergoing variant transformations.
Side (E-dur), according to the program plan, is the theme of love. Her connection with the main motive is more indirect. With the main theme, the side is in a colorful, "romantic" tertz ratio. Particular warmth and intimacy is given by the side sound of French horns doubled by divizi viola.
The love idyll of the side part in development is replaced by life storms, battle scenes and, finally, a big episode of a pastoral nature: the “hero” is looking for rest from the worries of life in the lap of nature (one of the most typical ideological and plot motives of romantic art). In all these sections, there are transformations of the main motive. In a storm episode (first development section), it becomes more unstable, due to the appearance of the mind in it. 4. Unstable becomes the whole harmony, based mainly on reduced seventh chords, their parallel movements along the tones of the chromatic scale. All this causes associations with violent gusts of wind. The episode of the storm, reminiscent of sonata development in many ways, is characterized by vivid picture visualization. It continues the long tradition of “musical thunderstorms” (Vivaldi, Haydn, Beethoven, Rossini) and bears a clear resemblance to the turbulent, dramatic scherzo of the symphonic cycle.
The next section - the pastoral - resembles the slower part. His theme, alternately performed by various wind instruments, is generally new (this is the "episode" in development). However, even here, in the transparent sound of pastoral tunes, the “intonation of the question” flickers, as if the hero could not abandon his doubts in the lap of nature. Later, after the echoes of the connecting theme, a secondary theme is included in the development, very naturally continuing the music of the lyrical episode. Here the mirror reprise of the poem formally begins, but the tonality is new - As-dur.
The subsequent development of the secondary theme is aimed at its heroization: it becomes more active, energetic and in a dynamic reprise turns into a victorious march in a dotted rhythm. This marching version of the side theme is again preceded by a connecting theme, which also loses its dreamy character and turns into a jubilant appeal. The heroization of lyrical images logically leads to the top of the whole work - a powerful presentation of the main theme, which becomes the heroic apotheosis of the poem.
