My personal opinion:
A short prelude that can be divided into two sections.
The first, more percussive section is constructed from a sequence that, in principle, consists of five bars of 4/4 time.
In the first bar, only the first beat is struck, as it consists of whole notes, and the left hand plays the notes E, B, C, D, while the right hand plays G, A, and F-sharp.
In the second bar, each hand, on the first beat, strikes the same notes again, which remain resonating for all four beats. BUT, on the third beat, both hands move symmetrically, the left hand doubling the low E and the right hand the high F-sharp (also doubled), allowing them to resonate (both hands) until the end of the bar.
In the third measure, both hands begin the first beat with their usual chord, letting it resonate for four beats. However, on the third beat, the left hand plays the doubled low E, letting it resonate until the end of the measure. On the fourth beat, the right hand plays the doubled F-sharp in the high register.
Following the rhythmic logic we're observing, the fourth measure begins with the left-hand chord, which remains resonant until the end of the measure. On the second beat, the right-hand chord, which remains resonant until the end of the measure. On the third beat, the doubled high F-sharp, which remains resonant until the end of the measure. On the fourth beat, the low E (which remains resonant until the end of the measure). The fifth measure is entirely silent.
To recapitulate, from a rhythmic point of view, in the first measure we only strike the first beat; in the second measure, we strike the first beat and the third beat; in the third measure, we strike the first beat, the third beat, and the fourth beat; and in the fourth measure, we strike all four beats.
We repeat the entire sequence, but eliminating the first measure.
After the measure of silence, the entire sequence is repeated again, but eliminating the first measure of the previous repetition.
Another repetition, eliminating the first measure of the previous repetition, and after the measure of silence again, one last repetition, eliminating the first measure of the previous repetition (that is, we would have the last measure of the original sequence).
This time, without a measure of silence, we move on to the second section, where a short counterpoint serves as a coda.
Biography of Andrea Vezzoli:
Andrea Vezzoli, at the age of 12 began studying piano with Mara Buzzoni for more than two years, after which she studied clarinet at Corte Franca (BS) where she is still principal clarinetist under the direction of Hercules and Giampietro Lanfranchini Fanchini.
His first compositions, of various styles, such as folk or jazz, are inspired by the landscapes of Franciacorta.
In 2005, he began a detailed study of composition with the composer and pianist Andrea Rosa at the Academia de Pasini Corte Franca (BS).
His versatile style, with references to Stravinsky's early music, descriptiveness and interest rates are the keys to Andrea Vezzoli's popular compositions.
Vezzoli's social links:
Enjoy his Prelude 4 performed by Carlos Marín Trigo:
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