Classical Preludes (2nd edition)

Classical Preludes (1999) is a suite of seven short character pieces for viola and piano, each a “prelude” in a distinctive classical or national style​. Kugel, himself a “viola master,” composed these seven preludes as homages to musical personalities and genres, giving each a descriptive title. The collection lasts about 22 minutes in total​. Despite the label “classical,” the preludes are original compositions, not arrangements of older works, but they deliberately evoke past eras and beloved influences.

The titles of the seven preludes are:

• Prelude “Mischa” – a warm, lyrical prelude (possibly named for a person or nickname, “Mischa,” which is Russian for Michael or a term of endearment). It has a singing quality, perhaps reflecting a Romantic Russian style in affection for someone close to the composer.

• Capriccio Italiano – a lively Italian-style caprice, likely inspired by the spirited character of Italian violin caprices. It features quick, playful melodies and virtuosic flourishes in the viola part, reminiscent of Paganini’s influence.

• Prélude Parisien (Prelude Parigino) – a French homage, evoking the elegance of Paris. One might hear bittersweet, Debussy-like harmonies or a chanson-style melody. The piano writing could suggest impressionistic textures as the viola spins a singing line.

• Prélude “Ysaÿe” – a tribute to the great Belgian violinist-composer Eugène Ysaÿe. This piece likely channels Ysaÿe’s late-Romantic style (rich chromaticism and rhapsodic freedom). It may quote the flavor of Ysaÿe’s own viola sonata or violin sonatas in style, with virtuosic sweeps and a nostalgic tone​.

• Preghiera – Italian for “prayer,” this is a meditative, heartfelt piece. It contains solemn, cantabile viola lines over gentle piano chords, embodying a sacred or reflective atmosphere. (Kugel later arranged Preghiera for viola quartet, indicating its standalone popularity​.

• Valzer-Capriccio “Vienna” – literally a “Waltz-Caprice (Vienna),” this prelude nods to the Viennese waltz tradition (think Johann Strauss) but likely with a twist. It starts as a graceful waltz and morphs into a capriccio with sudden tempo changes or quirky rhythms, blending nostalgia with humor.

• Rondo “Mozart-Kugel” – a witty finale named after the famous Austrian chocolate Mozartkugel (Mozart-ball) – and punning on Kugel’s own name. This rondo is playful and classical in spirit (recalling Mozart’s era) but with a jocular modern wink. Musically it features a light, rondo theme that returns amidst virtuosic episodes; the piano perhaps imitates a music-box or Viennese salon style, and the viola displays quick passagework and Mozartian elegance​

Taken together, the Classical Preludes form a kaleidoscope of styles, each piece capturing a different locale or personality. Kugel’s writing is tonal and accessible here, full of charm and technical flair. He uses traditional forms (prelude, caprice, waltz, rondo) as frameworks but injects them with personal touches and advanced viola technique. For example, Capriccio Italiano might include rapid string crossings and bright scales to emulate Italian violinistic brilliance, whereas Prélude “Ysaÿe” might demand passionate slides (portamenti) and robust double-stops evoking Ysaÿe’s violin sound. Despite their brevity (each prelude ~3 minutes), most contain a mini-development or contrasting middle section before returning to their main idea, as is typical in character pieces. The piano parts are tailored to each style: lush and rubato for the French/Belgian preludes, or rhythmically buoyant for the dance-like numbers. Kugel’s own virtuosity and humor shine especially in Valzer-Capriccio and Mozart-Kugel, which likely bring a smile to performers and listeners with their clever twists on classical idioms.

Composed and published in 1999, these preludes emerged around the time Kugel moved to Belgium and began teaching in Western Europe. They were possibly written for use in his recitals or as pedagogical pieces to give students a tour of different styles. In fact, Kugel premiered portions of Classical Preludes at the 1999 International Viola Congress in Gorizia – for instance, he performed “Capriccio Italiano” and “Mozart-Kugel” there, introducing them to the viola community​.

The set is dedicated generally to the tradition of classical viola playing, and implicitly to figures like Ysaÿe (who was a towering Belgian violin figure) and perhaps to friends (Mischa could reference a colleague or even himself). The diversity of influences – Italian, French, Viennese – reflects Kugel’s cosmopolitan outlook as a Soviet-trained musician living in the heart of Europe. Each prelude could also be seen as a salute to places important in music history: Italy (birthplace of string virtuosity), Paris and Vienna (capitals of 19th-century music), as well as tributes to idols (Mozart, Ysaÿe).

The Classical Preludes have become a favourite contemporary addition to the viola repertoire. Their charming blend of homage and originality has been noted by violists; they allow the performer to display a range of expressions in a short time. Several violists have recorded them – for instance, Ilan Schneider recorded the entire set with pianist Maria Meerovitch in 2004, highlighting their appeal on disc​.

Audiences enjoy recognizing the stylistic allusions (the Viennese waltz or Mozart-like phrases often draw appreciative chuckles). For viola students, these preludes are valued as study pieces that are enjoyable to play and hear, each honing a specific stylistic sensibility. In sum, Kugel’s Classical Preludes successfully enrich the viola-piano literature with brief, colorful vignettes that pay respect to musical pasts while showcasing the viola’s voice in the present.³