Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. All of the composer's passions are released in the Prelude No.24 in D minor (Allegro appassionato), but to no avail: the impending doom cannot be averted, and three solo iterations of the pitch D in the bass, sounding very much like the tolling of a bell, bring the collection to a defeated end.

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Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.10 in C-sharp minor (Allegro Vivace) is another of the short, lightning-fast variety, demanding a performer with fleet feet and a gentle touch.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.23 in F major (Moderato) is certainly one of the most charming of Chopin's works. The gracious, blissful story is left incomplete as the melody ends, quietly, on a the flat seventh scale degree, the music thus ending on a (non-functional) dominant seventh chord.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. Molto Agitato, stormy, and difficult (with fiery left hand octave passages), the Prelude No.22 in G minor is an effective contrast to its more tranquil neighbors.

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For many of Chopin's 24 Preludes, the title prelude can be a misleading one—while keyboard improvisation of one piece as a prelude to another was very much alive during the 1830s, and while it is on record that Chopin did in fact employ some of the preludes in this way, it seems indisputable that the real intent was for the preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J. S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin.

The gamut of emotions contained within the collection is impressive. None of the preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. One of the few preludes that expresses true sadness (in the proper sense of the word), the Prelude No. 4 in E minor (Largo), was performed at the composer's own funeral service (also on the program were the sixth and twentieth preludes and the Mozart Requiem). The languid, chordal accompaniment provides effective support for the prelude's tormented melody. Rarely has so much grief been poured to such powerful effect into so tiny a mold.

If the emotional tenor of this E minor Prelude can be tied to events in the composer's life, those events must have been devastating to have created such a despondent mood. That said, this famous prelude is a beautiful expression of such an abject sadness. The piece was one of 24 in the Op. 28 set that Chopin began in the aftermath of his breakup with Countess Delphine Potocka. He would begin an affair with writer George Sand (Aurore Dupin Dudevant) in 1838, however. If this work is related to his love life, it must have been written during its lowest nadir.

This prelude begins with a melody which might strike the uninitiated ear as merely gloomy descending chords, so long-breathed and obsessive it is in its slow-paced downward tread. The music seems to be weeping and growing more listless as its end nears. The gloomy harmony, enacted by the left hand in a repetitive funereal gait, imparts a sense of doom, as if expressing fateful tolling bells. This two-minute piece ends quietly, somberly, and resigned to its message of sadness. For all its sorrows, this is one of the most popular preludes in the set.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. Prelude No.2 in A minor (Lento) is stark and unusual, some might say morbid, even by a Chopinesque standard. The slow, enigmatic beginning to the work soon gives way to sinister brooding. A basic aversion to corporeal life, never altogether absent from the composer's work, is apparent here.

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Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The eleventh Prelude (B major, Vivace) bubbles with glee during its few seconds of life.

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Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor.

Chopin reduces mazurka form to a bare minimum in the seventh Prelude (A major, Andantino). Although brief, the listener is provided with as much of that peculiar, refined passion as one finds in the composer's full-blown mazurkas.

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The subtitle here, "Thou Art So Like a Flower," will please some and annoy others. Many of the other Preludes in this set bear ill-fitting nicknames assigned by well-meaning admirers of the music. Moreover, three of the Preludes have been called "Raindrop"—Nos. 6, 8, and 15. In any event, the subtitles of the items in this famous set are not of great significance.

This G major prelude lasts a bit less than a minute. Its scant timing, however, is compensated for by its colorful vivacity and infectious luminescence. The right hand delivers the sweet and joyful tune, whose arch-like contour is less rise-and-fall than rise-and-shine. The left hand plays busily, almost anxiously, as if it were accompanying a different melody. But its industrious character blends nicely to provide a sunny atmosphere. The theme is played twice, and the piece ends with the left hand figurations on the ascent. Chopin completed the Op. 28 preludes in the winter of 1839, a time during which he suffered a serious illness. This prelude, however, was probably written well before then.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. Like the ninth Prelude, the Prelude No.20 in C minor takes only twelve Largo measures to make its eloquent statement. An opening fortissimo declaration dissolves to piano, and the repetition of this phrase is entirely subdued. The harmonic structure is of great beauty.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.19 in E-flat major (Vivace) is joyful and contented, as well as very technically taxing.

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Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.6 in B minor (Lento assai) is, like the fourth, of the most despairing kind, and is probably the most generally well-known of the Preludes. A somber left-hand melody is allowed to slowly unfold. A masterpiece of musical form in miniature.

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Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. In composing the Prelude No.9 in E major (Largo), Chopin achieved in a bare twelve measures what many composers fail to produce in a full opera. Powerfully majestic in tone, and entirely unhurried, these four lines of music, inexplicably, convey the essence of infinite grandeur far better than had the composer doubled their number.

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Frédéric Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.8 in F-sharp minor (Molto Agitato) uses a repeated sixteenth-note rhythmic pattern and excited chromaticism to create a feverish stir. After a thrilling climax the mood settles down a bit. The pianist must have good command of the right-hand thumb, which is asked to present the melody alone.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.13 in F-sharp major (Lento) has something of the flavor of Chopin's more peaceful Nocturnes about it. A central, piu lento, section expresses a deeply soulful joy.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca; he was paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way—the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin.

The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor.

The Prelude No. 15 in D flat major (Sostenuto), the famous "Raindrop" Prelude, is the longest of the bunch, having a full-scale ABA form. The gentle repeated notes that accompany the opening phrase have earned this popular work its nickname, though when this same figure is transported into the works more aggressive middle section one sees how inappropriate the name really is: here it is not rain, but hail and rocks.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.14 in E-flat minor (Allegro) is an exercise in unison triplet writing (and, as such, calls to mind the finale of the composer's famous B-flat minor Sonata), rage-filled and combative.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The Prelude No.21 in B-flat major (Cantabile) is from much the same palette that painted the Nocturnes and the Prelude No.13.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. Mendelssohn was enamored of the Prelude No.17 in A-flat major (Allegretto), declaring it to be "something that [he] could never have written at all." The tonic A-flat pedal never really leaves us during this six-eight meter piece, and the work concludes with eleven bass-register iterations of the pitch.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. The sixteenth Prelude (B-flat minor, Presto con fuoco) has long been a favorite of the virtuosi. Six stoic chords set the stage for an outburst of intense fingerwork in the most bravura style.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay (with writer George Sand) on the island of Majorca, having been paid 2000 francs for the copyright by Parisian publisher Camille Pleyel (son of the more famous Ignaz Pleyel). While evidence, particularly the composer's own correspondence, seems to indicate that the majority of these works were composed between 1837 and 1838, it is possible that a handful of them might have been produced during the years immediately preceding and following that period. For many of these pieces the title Prelude can be a misleading one, for, while the practice of "preluding" (during a live performance, preparing the atmosphere of the next major work by means of a brief, usually improvised, introductory piece, possibly making a modulation from the key of the preceding work to the key of the next) was very much alive during the 1830s—and while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may be as much a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys (the two books of the Well-Tempered Clavier) exerted a heavy influence on Chopin. The gamut of emotions contained within the collection is impressive. None of the Preludes is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization—far from diminishing the works' expressive power—actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor. Something of a recitative character informs the Prelude No.18 in F minor (Allegro Molto). Musical declarations are clearly drawn, and one senses that, in this case, the work might aptly serve as the preface to some larger musical idea.

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Fryderyk Chopin's 24 Preludes were published in mid-1839, immediately after the composer's wintertime stay with writer George Sand on the island of Majorca. Chopin had been paid 2,000 francs for the copyright by Parisian publisher Camille Pleyel, son of the more famous Ignaz Pleyel. Evidence, some of it in the composer's own correspondence, seems to indicate that the majority of these works were composed in 1837 and 1838. For many of these pieces, the title Prelude can be a misleading one. The practice of "preluding" was very much alive during this period, and Chopin's preluding abilities are well-documented. During a live performance, preluding was a way of preparing the atmosphere of the major work by means of a brief, usually improvised, introductory piece that often made a modulation from the key of the preceding work to the key of the next. And while it is on record that Chopin did in fact employ some of the Preludes in this way, it seems indisputable that the real intent was for the Preludes to stand on their own, preferably in a complete performance. The selection of title may also be a nod in the direction of J.S. Bach, whose own Preludes and Fugues in all the major and minor keys, better known as the two books of the Well-Tempered Clavier, exerted a heavy influence on Chopin.

The gamut of emotions contained within the collection of 24 preludes is impressive. None of them is particularly long, and some of them, like the very first, are of almost disconcerting brevity. The truncated formal structures and abbreviated phrase patterns that result from this general miniaturization, far from diminishing the works' expressive power, actually serve to focus each of the pieces in an extraordinarily effective way. On a large scale, the 24 Preludes are organized by key group: C major, its relative minor A minor, G major, its relative minor E major, and so on, moving up the circle of fifths until the final Prelude in D minor.

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