24 Préludes

In the 19th century, pianists routinely improvised short introductions to longer pieces, a practice that led many composers to write cycles of 24 brief preludes covering each of the major and minor keys—including Hummel (1814), Cramer (1818), Kalkbrenner and Moscheles (both 1827). Taking this form as his starting point, Chopin expanded the scope of his own cycle to go beyond introductory exercises that establish a key to character pieces of rich invention and independence. His 24 Preludes, Op. 28, are associated with his ill-fated winter sojourn in Majorca with his lover, George Sand, in 1838-’39. Although all but four of the pieces were already sketched before this trip, Chopin worked there on finalising the set amid terrible conditions, bad weather and deteriorating health. Some of the preludes—the waltz-like No. 7 in A major, for example, or No. 10 in C-sharp minor—are tiny microcosms that work best in the context of the complete cycle, while others—the famous “Raindrop” Prelude No. 15 in D-flat major, or the nocturne-like No. 20 in F-sharp major—are miniature tone poems fully able to stand alone. Although a few of the pieces are technically demanding, none more so than No. 16 in B-flat minor, many are within easy reach of amateurs, so are frequently played in isolation, including the slow and expressive preludes No. 4 in E minor, No. 6 in B minor and No. 20 in C minor.