Chopin: Preludes, Op. 28 (Pierpaola Porqueddu)

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Frédéric Chopin
Préludes, Op. 28
Piano: Pierpaola Porqueddu

00:00 No. 1 in C Major, Agitato
00:42 No. 2 in A Minor, Lento
02:47 No. 3 in G Major, Vivace
03:46 No. 4 in E Minor, Largo
05:37 No. 5 in D Major, Molto allegro
06:18 No. 6 in B Minor, Lento assai
08:25 No. 7 in A Major, Andantino
09:10 No. 8 in F-Sharp Minor, Molto agitato
11:02 No. 9 in E Major, Largo
12:25 No. 10 in C-Sharp Minor, Molto allegro
12:57 No. 11 in B Major, Vivace
13:39 No. 12 in G-Sharp Minor, Presto
14:51 No. 13 in F-Sharp Major, Lento
17:53 No. 14 in E-Flat Minor, Allegro
18:25 No. 15 in D-Flat Major, Sostenuto "Raindrop"
23:51 No. 16 in B-Flat Minor, Presto con fuoco
25:01 No. 17 in A-Flat Major, Allegretto
28:02 No. 18 in F Minor, Molto allegro
29:03 No. 19 in E-Flat Major, Vivace
30:15 No. 20 in C Minor, Largo
32:12 No. 21 in B-Flat Major, Cantabile
34:02 No. 22 in G Minor, Molto agitato
34:49 No. 23 in F Major, Moderato
35:57 No. 24 in D Minor, Allegro appassionato

Chopin's 24 Preludes, Op. 28, are a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839.

Chopin wrote them between 1835 and 1839, partly at Valldemossa, Mallorca, where he spent the winter of 1838–39 and where he had fled with George Sand and her children to escape the damp Paris weather. In Majorca, Chopin had a copy of Bach's The Well-Tempered Clavier, and as in each of Bach's two sets of preludes and fugues, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering.

Whereas the term "prelude" had hitherto been used to describe an introductory piece, Chopin's pieces stand as self-contained units, each conveying a specific idea or emotion. He thus imparted new meaning to a genre title that at the time was often associated with improvisatory "preluding". In publishing the 24 preludes together as a single opus, comprising miniatures that could either be used to introduce other music or as self-standing works, Chopin challenged contemporary attitudes regarding the worth of small musical forms.
(Source: Wikipedia)

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