Canadian pianist Jan Lisiecki showcases the rich history of the prelude, from Bach and Chopin to Rachmaninoff, Messiaen and Grecki.

Centred around Chopins set of 24 Preludes, Op. 28, Lisiecki underlines the way in which Chopin set the prelude free by including the A-flat and C-sharp-minor preludes by the composer as well.

If Chopin was the initial inspiration, Lisieckis intention was always to set his preludes in musical and historical context, by examining the way others have imagined the genre. He begins by going back to Bach, whose Well-Tempered Clavier inspired Chopins Op. 28. Lisiecki has chosen the first two Preludes from Book I, in C major and C minor respectively.

Rachmaninoff is an obvious successor to Chopin in taking the prelude and exploiting its standalone potential. Lisiecki plays two of the Op. 23 set as well as the famous early work in C sharp minor, Op. 3 No. 2. From the 20th century we have Messiaen and Grecki.

Skilfully highlighting these connections and contrasts here, Lisiecki reveals the way in which the genre developed over three centuries. As he concludes, These other composers take on the prelude is so different than what Chopin gives us and I think it completes the album and shows that a prelude can mean more than just one thing.

CHOPIN: Prelude in A flat major, KK IVb/7
J.S. BACH: The Well-Tempered Clavier, Book 1 – Prelude No. 1 in C major
RACHMANINOFF: Prelude in D minor, Op. 23 No. 3
MESSIAEN: Prludes Nos. 1-3
CHOPIN: Prelude in C sharp minor, Op. 45
RACHMANINOFF: Prelude in C sharp minor, Op. 3 No. 2
GRECKI: 4 Preludes, Op. 1 Nos. 1 & 4
J.S. BACH: The Well-Tempered Clavier, Book 1 – Prelude No. 2 in C minor
RACHMANINOFF: Prelude in G minor, Op. 23 No. 5
CHOPIN: 24 Preludes, Op. 28

ARTISTS
Jan Lisiecki, piano