Building a Collection #57: Chopin's Preludes Op. 28

With recommended recordings

Building a Collection #57

Preludes, Op. 28

By Frédéric Chopin

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“I’m a revolutionary…” 

-Frédéric Chopin

Welcome back to all subscribers and readers!  Thank you for taking time out of your day to read about the great composers in classical music, and to join me on this journey covering the 250 greatest classical works of all-time.  We are counting upward and have reached number 57 on the survey. Occupying the #57 spot is the famous collection of 24 short piano works by Frédéric Chopin titled Preludes, Op. 28.  Originally published in 1839, each prelude is like a miniature world unto itself and Chopin covers every major and minor key in the set.   

Frédéric Chopin

Frederic Chopin was born in 1810 in Zelazowa, Poland and died in 1849 in Paris, France.  Chopin is one of the most important and most original composers of the Romantic period.  Chopin wrote exclusively for the piano, with only a few exceptions.  But the depth and range of expression Chopin was able to draw from the piano remains unsurpassed in the history of music, and his legacy both as a pianist and composer is undeniable.

Chopin’s father was French, and his mother was Polish.  He was born, raised, and educated in Poland and even though he lived most of his adult life in France, Chopin always fiercely considered himself Polish.  He was raised for many years in Warsaw, but in the summers the family would go to the countryside, where the young Chopin heard Polish folk songs.  These were to form the basis for many of his later compositions. 

By the age of 8, Chopin was considered a child prodigy.  He soon performed in private salons, and even began composing his own music for piano.  He gave his first public recital in Vienna in 1829.  After becoming a bit more well-known, he felt constrained by what he considered the backward cultural conventions of Poland, and by the ongoing political strife with Russia, and felt the need to move elsewhere to be appreciated.  In 1832, he settled in Paris.  Once there, he made a living primarily by being a private piano teacher to the wealthy class.  On occasion, he would travel to perform in Germany, Austria, or France.  Remarkably though, it is reported that Chopin gave less than 30 public performances during his entire lifetime.  He grew to very much dislike performing in public and being on stage for large audiences, and increasingly he would only perform in private salons for friends and acquaintances.  Chopin would compose and teach mostly, and his income consisted of teaching piano lessons and publishing his compositions. After establishing himself professionally in Paris, Chopin often longed to return to Poland, but unfortunately he no longer had the option to return due to the political situation in his homeland.

Chopin wrote many, many pieces for the piano.  His pieces include preludes, waltzes, etudes, nocturnes, polonaises, mazurkas, scherzos, ballades, two sonatas, two piano concertos, and some other various pieces.  Considering the period he composed in classical music history, Chopin’s music is uniquely non-German sounding and has its own sound world.  Most pieces he wrote for himself to play, but he also published the scores.  Some characteristics of Chopin’s music include grace, wit, intimacy, beauty, subtlety, power, and grandeur.  Although many of Chopin’s pieces seem simple, they are deceptively difficult to play and tend to be technically demanding. 

In Paris, Chopin generally moved in aristocratic circles socially.  He was a young man of impeccable taste, and was concerned with matters such as clothes, style, and appearance.  Along with meeting and knowing many famous composers of the day, Chopin also became friends with the writer Honore de Balzac, novelist Victor Hugo, and artist Eugene Delacroix.  From accounts we have, Chopin was often witty and charming, but could also be malicious and unpleasant.  Even though he is considered to be a Romantic period composer, Chopin disliked romanticism because of what he saw as its excesses.  In fact, although he became friendly with the composer Franz Liszt, he considered Liszt’s music and performance antics to be vulgar.  He disliked fellow composer Robert Schumann’s music, and did not comment on the music of his friends Felix Mendelssohn and Hector Berlioz.  Chopin felt more of an artistic kinship with Bach and Mozart, reflecting his tendency toward classicism and restraint.  It should be noticed there is plenty of romantic feeling in Chopin’s compositions, but given that his instrument is the piano, everything is on a smaller scale.

Romance bloomed in Chopin’s own life when in 1837 he met Amandine Aurore Lucille Dupin, the Baroness Dudevant, better known as George Sand.  Sand was famous for her pro-feminist novels, and was rather notorious for wearing men’s trousers and smoking cigars.  Chopin was initially repulsed by Sand, but some months later became attracted to her, and Sand returned his affection in kind.  The relationship was very good at the beginning, despite the fact that Sand’s current lover at the time, playwright Felicien Mallefille, did not take Sand’s rejection well.  He staked out Chopin’s apartment, and was seen standing outside with a revolver waiting for Chopin to emerge.  Chopin and Sand quickly left for the island of Mallorca to avoid Mallefille, and with the hope the weather would improve Chopin’s health. 

Chopin had been a sickly child, and his illnesses continued his entire life.  He would often suffer from influenza or bronchitis, and general ill health.  The hope that the Mediterranean air would help was to prove illusory.  Besides being rejected by the Mallorcans for their unmarried and unconventional relationship, the weather turned out to be cold and damp, which did not help.  When Chopin was seen coughing up blood, it became clear he likely had tuberculosis.  Sand took Chopin back to France on a boat with a cargo load of pigs, and Chopin recovered in Marseilles until he was okay to return to Paris. 

Chopin and Sand coexisted for a while, they had neighboring apartments in Paris and would summer at Sand’s estate in Nohant.  Chopin did some of his best composing during these years, but was slowed by his health and an increased perfectionism that at times left him paralyzed.  However, Sand eventually tired of having to play nurse to Chopin and treat his frequent illnesses.  Sand dropped several not-so-subtle hints that the relationship was broken, but Chopin didn’t pick up on the clues.  One clue was Sand portraying Chopin poorly in a thinly-disguised character in her new novel Lucrezia Floriani.  Chopin still didn’t get it.  Sand finally emphatically broke it off.

In the 1840’s, Chopin was invited to England.  Although his hostess, the singer Jane Stirling, was quite enthusiastic about taking Chopin all over the British Isles, Chopin was simply too ill to enjoy it.  Stirling may have had romantic notions about Chopin, but Chopin certainly did not.  He said to a friend, “I’m nearer to a coffin than a wedding bed.” 

Chopin died from tuberculosis in 1849 in Paris.  His sister Ludwika came to Paris from Poland, and his friends organized a performance of Mozart’s Requiem at the funeral.  Although Chopin’s body is buried in Paris, his heart was returned to Poland and is interred at the Church of the Holy Cross in Warsaw. 

Preludes, Op. 28

Chopin completed most of his Op. 28 Preludes in Paris between 1835 and 1838, but a few of them waited until he and George Sand were in Mallorca during the winter of 1838 into 1839.  Chopin brought along a copy of Bach’s The Well-Tempered Clavier for inspiration, and Chopin’s Preludes cover all major and minor keys just like Bach, albeit in a different order.  The piano maker Camille Pleyel had commissioned the set for 2000 francs.

The word “prelude” implies an introduction to something else which is bigger such as Wagner used the term in his operas.  But Chopin was intent on redefining the word to mean something complete in itself which would convey a specific meaning or emotion.  Thus Chopin’s Preludes certainly could be used as an introduction to something else, but his intention was for each of them to stand on their own.  This is yet another way in which Chopin challenged the status quo in music at the time.  Scholars disagree about whether Chopin intended the Op. 28 set to be performed all together as in a recital or whether they were never intended for a continuous performance.  Today they are often performed in recital as a complete set, and that is how we hear them on most recordings.  Also, Chopin never gave any of his works nicknames, so any Preludes with names attached were given those later.

The brevity and structure of the Preludes led to some criticism among early listeners, although some reactions were quite enthusiastic.  Since then Op. 28 has become established as one of the great pinnacles of piano works.  Chopin biographer Jeremy Nicholas writes,"even on their own, the 24 Preludes would have ensured Chopin's claim to immortality."  

Here is the complete list of the 24 Preludes, with my own notes on my favorites.

1 in C major (Agitato)

2 in A minor (Lento)

3 in G major (Vivace)

4 in E minor (Largo) - One of my favorites, this was played at Chopin’s funeral on the organ.

5 in D major (Molto allegro) - Short but sweet.

6 in B minor (Lento assai)

7 in A major (Andantino) - Probably one of the most recognizable of the Preludes, and one of my personal favorites.

8 in F# minor (Molto agitato) - One of the most difficult preludes to play, and also one of the most thrilling.

9 in E major (Largo) - After the chaos and fast prelude before it, this one has a soothing and consoling feel.

10 in C# minor (Molto allegro)

11 in B major (Vivace) - Light and delicate with a stirring and sentimental atmosphere.

12 in G# minor (Presto) - Technically challenging but also satisfying rhythmically and dynamically.  Brave and daring.

13 in F# major (Lento)

14 in E♭ minor (Allegro)

15 in D♭ major (Sostenuto) - The longest and perhaps most famous of the 24, this is nicknamed the “raindrop prelude” due to the persistent left-hand notes which conjure raindrops.  The beginning and end surround a central dark and dramatic section.  Another favorite.  The key changes only make it more dramatic.

16 in B♭ minor (Presto con fuoco) - A favorite for many, this is one of the most difficult preludes to play, and requires energy and accurate virtuosity.  It is a showstopper for sure.

17 in A♭ major (Allegretto) - One of the longer preludes, the melody is disarmingly beautiful and romantic.  A favorite of many pianists, Mendelssohn said, "I love it! I cannot tell you how much or why; except perhaps that it is something which I could never at all have written."  Chopin used the image of a clock for the sustained notes on the left hand.

18 in F minor (Molto allegro)

19 in E♭ major (Vivace)

20 in C minor (Largo) - Sometimes called the “chord” prelude due to its large chords throughout, this is also one of the most recognizable preludes, perhaps due to Barry Manilow using it as the theme for his 70s song Could it Be Magic.

21 in B♭ major (Cantabile)

22 in G minor (Molto agitato)

23 in F major (Moderato)

24 in D minor (Allegro appassionato) - Thunderous and booming, this requires not only power but also a deft touch and sense of proportion.  It may leave you breathless.

American music scholar and critique Henry Finck made the assessment, "if all piano music in the world were to be destroyed, excepting one collection, my vote should be cast for Chopin's Preludes."

Recommended Recordings

There are hundreds of complete recordings of Chopin’s Preludes, and so the recommendations below are not intended to be exhaustive.  I reserve the right to add/edit as I discover more recordings.  But the recordings below will certainly serve even the most discriminating listener well.  I don’t have an “essential” recording for the Preludes, as in my judgment I don’t find any one recording to be significantly above the rest.  However, if you have an essential Preludes recording, I would love to hear from you.

The French pianist Alfred Cortot (1877-1962) was a Chopin specialist, and his 1933 traversal of the Preludes on EMI/Warner remains a classic of the gramophone to this day.  While the sound is dated and certainly in the historical category, the performance has a magic and poetry about it which is unique and has never been surpassed.  Chopin seemed to almost inhabit Cortot’s body, and his playing has a natural depth of expression which is unusually moving and satisfying.  Cortot knew how to emphasize the top singing line and melody better than anyone, and he knew exactly when to take risks as well as how to color the music with small but perceptible touches.  His tone is at once delicate and yet secure, authoritative and yet subtle.  Highly recommended.

The 1949 recording of the Preludes by Soviet era pianist Vladimir Sofronitsky (1901-1961) on the Russian label is one of my favorite sets.  The sound is a bit muted, but still clear and resonant.  I find Sofronitsky’s Chopin playing to be superb and entirely natural.  Sample the ending of Prelude no. 4 in E minor, it will break your heart.  What a light and dreamy tone Sofronitsky creates!  I believe I like his Prelude no. 7 in A major best of all.  He makes it all sound effortless, and yet probing.  Nothing is hammered out or beaten to death, there is a flow which just carries the listener along.  The legendary Russian pianist Sviatoslav Richter said hearing Sofronitsky play Chopin was like hearing God play the music.  I have to agree.

Chilean-American pianist Claudio Arrau was something of a Chopin specialist, and he recorded the Preludes several times.  But my favorite version from Arrau is his live 1960 recording from Prague, available on streaming services.  An intellectual by nature, Arrau was made for playing Chopin due to his fidelity to the score but also his imaginative and lyrical playing.  As he aged Arrau’s interpretations became slower, but he was still magisterial and aristocratic in his recordings.  It was well known that he was more spontaneous and energetic in concert, and perhaps less restrained.  The sound from Prague is not great, but certainly serviceable, and it captures Arrau in blazing form.  Arrau’s 1974 studio recording on Philips is also good, but he is more captivating in the live Prague recording.   

Cuban-American pianist Jorge Bolet (1914-1990) was a student of Moriz Rosenthal, renowned pupil of Franz Liszt.  Bolet was a romantic specialist to some extent, but his Chopin was also wonderful.  Bolet’s playing was refined and cultured, with nothing out of place.  His two commercial recordings of Chopin’s Preludes are equally recommendable.  The first is from his 1974 live recital at Carnegie Hall on RCA/Philips which has Bolet in a fiery and more spontaneous mood and has become something of a classic.  His other recording is a studio set from 1988 on Decca, which shows Bolet in a marginally more poetic and lyrical light and has significantly better sound.  Both recordings reveal Bolet as a master Chopin interpreter with a smooth legato style, a rich singing upper tone, and a full sonority on the keys.  Tempos are moderate and reflective, never rushed.  Bolet’s playing is full of wonder and beauty.  

Italian pianist Maurizio Pollini (1942-1924) was my favorite interpreter of Chopin, and a Chopin CD of his I purchased in Rome many years ago is one I still treasure.  He recorded the Preludes twice, once in 1975 for Deutsche Grammophon and again in 2012 also on Deutsche Grammophon.  The first one is significantly better in my view, and heartily recommended.  Pollini brought a delicacy and poetry to Chopin that few can rival, and his Preludes have a thoughtfulness and meaning that extends far beyond the notes.  What I mean by that is Pollini knows how to vary the dynamics and phrasing in just such a way as each prelude seems to require.  In doing so, he injects his own meaning into each miniature, but his perspective feels exactly right to me.  He is not as extroverted as Argerich or Pogorelich, but in Chopin restraint is a positive quality.  The analog recording is clear and realistic, picking up both the louder and softer passages well.      

Legendary Argentine pianist Martha Argerich added her own recording of the Preludes to the catalog in 1977 on Deutsche Grammophon, and like all of her Chopin it is highly recommended.  Argerich is known for bringing passion and spontaneity to her performances, and that is true here as well.  The opening Prelude no. 1 in C major is among the fastest on record, but curiously you don’t feel anything being rushed.  Prelude no. 4 in E minor truly feels melancholy and is perfectly judged.  Argerich is the best when it comes to stepping on the gas and knowing when to pull back and slow down.  Prelude no. 7 in A major is played in a simple and understated way, which I love.  Faster passages, such as in nos. 8 and 16, sound effortless and sparkling, but also emotionally involved.  Prelude no. 24 in D minor is a perfect fit for Argerich, and she plays it “appassionato” as it is marked.  Argerich is never detached from the music she is playing, and ultimately that is what places this recording in the top tier.  

Russian-Icelandic pianist Vladimir Ashkenazy has been one of the artists most closely identified with Chopin over course of his career, and his 1978 set of the Preludes for Decca is the better of his two recordings (the later one from 1993 on Decca is also very good but doesn’t improve on the earlier one).  One of Ashkenazy’s primary assets is also one of his drawbacks, and that is he plays the music utterly without ego, which is very helpful in hearing an authentic version of the composer.  However, with Ashkenazy this can also mean at times he sounds too cool and detached.  Thankfully those moments are few on this set, and Ashkenazy finds the right balance throughout.  He has a lovely legato approach, and a delicacy which is quite appealing.  Sample Prelude no. 6 in B minor and you will hear what I mean, this is simply superb.  Ashkenazy’s consistency is a marvel, and although he fits more in a restrained mold than Argerich or Cortot, this is still outstanding pianism.

The unorthodox and controversial Croatian pianist Ivo Pogorelić (also spelled Pogorelich) divides opinion, but there is no doubt he is a genius.  Some say his ego and eccentricity have got the best of him, and he has gone off the rails.  For me his best work was recorded when he was younger.  As an example, we have his excellent 1990 recording of the Preludes on Deutsche Grammophon to enjoy.  Pogorelić gives us a performance of insight and vision, certainly on the more emotional end of the spectrum, but never out of bounds.  His touch is remarkable, sample Prelude no. 4 in E minor.  I don’t care much for his Prelude no. 7, as I find it too fussy and slow.  Even so, his Prelude no. 15 in D flat major “Raindrop” while also on the slow end, is powerful and provocative.  The same can be said for Prelude no. 20 in C minor, which is given a terrific reading full of pathos.  So maybe not a standard library choice (I would go with Pollini or Moravec for that), but if you love Chopin you really must hear this one.       

French-Canadian pianist Louis Lortie recorded all the Chopin piano works for the Chandos in the 1990s and early 2000s, including his 1998 version of the Preludes.  Lortie is a gifted Chopin interpreter, and his recording highlights those gifts including his deft touch, feel for the poetry in the music, and his virtuosity.  There is a humility present in Lortie’s playing, as similar to Ashkenazy he removes himself from the picture for the most part.  Lortie’s technical command is never in question, but he chooses his spots to use it.  Otherwise he has a sensitive touch and seems to intuitively understand Chopin’s language.  A delight.

French pianist Alexandre Tharaud is one of the most gifted and thoughtful pianists around today, making his mark in a variety of repertoire.  His recording of the Chopin Preludes from 2007 on the Harmonia Mundi label is an example of how he is always his own artist.  Prelude no. 1 is as near to perfect as I could imagine, while he brings all the sentiment needed and then some to Prelude no. 4.  Tharaud’s soft fingers can be heard at the beginning of Prelude no. 7, while his virtuosic chops can be heard to full effect in Prelude no. 8.  His “Raindrop” prelude performance is at a moderate pace but just right for the weight of the middle section.  One small nitpick is the faster Prelude no. 16 could stand to be more “con fuoco” and begs for more intensity, but is otherwise impressive.  The sound is clear, focused, and natural.  

It has been well known for years now just how incredibly talented Russian pianist Daniil Trifonov is at the keyboard, and while his younger years saw him as a bit of a showman, his playing has acquired more depth and maturity as the years have gone by.  The album which contains his live performance of Chopin Preludes is titled The Carnegie Recital from 2013 on the Deutsche Grammophon label.  Trifonov is most impressive with romantic composers, and his Chopin shows his ease with the lyrical, singing line and his remarkable ability to balance both left and right hands.  While I don’t like every interpretive choice he makes, and a few times he goes too fast, when he does relax a bit and allow the music to flow he has few equals in the world.  Despite a few preludes that are not as effective, the vast majority here are as good as any recording and in several cases the best I have heard.  

Argentinian pianist Ingrid Fliter is one of the most gifted Chopin artists in the world.  Her 2014 recording of the Preludes on the Linn label is full of insights and individuality, and she puts a unique stamp on this often heard set.  Her style has an ease and flowing gracefulness that appears to be effortless, as though the music is being channeled through her.  Fliter is able to play in a spontaneous way while maintaining the essentially classical mold of these works.  Her sonority and phrasing are pleasingly clear, and she moves ever forward with a sense of purpose and vision.  She does a good job of adapting to the mood of each prelude, and is not afraid to bring a sharp edge in her attack when needed.  In her hands we can sense both the simplicity and complexity of the whole as the keys and dynamics alternate with each prelude, and if we choose to ride the wave with her it is an altogether moving experience. 

Russian-Spanish pianist Grigory Sokolov is one of the most celebrated and yet mysterious pianists around today.  After becoming the youngest winner of the International Tchaikovsky Piano Competition in 1966, it is speculated that Sokolov’s career was slow to take off due to not making many recordings, and also because he did not defect from the Soviet Union.  However, he did make concert tours of the United States in 1969, 1971, and 1975, as well as other tours in Europe and Japan.  Although he came to greater international notoriety in the late 1980s, he did not release any recordings between 1995 and 2015.  In 2015, he released Sokolov: The Salzburg Recital on Deutsche Grammophon which contains his live traversal of Chopin’s Preludes, which was actually recorded in 2008.  Sokolov is a legend in the piano world partly due to his lack of exposure (especially in the United States) which lends him more of an aura, but mostly because there is nobody alive (with the possible exception of Argerich) that can play like him.  His playing here is poignant and captivating, as his playing just projects an intangible quality that sets him apart.  Listen to Prelude no. 15 in D flat major “Raindrop” where Sokolov uses the left hand adeptly to adjust tempos and to complement the melody.  It is spellbinding.  Even with some drawn out tempos, the listener never feels the music drags.  Sokolov is a piano genius.

The young Brazilian-Romanian pianist Cristian Budu made an outstanding set of the Preludes for the Claves label in a 2016 release.  Budu studied in Brazil and at the New England Conservatory, and his playing is imaginative and original.  Typical of many of the finest Chopin pianists, Budu has soft hands with a seeming velvet touch.  This is a real asset in this music where what is required is a nice legato singing tone with a pulsing bass line.  Budu’s approach has an intensity and earnestness which gives itself completely to the music rather than spotlighting himself.  Budu shines in the details and the eloquence of his phrasing, and the overall impression is of a pianist in complete control of nuance and color.  Where Budu makes his individual mark is in the emotional sweep of his playing which takes nothing for granted.  Budu’s playing is mature and searching, and it sounds as though he has thought deeply about each prelude.  Very highly recommended.

You may recall I recently sang the praises of Behzod Abduraimov’s recording of Mussorgsky’s Pictures at an Exhibition (original piano version).  On the same album is Abduraimov’s outstanding set of Chopin’s Preludes, recorded in 2020 for Alpha at the wonderful Teldex Studio in Berlin.  Abduraimov can apparently play anything at an extremely high level, and here he brings his poetic mastery to Chopin.  His rich imagination and impeccable technique mean this recording is every bit as memorable as his Mussorgsky.  Abduraimov’s interpretive abilities are beyond his years, as he gets to the heart of each prelude in a satisfying way.  When more virtuosity is called for, Abduraimov has plenty in reserve and he tends to dispatch the faster passages in an effortless but classically structured manner.  Even though he often sounds like he is improvising, Abduraimov’s technique is such that he produces a shimmering tone in even the most familiar passages.  The sound from Alpha is first-class.

Finally on this hit parade is the 2023 recording of the Preludes by the South Korean pianist Dong Hyek Lim on the Warner label.  Lim is a brilliant talent, but this most recent release showcases his poetic sensibility and deft touch.  Chopin is one of his favorite composers, and his performance reminds me of a pianist painting a picture with the notes.  Lim’s articulation is superb, and his use of light and shade creates a delicate sound world ideal for Chopin.  Also his use of dynamics is spot on, I enjoyed how he can increase his tone when needed and yet also withdraw it in a beguiling way when called for.  A special recording.

Honorable Mention

The recordings below also vary from good to very good, and especially with Chopin many of my recommendations are a matter of taste.  You may have different preferences, and thus if you love Chopin you will want to hear the recordings below as well.

Samson François (Warner 1959)

Nelson Freire (Sony 1970)

Garrick Ohlsson (Hyperion 1989)

Adam Harasiewicz (Philips 1994)

Maria João Pires (DG 1994)

Evgeny Kissin (RCA 2000)

Nikolai Lugansky (Warner 2002)

Rafael Blechacz (DG 2008)

Haochen Zhang (HM 2009)

Beatrice Rana (ATMA 2012)

Yundi (DG 2015)

Eric Lu (Warner 2019)

Alice Sara Ott (DG 2021)

Aimi Kobayashi (Warner 2021)

Mao Fujita (Sony 2024)

Join me next time when we discuss Richard Strauss’ Also Sprach Zarathustra. See you then!

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Notes:

Brown, Maurice J. E. (1957). "The Chronology of Chopin's Preludes". The Musical Times. 98 (1374): 423–4. doi:10.2307/937215. ISSN 0027-4666. JSTOR 937215.

Distler, Jed. 24 Preludes by Jorge Bolet on Eloquence.  Review online at https://www.classicstoday.com/review/review-4418/.

Eisler, Benita. "'Chopin's Funeral'". The New York Times. Retrieved 2018-09-22.

Goulding, Phil G.  Classical Music, The 50 Greatest Composers and Their 1000 Greatest Works. Frederic Chopin.  Pp. 250-255. 1992.

Gramophone Magazine. The 50 Greatest Chopin Recordings. January 1, 2023. Available online at https://www.gramophone.co.uk/features/article/the-50-greatest-chopin-recordings.

Huneker, James. Introduction. Chopin Preludes For the Piano. Edited, Revised, and Fingered by Rafael Joseffy. G. Schirmer, Inc.

Kallberg, Jeffrey (1994). "Small 'forms': in defence of the prelude". In Samson, Jim (ed.). The Cambridge Companion to Chopin. Cambridge Companions to Music. Cambridge: Cambridge University Press. pp. 124–144. ISBN 978-0-521-47752-9.

Kildea, Paul. Chopin's Piano, 2018, p. 78.

Lunday, Elizabeth. Secret Lives of Great Composers. Frederic Chopin. Pp. 84-89. Quirk Books, Philadelphia. 2009.

Michałowski, Kornel; Samson, Jim. "Chopin, Fryderyk Franciszek". Grove Music Online. Oxford Music Online. Retrieved 19 January 2014. (subscription required).

Nicholas, Jeremy (2007). Chopin: His Life and Music. Naperville, Illinois: Sourcebooks MediaFusion. p. 268. ISBN 978-1-4022-0757-0.

Reel, James. All Music Guide to Classical Music, The Definitive Guide.  All Media Guide. Frederic Chopin. Pp. 281. Backbeat Books, San Francisco. 2005.

Schonberg, Harold C. The Lives of the Great Composers, Revised Edition. Apotheosis of the Piano. Frederic Chopin. Pp. 186. Norton & Company, London and New York. 1981.

Yu, Fred. (March 2010). "Complete Music Analysis – Preludes". Retrieved 28 June 2010.

https://en.wikipedia.org/wiki/Preludes_(Chopin)