Préludes

Préludes are short instrumental pieces that originated as introductory passages but have evolved into standalone miniatures in various musical traditions, most notably for solo piano. The term, French for “preludes,” denotes a piece that may serve as a preface to a larger work or exist independently as a mood‑setting miniature. In practice, preludes can emphasize expressive contrast, improvisatory character, or color over strict formal design.

Historically, the form has Baroque roots, where preludes commonly functioned as introductory movements within suites, fugues, and other works. The keyboard tradition in particular helped shape the later development of formal collections of preludes. By the 19th and 20th centuries, composers began grouping preludes into cycles or sets, sometimes with or without explicit programmatic aims.

Notable piano repertoires named Préludes include Frédéric Chopin’s 24 Preludes, Op. 28, a unified sequence spanning all major and minor keys and renowned for its dramatic range and compact designs. Claude Debussy published two books of Préludes for piano in 1910 and 1913, each containing 12 pieces; these works are celebrated for their atmospheric color, tonal experimentation, and subtle allusions rather than explicit programmatic titles. Alexander Scriabin wrote several sets of Préludes across different opus numbers, marking his transition from late Romantic harmony toward his increasingly individual musical language.

Beyond single-author cycles, the term Prélude is used more broadly to describe introductory pieces in larger works or collections. Across periods, preludes commonly share brevity, a focus on atmosphere or character, and a willingness to explore varied moods within a compact musical frame.