Frédéric Chopin: Prelude in A-Flat Major, KK IVb/7
Johann Sebastian Bach: Prelude No. 1 in C Major, BWV 846/1
Sergei Rachmaninov: 10 Preludes, Op. 23 - No. 3 in D Minor
Olivier Messiaen:
- La colombe
- Chant d'extase dans un paysage triste
- Le nombre léger
Frédéric Chopin:
- Prelude in C-Sharp Minor, Op. 45
- Prelude in C-Sharp Minor, Op. 3, No. 2
Henryk Górecki: 4 Preludes, Op. 1 - Nos. 1 & 4
Johann Sebastian Bach: Prelude No. 2 in C Minor, BWV 847/1
Sergei Rachmaninov: 10 Preludes, Op. 23 - No. 5 in G Minor
Frédéric Chopin: 24 Préludes, Op.28

The "Prelude" as defined in the dictionary has different meanings and/or serves different purposes: 1} "something that comes before a more important event or action that introduces or prepares for it", 2} "a musical section or movement introducing the theme or chief subject (as of a fugue or suite) or serving as an introduction to an opera or oratorio", and 3} "a separate concert piece usually for piano and based entirely on a short motif".

This character piece was first introduced during the Baroque era, and following definition No. 2, used extensively by Johann Sebastian Bach for a series of keyboard works titled Prelude & Fugue, the most famous being the set of 48 contained in the Well-Tempered Clavier. Arguably, it could be said that Frédéric Chopin was the first composer to introduce the stand-alone Prelude, based on definition No. 3, used primarily to quickly set a tone or mood.

In this extensive 80 minute presentation, Canadian pianist Jan Lisiecki presents diverging conceptual adaptations and interpretations of the Prelude, ranging from Bach to Górecki with a focus on Rachmaninov and Chopin.

From start to finish Jan Lisiecki's broad pianistic range is on full display, but it's within the more famous 24 Préludes, Op.28 by Frédéric Chopin that his focus on structural details shines through. True, these pieces are short yet intense displays of moods and emotive states, but as usual Chopin's genius lies in his ability to wrap these sentiments within solid motivic, melodic and harmonic structures. And Lisiecki's detailed and articulate interpretations, reinforce the fact that these diminutive works were composed to further demonstrate the piano's colorful expressive range and capabilities, rather than being simply pieces to play on the instrument.