Chopin's Preludes, Op. 28, constitute a complete cycle of 24 piano pieces, each composed in one of the twenty-four major and minor keys, and were originally published in 1839. This collection of short and longer works deserves special attention as musical treasures. In contrast to Bach's tradition of using preludes as introductions to fugues or dance movements, Chopin developed a new conception of this genre between 1835 and 1839. While many of these pieces were composed in Paris, he completed them in Valldemossa, Majorca, where he spent the winter of 1838–39. Chopin dedicated the meticulously prepared manuscript to the German pianist and composer Joseph Christoph Kessler. Interestingly, different editions received different dedications: the French and English editions (Catelin, Wessel) were dedicated to the piano maker and publisher Camille Pleyel, who had commissioned the work for 2,000 francs. The German edition (Breitkopf & Härtel), however, bore Kessler's name, who ten years earlier had dedicated his own cycle of 24 preludes, Op. 31, to Chopin. Chopin's revolutionary reinterpretation of the prelude form influenced subsequent generations of composers. In Mallorca, Chopin had a copy of Bach's Well-Tempered Clavier at his disposal, and much like Bach, he created a complete cycle of preludes in different keys, albeit in a different arrangement. The sonic differences from the original publications are considerable: greater clarity, more nuance, and improvements in frequency response characterize later recordings. Although Chopin did not compose programmatic music, some of his preludes were given descriptive names. Chopin's unique treatment of this musical form remains a source of fascination for performers and listeners alike.
