Preludes, Op. 23 (Rachmaninoff)

32, this set is part of a full suite of 24 preludes in all the major and minor keys.

The remaining preludes were completed after Rachmaninoff's marriage to his cousin Natalia Satina: Nos.

[1] The years 1900–1903 were difficult for Rachmaninoff and his motivation for writing the Preludes was predominantly financial.

[2] Rachmaninoff composed the works in the Hotel America, financially dependent on his cousin Alexander Siloti, to whom the Preludes are dedicated.

[3] The set reflects Rachmaninoff's experience as a virtuoso pianist and master composer, testing the "...technical, tonal, harmonic, rhythmic, lyrical, and percussive capabilities of the piano.

[5] Nonetheless, certain characteristics of the work, such as the recurrence of stepwise motion, common chords between adjacent preludes, and the bookended relationship between the first and last preludes (both marked Largo, with the latter in the parallel major of the former) suggest that the works could be played as a set.

[3] Nonetheless, even the "easier" preludes present subtle interpretive challenges in counterpoint, dynamic control, and timing, putting true mastery of the pieces out of reach to all but those with virtuosic skill.

At the same recital, Vladimir Stasov praised the characteristic "Rachmaninoff sound" and unusual and innovative bell-like quality of the pieces, and Maxim Gorky simply noted, "How well he hears the silence.

In 1986, Ruth Laredo set out to produce the first authentic version but was unable to obtain the original manuscripts.