society of ants or a coral formation is viewed as being simultane-
ously a collection of individuals and a super-organism of many
small parts. If in such instances biologists can describe each ant as
more individual than the cells or organs of one higher animal, but
less "complete" than one higher animal, we can conceive of these
preludes as occupying just such a middle position. Individually
they seem like pieces in their own right, if perhaps too brief other-
wise to stand on their own. But each works best along with the
others, and in the intended order. With a symphony too we may
experience each movement as a complete piece, which, however,
benefits greatly by inclusion in and presentation with the sur-
rounding movements of the larger piece. The Chopin preludes
seem to be at once twenty-four small pieces and one large one. As
we note or sense at the start of each piece the various connections
to and changes from the previous one, we then feel free to involve
ourselves--as listeners, as players, as commentators--only with
the new pleasure at hand.

The preludes well reward study and intimate familiarity. They
occupy a special place in Chopin's output, and are in the opinion
of many his best music (alongside the large ballades). Considering
the titanic status of Chopin in the pianist's repertory, and the cen-
tral, representative role of piano music in the totality of eigh-
teenth- and nineteenth-century composition, we can view the
preludes, in their joint summation and advancement of the devel-
oping possibilities of romantic expression, as a beacon of the musi-
cal thought of their era.

At the same time, the large number of strikingly different musi-
cal surfaces presents a splendid opportunity for an equally varied
experimentation in analytic and critical commentary. Therefore, in
these chapters, the emphasis or even style of attention may vary
from piece to piece. But also, it must be said, some of the pieces
invite more scrutiny than others. There is a marked difference in
complexity among them, and, also, in the apparent care with
which they have been created: the collection is somewhat uneven
in quality. A few of the pieces, of course, are celebrated. Some are
truly great. But it is difficult to respond with depth or sincerity to
those few that seem only roughly or superficially realized. Thus,
this guide will now linger, now rush, as the music strikes the
guider; but the reader may surely wander at a self-chosen pace.

-xviii-