The Twenty-four preludes for piano represent one of several cycles of 24 preludes I have written over the years. Re-establishing the value and expressive possibilities of all major and minor tonalities is as valid at the beginning of the twenty-first century asit was during Bach's time, especially if we consider the aesthetics of Western music and its travels in regard - or disregard - to tonality during the last century. The 24 Preludes follow the circle of fifths thus covering the entire tonal spectrum. In writing this work I wished to create a continuum that would allow these short pieces to be united as one single composition. The challenge was not only to write a meaningful and complete prelude that may be only a minute long, but also for this short piece to be an organic part of a larger composition with its own form. Looking at something familiar yet from an unexpected perspective is one of the peculiar characteristics of these pieces - they are often not what they appear to be at first glance. The context and order of preludes is important for their understanding. (Lera Auerbach)