24 Preludios Chopinianos I-VI

1. Prelude I in C major

2. Prelude II in A minor

3. Prelude III in G major

4. Prelude IV in E minor

5. Prelude V in D major

6. Prelude VI in B minor

The influence of Frédéric Chopin’s music on Brazilian music dates back to the 19^th century. Even during his time, Chopin’s compositions began to shape the pianistic style of Ernesto Nazareth, often considered the father of Brazilian music. Moving into the 20^th century, other composers also drew inspiration from Chopin’s beautiful melodies. One notable example is Tom Jobim’s song Insensatez (How Insensitive), which uses Chopin’s Prelude No. 4, Op. 28 as its guiding framework.

In fact, Prelude No. 4 was likely the first Chopin piece I ever heard as a child. Growing up, I became somewhat familiar with his music, particularly the preludes. These pieces have been—and continue to be—reinterpreted by pianists all over the world.

When the idea of creating a sort of «mirror» to Chopin’s preludes occurred to me, I knew it would be a challenge. The guitar does not have the expansive harmonic and dynamic possibilities of the piano. Moreover, Chopin’s 24 Preludes, Op. 28, were composed using all possible major and minor keys, following a pattern of alternating relative tonalities. In guitar composition, tonalities are often limited to those most resonant with open strings, as this enhances the instrument’s natural sonority.

Faced with these challenges, I carefully studied Chopin’s original scores. I understood from the beginning that my task was not to transcribe but rather to mirror the essence and flow of each prelude, focusing on the emotional and structural aspects of the music.

Each prelude required a different approach, guided by intuition. As a result, the pieces I created do not sound like mere copies but instead as works that draw from Chopin’s preludes as distant models. I also aimed to respect the original tonalities and, from the outset, chose to maintain the guitar’s standard tuning. Only toward the end of the cycle did I allow myself the liberty of retuning the guitar, using a sixth string tuned to F for one piece and to D for the final prelude.

The most challenging prelude to adapt was Prelude No. 16, originally in B-flat minor, with its virtuosic, lightning-fast passages. For this piece, I resorted to creative techniques, including the use of a capo, to mirror the original key and retain its spirit.

This project was undertaken without pretension but with great care, dedication, and a deep admiration for one of the greatest composers in the history of music. Chopin’s Preludes, Op. 28, remain a timeless masterpiece, and this work stands as a personal homage to his genius.