One of several collections of preludes published in 1897 alongside 24 Preludes, Op. 11.

Prelude No. 1 in D minor, 3/4 time, Allegretto

Composed in Paris when the composer was 24 years old. While the right hand consistently plays eighth notes, the left hand varies its note values, dividing them into groups of three, four, and five.

Prelude No. 2 in E-flat major, 2/4 time, Presto

Composed in Paris when the composer was 24 years old. This piece features cross-phrasing, where two notes of the left hand's triplets are shifted before the beat. Additionally, octaves are frequently used throughout.

Prelude No. 3 in D-flat major, 3/4 time, Andante

Composed in Paris when the composer was 24 years old. This piece is primarily based on black keys. Both the right and left hands exhibit a wavering, undulating musical motion. Occasionally, 2-against-3 polyrhythms can be observed.

Prelude No. 4 in B-flat minor, 3/2 time, Lento

Composed in Moscow when the composer was 23 years old. A melody interwoven with rests is accompanied by single notes in the left hand, which consistently plays eighth notes. This left-hand part combines large and small undulations.

Prelude No. 5 in F minor, 9/8 time, Prestissimo

Composed in Moscow when the composer was 23 years old. The right hand features characteristic sixteenth notes in a descending melodic pattern, accompanied by the left hand primarily playing octaves in eighth notes. A wide range of dynamics is required throughout. Although there are a few measures marked p in the middle, the momentum of the piece does not wane even there.

Prelude No. 6 in B-flat minor, 6/8 time, Allegro doloroso

Composed in St. Petersburg when the composer was 23 years old. It is primarily based on a long-breathed melody in the upper voice, an inner voice where whole and half steps are exquisitely placed, and a bass voice that progresses step by step, though the number of voices varies.

Prelude No. 7 in G minor, 9/8 time, Allegro assai

Composed in St. Petersburg when the composer was 23 years old. The melody, which exhibits varied phrase lengths, is accompanied by a left hand that moves across a wide range. Occasionally, inner voices are heard, and the bass is sometimes doubled in octaves. A wide range of dynamics is employed, and the piece quietly concludes the entire collection.