Rachmaninoff left behind Prelude Op. 3-2, 10 Preludes Op. 23, and 13 Preludes Op. 32. These 24 pieces in total are each written in a different key. Composed in Moscow in 1910, approximately seven years after Op. 23, influences of modern techniques can be observed compared to Op. 23, but fundamentally, it retains the same emotional character.

1. C major / 13 Preludes Op. 32-1 C dur Allegro vivace

A short piece, about one and a half minutes long. A triplet rhythm permeates the piece, over which the melody is heard. Harmonies employing the whole-tone scale are boldly used, and it is technically challenging.

2. B-flat minor / 13 Preludes Op. 32-2 b moll Allegretto

It begins with a quiet theme in the opening, and this dotted rhythm is used throughout. The music gradually builds, creating subtle nuances by changing meter and tempo.

3. E major / 13 Preludes Op. 32-3 E dur Allegro vivace

Begins with a powerful opening. Toccata-like, the piece is generally brilliant and rich in sound. It concludes quietly.

4. E minor / 13 Preludes Op. 32-4 e moll Allegro con brio

In three-part form. It has a long performance time and is highly difficult. The piece progresses with a dialogue between octaves played forte and thick chords played in triplets. Moving to the middle section, in 9/8 time and più vivo, triplets show light movement, leading to a fortissimo while changing meter. Following this, a melody of a Russian lyrical song is sung lento. Returning to the main section, the intensity further increases, forming a climax. It gradually quiets down, reproduces the opening musical idea, then becomes più vivo, and fades out to conclude the piece. The chords should be played with a full, warm sound and good balance.

5. G major / 13 Preludes Op. 32-5 G dur Moderato

A beautiful melody is played by the right hand over a calm arpeggiated accompaniment in the left hand. The delicate note movements imitate bird calls. Generally quiet, but the brilliant cadenza is also impressive. A charming work widely loved and performed. Rachmaninoff's own recording also exists.

6. F minor / 13 Preludes Op. 32-6 f moll Allegro appassionato

An etude-like work with impressive passionate and demonic note movements. A work where dynamic changes are effective.

7. F major / 13 Preludes Op. 32-7 F dur Moderato

In three-part form. A consistent rhythmic pattern is used throughout the entire piece, with melodies sung leisurely above and below it.

8. A minor / 13 Preludes Op. 32-8 a moll Vivo

It has a fierce and impressive two-bar introduction. With the same momentum, sixteenth notes move dizzyingly, permeating the entire piece. The ascending left hand, using sustained notes, further enhances the passionate atmosphere of the piece.

9. A major / 13 Preludes Op. 32-9 A dur Allegro moderato

The outer voices are written in a duet form. Many chords are layered, requiring advanced technique to articulate each one. The rich, full sound of the chords should be cherished. In the più vivo coda, the piece quietly concludes with subtle variations in the right-hand arpeggios.

10. B minor / 13 Preludes Op. 32-10 h moll Lento

A sorrowful melody is sung slowly and quietly, gradually increasing in volume. In the middle section, chords are layered, requiring a very grand and rich timbre. Furthermore, the soundscape created by the long cadenza in the latter half is impressive, creating a fantastical atmosphere.

11. B major / 13 Preludes Op. 32-11 H dur Allegretto

Unique rhythmic interest is provided by techniques such as anacrusis and phrasing. A short but elegant and charming miniature.

12. G-sharp minor / 13 Preludes Op. 32-12 gis moll Allegro

One of the most widely beloved masterpieces in the prelude collection. It is said to depict a sleigh running across a snow-covered landscape, with bells jingling. A characteristic feature is the dramatic change in tempo. Against the dizzying arpeggios that permeate the entire piece, the melody is sung richly and expressively. Rachmaninoff's own recording exists, but it should be noted that due to different recording speeds of equipment at the time, performances heard on modern record players are faster than the actual performance.

13. D-flat major / 13 Preludes Op. 32-13 Des dur Grave

This piece is also one of the most famous in the prelude collection. It is in three-part form. The solemn theme from the beginning gradually shows rhythmic movement. After the meno mosso middle section, the music builds to an intense climax with allegro and più vivo. The main section, reappearing, is highly ornamented, and at poco più vivo, a rich and full soundscape, almost reaching the limits of the piano, is required. With a performance time of around seven minutes, it is a grand piece befitting the conclusion of the prelude collection.