Like Chopin before him, and even more closely Scriabin, Rachmaninoff yielded to the temptation of writing his 24 Preludes, assembling this emblematic number in three stages. It began with a youthful work: the famous Prelude in C-sharp minor. From this root, music deeply anchored in Russian soil, imbued with the Slavic soul to which the composer, later exiled, would remain forever attached, there would spring, a decade later, the Opus 23 set, followed seven years on by Opus 32. These Preludes are like images in an album that Jean-Baptiste Fonlupt invites us to leaf through, sonic paintings whose authentic colours of memory he poetically restores. Far from his native land, which he left for good, Rachmaninoff would never write this way again.