Although none of my father’s compositions were published during his lifetime, he clearly identified his Three Preludes for Piano as “Op.3.” They were completed in February 1939, just in time to be premiered by the composer at a concert presented by the Young Men’s Section of the Men’s Musical Club. Two years later my father performed them again on a Wednesday Morning Musicale program curated by Arthur Benjamin. There are three handwritten versions of these preludes: a very rough draft, a more orderly, detailed second copy both in my father’s hand, and an elegant bound version lovingly copied by my mother and presented to my father as a gift. It was from this volume that I, and a few favourite students of my father over the years, had the opportunity to learn these works. There are minimal indications of dynamics and tempi in these manuscripts, and virtually no indications for pedalling, although the nature of the music and plethora of tied notes (many of which are impossible to hold physically) clearly imply that these works must be liberally pedalled. It seems obvious that my father wrote these works for himself to perform, and at that time may not have thought ahead to publication for others to play without his personal direction. Therefore, the interpretive markings in this edition are a synthesis of the very sparse indications of expression in the manuscripts with my own recollection of how my father played these works, and how he taught them to me. However, for better or worse, my father was not pedantic about fidelity to a score, so I’m sure he would have been open to other interpretations as well, as long as they reflect his fundamental intent – that these preludes be played with panache! Thus I have also endeavoured to make the presentation as pianistically comprehensible as possible, particularly with regard to how my father divided the melodic lines and accompanying figuration between hands – a technique of which he was very fond, and at which he was very adept. All three preludes make extensive use of this practice, because they are not only musical expressions of mood and emotion, but a celebration of pianism. However, there are other ways of dividing the material between hands, and performers are welcome to do so.