Find album reviews, stream songs, credits and award information for Shostakovich: 24 Preludes & Fugues, Op. 87 – Vladimir Ashkenazy on AllMusic – Find album reviews, stream songs, credits and award information for Shostakovich: 24 Preludes and Fugues, Op. 87 – Keith Jarrett on AllMusic – – Dmitri. One of Shostakovich’s greatest and most powerful works of the late Stalinist period is his huge cycle of twenty-four preludes and fugues for piano. He began.

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He comes across as detached, almost indifferent, uninvolved in the sweetly diatonic No. Don’t show me this message again. Und so war es.

Only two voices develop with increasing stretto in the middle culminating at the shostakoovich when the two voices join in unison as before in the prelude though only with an octave separation. Beginning much like a French overture dotted rhythms this prelude remains very tonal throughout.

24 Preludes and Fugues (Shostakovich)

February Learn how and when to remove this template message. While fugal subjects usually use shostajovich motion, this subject uses only the notes of the A-major triad. The prelude is a toccata mostly for one voice, with semiquavers 16th notes running through in the style of a perpetuum mobile. However, throughout this music we are in no doubt as to shostakoovich creative personality of the artist addressing us: The set was finished on 25 February Prelhdes date of the composition 20 December may explain this.

Most importantly of course, it housed the church of St Thomas, the Thomaskirche, dating from the late fifteenth century, which had survived the wartime Allied bombardment. Diese sollten einen grossen Unterschied zu den Kompositionen bieten, die ihm den Staatspreis eingebracht hatten: Staccato and chromatics add to the chilling nature of the melody.


He was also a Bach player. But here it is, and even at this early stage I’ve a feeling its going to figure prominently on my records of the year list.

Shostakovich: Preludes & Fugues

And so Dmitri Shostakovich found himself sent in to New York as delegate of the World Prleudes Conference, and in to Warsaw as part of the Soviet Committee for the second World Peace Conference, before going to Leipzig in July as the principal Soviet delegate to the Bach commemorations—as a member of the jury of the Bicentennial Bach Competition.

As each was completed, he would ask Nikolayeva to come and visit him in his Moscow apartment where he would play her the latest piece. The complete work takes about two and a half hours to play. The prelude starts softly and quite simply, marked by the preludess semplice.

Dmitri Shostakovich – 24 Preludes and Fugues

Unsourced material may be challenged and removed. This long double fugue shares a key signature and several preluxes with the last fugue from Bach’s The Art of Fugue.

For Jarrett fans who are following his classical adventures, this could be a most intriguing left turn, but those seeking the definitive recording of the pieces would find Nikolaeva more stimulating.

Drinking Hanging Out In Love. Use dmy dates from July Articles needing additional references from January All articles needing additional references Wikipedia articles with style issues from February All articles with style issues. This section needs additional citations for verification.

24 Preludes and Fugues (Shostakovich) – Wikipedia

Introspection Late Night Partying. Before premiering the work, Shostakovich privately performed the first half of the cycle before the Union of Composers as was typical with new compositions during the Soviet Era on 31 March Bach ‘s The Well-Tempered Clavieran earlier set of 48 preludes and fugues, is widely held to be the direct inspiration for Shostakovich’s cycle, largely based on the shoztakovich composition history see below.


More importantly, he seems only intermittently to have penetrated to what Nikolaieva calls the music’s ”inner world”. Please enable JavaScript in your browser to use the site fully.

Bach, as was the custom of the time, had been buried in a wooden coffin. I’ll simply add that at the end of it all her contention that these are ”24 masterpieces, each with its own internal world” sounds utterly plausible.

For the early s were also a period of great uncertainty for Soviet composers. However, soon the left hand takes over the melody and the piece becomes more dramatic.

The composition begins rather humbly with a quiet, conservative exposition, but it ends triumphantly with nearly every possible fugal device invertible counterpointstrettodouble stretto, diminutionaugmentationretrograde exploited in the final bars.

The passacaglia motif is counterpointed by one single simple melody. She had been a competitor at the Leipzig competition where Shostakovich was a judge, and it was her relentless championing of the whole cycle in her later years that did much to persaude others to take the pieces so seriously.

Mixed meters riddle the contour of the simple melodies, and toward the middle, an alto voice of accompanying chords provides diversity to the unisonal melody. The subject contains 11 of the 12 semitones available. Note by Gerard McBurney.