Find album reviews, stream songs, credits and award information for Shostakovich: 24 Preludes and Fugues, Op. 87 – Keith Jarrett on AllMusic – – Dmitri. A new recording of Dmitri Shostakovich’s 24 Preludes and Fugues, deeply original and enigmatic works—encompassing charming simplicity and dazzling. Find a Dmitri Shostakovich – Keith Jarrett – Dmitri Shostakovich: 24 Preludes And Fugues Op first pressing or reissue. Complete your Dmitri Shostakovich.
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Nikolaieva also allows a little rubato here, but her restraint makes it more telling. For the publication of op.
He never recorded Nos. They were published in two halves, entitled Volume One and Volume Two. The piece ends in a very boisterous orchestral style, with an extended hemiola on the final cadence. The fugue is based preludea a singing and simple subject, from which the rhythm of a quarter note followed by two eighth notes becomes the dominant force of its later development.
The fugue, rather than being in contrast to the prelude, as characterises most of these works, seems to continue the same mood. The music then settles down, gently leading to the recapitulation shostakovicj, where a single statement of the subject in the tonic key brings the piece to a close.
Shostakovich: Preludes & Fugues
Prelude and Fugue No 18 in F minor A beautiful melody line opens the prelude, tinged with a longing sadness. Prelude and Fugue No 21 in B flat major This pair of preludfs constitutes a formidable challenge for the performer. His admiration for Nicolayeva and his desire to create these works for her was such that he produced all twenty four Preludes and Fugues in a few months.
The relationship between the theme of the prelude and the fugue subject is made obvious by their thematic simplicity, unifying the two works. However, the harmonies are exclusively and strikingly Shostakovichian—in particular the chorale melody that appears after a few lines—reminiscent of certain of his symphonies.
A folk-style melody is supported by continuous arpeggiated chords, suggesting a lute or some other simple folk instrument, in the treble. The complete work was written between 10 October and 25 February pre,udes Vocal preldes style, the subject has a harmonic simplicity that make parts of it sound as if they could be from any period of music.
Prelude and Fugue No 11 in B major This prelude is Shostakovich typically clowning around with a folky melody, adding shostakovcih notes to an apparently predictable tune, rendering it unpredictable in the extreme.
Likewise, the composers’ second fugues A minor fhgues Shostakovich, C minor for Bach utilize very similar opening rhythms for their fugue subjects two 16th notes followed by 3 eighth notes, twice in a row. This piece has a clearly defined homophonic texture, with preludse right hand dominating the melody.
He soon attracts the attention of the local musicians’ community, and before too long he is asked to travel to the United States, making his Carnegie Hall debut with Witold Rowicki and the Warsaw Philharmonic playing Bartok’s 2nd Piano Concerto.
References to and quotations from Bach’s cycle appear throughout the work. For the remainder of Shostakovich fulfilled agitprop government commissions with film scores for Michurin op. Thematic fragments throughout the Shostakovich cycle op. It is of course valid to play any of them singly, or to simply form groups out of selected ones from across the collection.
Each volume is divisible into three groups of four, and each coupling of an adjacent major and minor key is logical—they easily form an interdependent pair.
Shostakovich: Preludes & Fugues |
Notated largely on four staves, it consists of a series of phrases alternating between the two extremes of the keyboard—mostly unharmonised and in unison two octaves apart. The loving conversation between the two becomes evident in a full flowering of the chorale setting throughout Prelude 10 in C-sharp minor and in the simplicity of its heart-rending fugue.
Their recording of the Shostakovich Piano Quintet for the FoghornClassics label received brilliant reviews. Don’t show me this message again. Stream or buy on: Shostakovich was inspired by the playing of Tatiana Nicolayeva, whom he heard—significantly performing Bach—when he was a jury member at the Leipzig Bach Competition in The complete work takes about two and a half hours shostaovich play.
As with every shosfakovich, it is inevitable that his music should display all the contradictions, the pain, the nostalgia, and the enigma of the mind that created it—sometimes consciously; often not.
The prelude maintains a suspended feel through repeated, arpeggiated chords in the right hand played to accompany a simple melody first in the left hand, then swapping roles midway.
The latter plunges the listener very suddenly into a world of unequal bar lengths: The fugue—in three voices—is based on a remarkable subject consisting entirely of the notes of a broken chord of A major.
It is reminiscent of the finale of his Ninth Symphony. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Meanwhile in the bass is an equally folky line, redolent of the sound of a cello. On the contrary, the four-part fugue in 5 prfludes is a rhythmically adventurous and complex composition that works as a culmination of the first part of the entire cycle. Only two voices develop with increasing stretto in the middle culminating at the end when the two voices join in unison as before in the prelude though only with an octave separation. This page was last edited on 7 Novemberat The predominant mood is one of humour throughout, and after several modulations into distant keys, the piece snuffs itself out like a light.