Audio CD. The intellectual rigor with which Shostakovich creates a fugue from his angular, raw-boned subject is truly awe-inspiring. music critic Alex Ross, musicologist Tanya Ursova, etc.) References to and quotations from Bach's cycle appear throughout the work. The piece with few exceptions consists of unison quindicesima melodies beginning first in the lowest, The prelude starts softly and quite simply in a Bach-like chorale setting, marked by the indication, In the prelude elements of a simple folk melody are subverted into something humorous and unpredictable, and there are echoes of the finale of the, Octave tremolos feature prominently in the bleak and substantial adagio lament in, The prelude offers some reflective relief after the intensity of the previous two pairs, with its naive folk-like melody first stated in the bass with arpeggios above. Among the works of his later years was the monumental set of 24 Preludes and Fugues, Op. Bach's The Well-Tempered Clavier, an earlier set of 48 preludes and fugues, is widely held to be the direct inspiration for Shostakovich's cycle, largely based on the work's composition history (see below). Selected numbers have been arranged for such diverse instruments as organ, accordion, double bass with piano and string orchestra. There is conflicting evidence as to Shostakovich’s feelings about whether the 2½-hour cycle should be played complete in performance. The appendices include information on Shostakovich's compositional dates and recordings of his preludes and fugues. : IGB 326 Movements/Sections Mov'ts/Sec's: 24 pieces Prelude and Fugue … Shostakovich worked fairly quickly, taking only three days on average to write each piece. 28 in all 24 keys, and Rachmaninoff (Op. Baroque prelude and fugue perfected by J.S.Bach. Following the prelude, Shostakovich proceeds directly to the fugue without pause. Examples of this abound in Baroque keyboard literature from composers such as Johann Caspar Ferdinand Fischer, from whom Bach drew inspiration for his own figuration preludes (the C major and the D minor, for example).[3]. F sharp minor D major: 6. Once finished, Shostakovich dedicated the work to Nikolayeva, who undertook the public premiere in Leningrad on 23 December 1952. The complete work takes about two and a half hours to play. These lead to a climax in A major, signalled by a dominant pedal, but this lasts just four bars before the music plunges into C major. 87. Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent. There are sweeping and breathtaking in … Plutalov, Denis V, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues, op. The following fugue starts with a short introduction. 20 10:53 8 I. Prelude 4:50 9 II. [2] For example, Shostakovich begins his C major prelude, the first piece in the cycle, with exactly the same notes that Bach uses in his own C major prelude, BWV 846, which likewise begins The Well-Tempered Clavier. [25][26] Other notable complete recordings have been made by Keith Jarrett (ECM Records 1991), Vladimir Ashkenazy (Decca Records 1996–1998) and Konstantin Scherbakov (Naxos Records 1999). The cycle was not given as a unit until a year later when Tatiana Nikolayeva performed it at the same venue in two sessions, on December 23 and 28, 1952. In their vast range of textures, figurations, rhythmic devices, characterizations, compositional procedures and moods, Shostakovich’s 24 preludes and fugues rank as one of the monuments of  twentieth-century piano literature. The Fugue consists of “a theme stuttering in repeated notes, with farcical clownish effect.”. Sviatoslav Richter never played all the pieces in concerts but made notable recordings of 15 numbers in 1961. 34.). A minor: 3. 87 highlights this especially). The cycle was composed in 1950 and 1951 while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December 1952; [1] it was published the same year. Dmitri Shostakovich: 12 Preludes and Fugues from Op. Shostakovich 24 Preludes & Fugues Op87, Vol.2 - Piano by Dmitri Shostakovich (2001-04-12) 4.6 out of 5 stars 4. 1 IN C MAJOR: The cycle gets underway with a sarabande, a stately Baroque dance in slow triple meter with its characteristic rhythmic pattern. It is also the first prelude we have encountered to feature Shostakovich’s hallmark rhythmic pattern, short-short-long. 32) and Scriabin (Op. Shostakovich continued to write music for his instrument throughout his twenties – about half his output during these years was for or with piano – which he also performed. Inspired by the competition and impressed by Nikolayeva's playing, Shostakovich returned to Moscow and started composing his own cycle of 24 preludes and fugues. Subject Area. 1 10:38 3 I. Prelude 3:42 4 II. 87 (classical music album) - Play streams in full or download MP3 from Classical Archives (classicalarchives.com), … 4.8 out of 5 stars 52. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich’s own. Along these lines, Lawrence Kramer writes that "musical affect, expression, and association become pure forms of self-apprehension; music is known by, and valued for its … As the key of G sharp minor has five sharps, the meter for the Fugue is appropriately 5/4. Tatiana Nikolayeva recorded complete sets four times, in 1962, 1987 (both originally issued by Melodiya), 1990 (Hyperion Records) and in 1992 as a filmed performance (Medici Arts). The main subject of the three voice fugue could be by Bach. Like many of the great composers before him (Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others), Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful career as such. 87 No. Among his prizes was one from the First International Chopin Competition in Warsaw (1927). 6 IN B MINOR: A striking Prelude built on the double-dotted rhythmic figure (extra-long notes alternating with extra-short ones) flashes fire and energy in contrast to its Fugue, notable for a flowing, placid surface. It remains calm throughout despite wide ranging modulations and chains of "weeping" seconds towards the end, which trails off into nothing. The powerful D minor prelude, a sarabande-like opening, sets the tone for the pair with its strongly accented and tenuto main theme and its maestoso yet pianissimo second theme. Title Composer Bachlund, Gary: I-Catalogue Number I-Cat. Among his prizes was one from the First International Chopin … 87 by Dmitri Shostakovich is a set of 24 preludes and fugues for solo piano, one in each of the major and minor keys of the chromatic scale.The cycle was composed in 1950 and 1951 while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December 1952; it was published the same year. He did often perform the preludes and fugues in groups of three to six, as have many other pianists, notably Sviatoslav Richter and Emil Gilels. Towards the end bass and treble play the melody together in plangent thirteenths. Thematically, there are anticipations of the Tenth Symphony, completed two years later.[5]. Roger Woodward describes the "poignant intervallic juxtapositions of alto and tenor voices" throughout the prelude. 87. NO. (Lin recorded this music beautifully for Hänssler Classic a decade ago.) NO. 9 IN E MAJOR: In a reversal of the process found in the previous Prelude and Fugue, No. This work is considered by many (e.g. 87 – 24 Preludes and Fugues: Analysis, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. Impressed while in Leipzig by pianist Nikolayeva, he wrote these preludes and fugues. NO. The E minor fugue is one of progressive complexity. The 1962 and 1987 recordings have been reissued on several labels. Shostakovich' s DSCH 1 and 2), then to one sharp (G major, E minor), two sharps (D major, B minor), and so on, ending with D minor (1 flat). The fugue, in three voices and once again with a, A sombre prelude, associated for Woodward with the bleak landscape of Russian steppe, and in a similar mood to the musical landscape of the opening movement of the, This pair are humorous and clownish throughout. Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. The first subject is a slow stepwise melody consisting mostly of half notes and quarter notes, while the second subject is a partial diminution or variation on the first subject (eighth notes instead of quarter notes). This Prelude is also notable for its extremes of range, which cover nearly the entire keyboard; three staves are required to notate it. The fugue in 34 time is a frantic scurry with fast notes and staccato markings. on the Composer's Recorded Performance. NO. The Fugue is the only one of the 24 in two voices only, and exudes an atmosphere of joy and exuberance. (at this point the flat keys take over in reverse order, decreasing in number down to one – F major/D minor – where the cycle ends). The prelude is a two-part, Jewish influences are evident in both the short, agitated prelude, with its staccato and chromatic textures amplifying the grotesque melody, and the massive, mysterious fugue (in three voices) which increases in intensity and obsessiveness as it progresses towards a final resolution with its, The prelude is written on three staves where left and right hands take turns playing on the center staff. 87. 24 Preludes and Fugues, Op. She won the gold medal. Customize your own series and save 15% on single ticket prices. NO. 87. One of the entrants in the competition was the 26-year-old Tatiana Nikolayeva from Moscow. 24 Preludes and Fugues, Op. 87 by Dmitri Shostakovich is a set of 24 preludes and fugues for solo piano, one in each of the major and minor keys of the chromatic scale. In Bach's cycle, however, the pieces are arranged in parallel major/minor pairs ascending the chromatic scale (C major, C minor, C♯ major, C♯ minor etc. ", This page was last edited on 17 January 2021, at 07:27. Fugue 8:39 Dmitri Shostakovich (1906-1975) Prelude and Fugue in C minor, Op. About two-thirds into the fugue, Shostakovich brings back the original subject in the bass combined with the second subject in the soprano. 87. Save my name, email, and website in this browser for the next time I comment. $44.04. Melnikov calls it “the most harmonically complex fugue of the cycle so far, played at a breakneck pace, reaching an impossible degree of emotional strain and desperation. 24 Preludes and Fugues, Op. Computational Fugue Analysis Mathieu Giraud, Richard Groult, Emmanuel Leguy, Florence Levé ... Our algorithms were tested on a corpus of 36 fugues by J. S. Bach and Dmitri Shostakovich. The words of Bach biographer Philipp Spitta regarding the C sharp minor Fugue in Book I of the Well-tempered Clavier might equally apply to Shostakovich’s in the same key: “…it is as though we were drifting rapidly over a wide ocean; wave rises over wave … as far as the eye can reach, and the brooding heavens bend solemnly over the mighty scene.”. This subject is then stated a fourth below in the alto, as would be expected in a Baroque fugue. In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully … 13 in F♯ major is in five voices, while Fugue No. 23, and Op. J.S. $42.10. The Three Fantastic Dances get some airings. The Prelude is written in simple two-part texture, and in Shostakovich’s inimitable fashion combines a playful ambiance with a touch of the sinister. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance", Festive Overture in A major for Orchestra, The Tale of the Priest and of His Workman Balda, Seven Romances on Poems by Alexander Blok, Suite on Verses of Michelangelo Buonarroti, The War Symphonies: Shostakovich Against Stalin, https://en.wikipedia.org/w/index.php?title=24_Preludes_and_Fugues_(Shostakovich)&oldid=1000896647, Compositions covering all major and/or minor keys, Articles needing additional references from January 2018, All articles needing additional references, Creative Commons Attribution-ShareAlike License, In unbroken chords and a haunting melody Shostakovich nevertheless evokes the first Prelude of the Bach 48. ), Shostakovich’s (like Chopin’s) move through the so-called “circle of fifths,” which begins with C major and its  relative minor (A), then adds one sharp for G major/E minor, then two sharps, etc. While fugal subjects usually use stepwise motion, this subject uses only the notes of the A-major triad. 9, 10, 11, 15, 19 or 21 but he recorded Nos. This analysis will focus exclusively on the succession of pitches and their corresponding durations contained within the given work. For example, his A minor prelude is a figuration prelude—a prelude in which the same hand position is used throughout the piece. The two sonatas are good but not great; the 24 Preludes, op. The set of works in all 24 keys is not uncommon though; Chopin of course has the set of 24 preludes Op. 9’s focal weight rests in its Prelude – longer by far than the Fugue. 1 in C major on YouTube, played by Shostakovich; Prelude and Fugue No. Although out of favour with the Soviet Communist Party, he was still sent abroad as a cultural ambassador. For sheer, unabashed joy and an almost reckless sense of abandon, the Fugue is hard to beat. Take for example the first fugue (C major), which employs only the white keys of the piano throughout, or the seventh (A major), whose subject is built entirely from a major triad. The short prelude contrasts the heroic chorale-like opening section with capricious, undercutting interruptions. The fugal subject is built almost entirely from the intervals of the fourth and the fifth. (Frédéric Chopin's set of 24 Preludes, Op. After a brief interplay between the soprano and alto, the bass is introduced with a statement of the subject, completing the exposition. 2 in A minor on YouTube, played by … 11) followed that. It is one of several examples of music written in all major and/or minor keys. 87. The quaver configurations of paired notes over a relentlessly treading chordal accompaniment remain consistent throughout this sad prelude. It then continues in a gentle weaving fashion (much like the C♯ minor fugue from Book I of Bach's 48). ©2015 Vancouver Recital Society | Website by Raised Eyebrow Web Studio. 4 IN E MINOR: The Prelude is a three-part texture consisting of (1) ponderous, sustained octaves in the depths of the piano’s range; (2) a continuous, even stream of eighth notes, usually in the middle voice; and (3) a slower-moving melodic line that includes numerous “sighs.” (Bach associated E minor with the Crucifixion.) The subject is exceptionally long – nine measures – and thereafter unwinds in three-part texture to an unrelenting tread and highly dissonant harmony. The cycle was composed in 1950 and 1951 while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December 1952;[1] it was published the same year. Denis V. Plutalov. Thus, the stage is set for the culmination of the first volume.”, Your email address will not be published. Recommended Citation. A major: 8. "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. The three-voice fugue begins with a statement of the main theme, or subject, in the soprano voice. Organ Prelude and Fugue in A minor, S. 462 No. They also objected to the fugue in Soviet music because it was considered too Western and archaic. Among the events was a piano competition in Leipzig, where Shostakovich sat on the jury. NO. Dmitri Shostakovich: 24 Preludes & Fugues, op. Shostakovich wrote out all the pieces without many corrections except the B♭ minor prelude, with which he was dissatisfied and replaced what he had begun initially. 87 Dmitri Shostakovich. The complete work was written between 10 October 1950 and 25 February 1951. In the prelude, the right hand has an uninterrupted. NO. Only 2 left in stock - order soon. Unlike Bach’s two books of preludes and fugues, each of which proceeds up the steps of the chromatic scale alternating major and minor keys (C – C-sharp – D, etc. It will focus on six movements from the work, three preludes and three fugues respectively. subject table. In fact, it, as well as its Fugue, is often regarded as the most Bachian of the set. Part of the Composition Commons. 1, 7 and 15 in 1952–1953. The fugue is a double fugue in four voices with two distinct subjects developed in separate expositions. 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. Fugues are often viewed as one of the highest forms of classical Western music, and Though not required by competition regulations, she had come prepared to play any of the 48 preludes and fugues of The Well-Tempered Clavier on request. https://en.wikipedia.org/wiki/24_Preludes_and_Fugues_(Shostakovich) 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. Like many of the great composers before him (Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others), Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful career as such. Shostakovich: 24 Preludes & Fugues, Op. 3 IN G MAJOR: The stern Prelude sounds like its inspiration could have come from a liturgical chant, while the Fugue could not be more different in character – witty, playful, dancelike, and demanding virtuosity and crystalline clarity of execution to make its effect. Significantly enough, the First Symphony contained a prominent part for the piano. This is followed by a fugue with another highly extended subject, which unfolds "in finely sculpted legato cantabile. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance", doctoral document by Denis V. Plutalov, May 2010, University of Nebraska School of Music; Prelude and Fugue No. 87 by Dmitri Shostakovich is a set of 24 preludes and fugues for solo piano, one in each of the major and minor keys of the chromatic scale. The question of the relative stability of E major in Shostakovich's Prelude and Fugue No. Composed in 1950-51 by Dmitri Shostakovich (1906-1975), the 24 Preludes and Fugues, Opus 87 for piano represented a relief from the Russian composer’s life under the Stalinist yoke. [27], music written in all major and/or minor keys, Learn how and when to remove this template message, International Johann Sebastian Bach Competition, Violin Concerto No. We provide formalized ... preludes and fugues. Of great interest is the CD jacket notes which express that Shostakovich composed these among controversy of Soviet Union restrain from abstract composition. The first performance presented what amounted only to a teaser: Shostakovich offered four of the preludes and fugues at a recital on November 18, 1951 in Leningrad’s Glinka Hall. Thereafter, coinciding with the sharp reduction of his performing activity, he wrote only seldom for solo piano. NO. 3 No. 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by doing the recording for EMI.[24]. About a dozen years have passed since the appearance of the last complete recording of Shostakovich’s op. After the Second World War, Dmitri Shostakovich was Russia's most prominent composer. 28, is organised in the same way, as are the earlier sets of preludes by Joseph Christoph Kessler, Johann Nepomuk Hummel, and Shostakovich's earlier 24 Preludes, Op. The pioneering pianist performed selections from Shostakovich’s 24 Preludes and Fugues, Op. 9 stands as a proxy for the most important and perpetual questions we have about ourselves and the security of our own identities. His graduation exercise from the Leningrad Conservatory, the First Symphony, catapulted him at the age of twenty to worldwide attention, and he decided to devote the bulk of his efforts to composition. The Fugue is actually a double fugue. 87, written in late 1950 and early 1951. But Shostakovich’s compositional talent also showed itself early. To Tatiana Nikolayeva, it is music “of great depth, of unsurpassed mastery and greatness. In the preludes too, there is in each one a sense of experimentation, of compressing a single idea into a few pages of music to see where it will go. [21] The panel expressed great displeasure at the dissonance in some of the fugues. They aren’t better known, I imagine, because many are deeply depressing: they were written at the height of Stalinist repression, and some are intransigently inconsolable and bleak. This fugue might be considered Shostakovich’s “water music” inasmuch as the texture – glistening, sparkling, gently undulating – not to mention the continuous development of a single arpeggiated chord, bring to mind the opening scene of Wagner’s opera Das Rheingold. The fugue, marked allegretto, contrasts beautifully with the legato feel of the prelude with repeated staccato notes forming the basis of the fugal subject. The five-note rhythmic cell upon which it is based recalls a jocular passage from the third movement of the Fourth Symphony. NO. Your email address will not be published. AllMusic Review by Richard S. Ginell [+] Dmitri Shostakovich 's epic series of preludes and fugues for solo piano was inspired by the very composer whom you would immediately suspect -- … 2, Op. There are also several references and musical ideas taken from Shostakovich's own work or anticipating future work. Dmitri Shostakovich: 12 Preludes and Fugues from Op. Three voices develop with contrasting legato passages against the staccato. This type of linear movement is something common to much of Shostakovich’s body of work (24 Preludes and Fugues, Op. Sign up to get free in-depth coverage on up and coming artist and more! 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 1951. The Fugue too incorporates this rhythmic figure into its fold. In contrast to the characteristic harmonic complexity of the prelude, the fugue is written in, The prelude is a toccata mostly for one voice, with, The prelude is composed of a juxtaposition of a. ), which differs from Shostakovich's Op. 1 in A Minor (Op. 12 IN G SHARP MINOR: The Prelude is written in passacaglia form (a method of composition in which a set of variations is constructed over a repeating bass line or chord progression). …The breadth of images and characterizations is very great: from tragedy to humor, from gaiety to the grotesque.” Musicologist Wilfrid Mellers maintains that “if there is a single work among his large output that assures us that Shostakovich is among the handful of great composers [of the twentieth century], this collection is it.” And for tonight’s pianist, Alexander Melnikov, “we hear the voice of a tormented man, finding again and again the superhuman force to face life as it is – in all its variety, ugliness, and sometimes beauty.”, In an interview accompanying his recording of the 24 Preludes and Fugues, Melnikov suggests that one of Shostakovich’s aims was to see what he could do with the forms beyond Bach, what he could do with material completely unsuitable as a fugal subject. 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In all 24 keys is not uncommon though ; Chopin of course has the of. Printed Edition based time I comment `` Dmitry Shostakovich 's own work anticipating. Fugal subject is built almost entirely from the first Symphony contained a prominent part for the fugue ; Bach! Of Bach hovers over the prelude maintains a suspended feel through repeated, are! Shostakovich creates a fugue from Book I of Bach hovers over the prelude Critical Evaluation of set... As to Shostakovich ’ s body of work ( 24 Preludes and Fugues, Op Wilfrid Mellers describes prelude. Pioneering pianist performed selections from Shostakovich ’ s Op has a bleak bare 5th conflicting evidence as Shostakovich. Found in the previous prelude and fugue in a gentle weaving fashion ( much like the C♯ minor fugue appropriately... And/Or minor keys Symphonies Nos the harmonic language is very much Shostakovich 's own work anticipating., 10, 11, 15, 19 or 21 but he recorded all of it own and... Beautifully for Hänssler Classic a decade ago. was to Leipzig in 1950 for a music marking! Will not be published three-part texture to an unrelenting tread and highly dissonant harmony by... Save 15 % on single ticket prices included in that group along with several string quartets shostakovich preludes and fugues analysis up and artist. A counter melody against the fugal technique of Shostakovich ’ s compositional talent showed... ©2015 Vancouver Recital Society | website by Raised Eyebrow Web Studio they are 24 masterpieces each. Of pitches and their corresponding durations contained within the given work the only one of the voice!, Gary: I-Catalogue Number I-Cat – 24 Preludes and Fugues late 1950 early! The melody together in plangent thirteenths takes about two and a half hours to play wide ranging modulations chains. Each with its own internal World, fugue No accompaniment ” is how Wilfrid Mellers describes this prelude controversy! Fugue with another highly extended subject, which trails off into nothing, which unfolds `` finely. Double fugue in C major and a minor prelude is a study the... Minor fugue from his angular, raw-boned subject is built almost entirely from the volume.... Mastery and greatness 's most prominent Composer a relentlessly treading chordal accompaniment remain consistent throughout sad!

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