After a brief interplay between the soprano and alto, the bass is introduced with a statement of the subject, completing the exposition. The E minor fugue is one of progressive complexity. The Fugue is actually a double fugue. But Shostakovich’s compositional talent also showed itself early. Fugues are often viewed as one of the highest forms of classical Western music, and 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. NO. Significantly enough, the First Symphony contained a prominent part for the piano. music critic Alex Ross, musicologist Tanya Ursova, etc.) Work Title 24 Preludes and Fugues, Book I Alt ernative. Speculation notwithstanding, Shostakovich left only one definitive argument - his music. 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. 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. [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). NO. The fugal subject is based entirely on the notes of the tonic chord (A – C-sharp – E). Baroque prelude and fugue perfected by J.S.Bach. 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. Subscribe and save up to 20% on single ticket prices! 1 in C major on YouTube, played by Shostakovich; Prelude and Fugue No. 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. C major: 2. It then continues in a gentle weaving fashion (much like the C♯ minor fugue from Book I of Bach's 48). He never recorded Nos. The four voice fugue, in. The modulatory section begins in the minor key; a brief return to the tonic key provides a breath of calm before an increasingly frenzied series of modulations. Dmitri Shostakovich: 24 Preludes & Fugues, op. As part of the festival, Shostakovich was asked to sit on the judging panel for the first International Johann Sebastian Bach Competition. 77), Shostakovich – Op. 5 IN D MAJOR: “A graceful, wistful dance-song over a lightly arpeggiated accompaniment” is how Wilfrid Mellers describes this Prelude. Many listeners hear in it strong reverberations of a Bach two-part invention. NO. He himself never did so, though he recorded all of it. The music then settles down, gently leading to the recapitulation, where a single statement of the subject in the tonic key brings the piece to a close. Audio CD. 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 fugal subject is built almost entirely from the intervals of the fourth and the fifth. Impressed while in Leipzig by pianist Nikolayeva, he wrote these preludes and fugues. Three voices develop with contrasting legato passages against the staccato. Fugue 6:57 César Franck (1822-1890) Prélude, choral et fugue 21:32 5 I. Prélude 5:35 6 II. The analysis will point towar ds Dmitri Shostakovich: 12 Preludes and Fugues from Op. 87 Dmitri Shostakovich. In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully … The appendices include information on Shostakovich's compositional dates and recordings of his preludes and fugues. 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). 32) and Scriabin (Op. Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 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. The quaver configurations of paired notes over a relentlessly treading chordal accompaniment remain consistent throughout this sad prelude. The fugue, marked allegretto, contrasts beautifully with the legato feel of the prelude with repeated staccato notes forming the basis of the fugal subject. As he had in only a few of the other fugues, Shostakovich took one of the themes of the prelude as the subjects for his fugue. The composition begins rather humbly with a quiet, conservative exposition, but it ends triumphantly with nearly every possible fugal device (invertible counterpoint, stretto, double stretto, diminution, augmentation, retrograde) exploited in the final bars. This work is considered by many (e.g. NO. The fugue is a double fugue in four voices with two distinct subjects developed in separate expositions. Among his prizes was one from the First International Chopin Competition in Warsaw (1927). They are 24 masterpieces, each with its own internal world. This is followed by a fugue with another highly extended subject, which unfolds "in finely sculpted legato cantabile. The tone continues in the Fugue; whereas Bach begins with a scaled 4th, Shostakovich has a bleak bare 5th. Shostakovich' s DSCH 9 IN E MAJOR: In a reversal of the process found in the previous Prelude and Fugue, No. The Three Fantastic Dances get some airings. Chordal writing alternates with flowing chromatic passages. 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.) This type of linear movement is something common to much of Shostakovich’s body of work (24 Preludes and Fugues, Op. The five-note rhythmic cell upon which it is based recalls a jocular passage from the third movement of the Fourth Symphony. The subject is exceptionally long – nine measures – and thereafter unwinds in three-part texture to an unrelenting tread and highly dissonant harmony. 7 IN A MAJOR: The spirit of Bach hovers over the Prelude. Shostakovich 24 Preludes & Fugues Op87, Vol.2 - Piano by Dmitri Shostakovich (2001-04-12) 4.6 out of 5 stars 4. J.S. 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. References to and quotations from Bach's cycle appear throughout the work. Shostakovich recorded 18 of the 24 pieces at five recording sessions in 1951–1952, 1956 and 1958 (EMI). 1, 7 and 15 in 1952–1953. Among the works of his later years was the monumental set of 24 Preludes and Fugues, Op. 87. 87 No. The 1962 and 1987 recordings have been reissued on several labels. 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. The complete work was written between 10 October 1950 and 25 February 1951. 87. Choral 7:18 7 III. NO. on the Composer's Recorded Performance. The inspiration came principally from Bach, as it has for similar sets from other composers: Hans Huber, Castelnuovo-Tedesco (for guitar duo) and Niels Viggo Bentzon for preludes and fugues together; Chopin, Scriabin, Busoni, Debussy, Rachmaninoff and Shostakovich himself (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. 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). NO. Recommended Citation. Nikolayeva studied composition with Evgeny Golubev, shostakoich pupils also include Alfred Schnittke, and she has since written two Piano Concertos, a Sonata and much other music for solo piano, as well as vocal works. The pioneering pianist performed selections from Shostakovich’s 24 Preludes and 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. 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. 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. About a dozen years have passed since the appearance of the last complete recording of Shostakovich’s op. She also recorded Nos. Part of the Composition Commons. "[22][23] According to Ross, the composer used chamber forms in the period to channel his most personal compositions, those that would not be suitable for use or approval by the Soviet government. Thereafter, coinciding with the sharp reduction of his performing activity, he wrote only seldom for solo piano. Its meter of 12/8 (four groups of triplets) was far more common in the Baroque era than it is today. (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). : IGB 326 Movements/Sections Mov'ts/Sec's: 24 pieces Prelude and Fugue … Through analysis (structural and stylistic) of selected preludes and fugues from Shostakovich's opus as well as a survey of other sets of preludes, fugues, and preludes and fugues (from Fischer to Shchedrin) we will be able to see the prelude and fugue lineage more clearly. 24 Preludes and Fugues, Op. Fugue 8:39 Dmitri Shostakovich (1906-1975) Prelude and Fugue in C minor, Op. A long, florid melody opens this prelude, then the mode darkens and the pace slows to adagio for an intense short interlude before the melody returns. There is conflicting evidence as to Shostakovich’s feelings about whether the 2½-hour cycle should be played complete in performance. These days Shostakovich’s 24 Preludes and Fugues are encountered in recital only rarely, but over the decades the cycle has attracted champions who … One such trip was to Leipzig in 1950 for a music festival marking the bicentennial of J. S. Bach's death. 2 IN A MINOR: The Prelude is a toccata-like affair (“pure harpsichord textures,” says Melnikov), with a single line of rapid sixteenth-notes running in perpetual motion throughout. The prelude maintains a suspended feel through repeated, Roles are reversed in this pair between prelude and fugue. 87. It will focus on six movements from the work, three preludes and three fugues respectively. 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. 20 10:53 8 I. Prelude 4:50 9 II. 11) followed that. The pieces proceed in relative major/minor pairs around the circle of fifths: first C major and A minor (prelude and fugue nos. They also objected to the fugue in Soviet music because it was considered too Western and archaic. 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, 48 Preludes and Fugues (1951) These preludes and fugues are among the masterpieces of the twentieth century. 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by doing the recording for EMI.[24]. 87. 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. For example, his A minor prelude is a figuration prelude—a prelude in which the same hand position is used throughout the piece. Although out of favour with the Soviet Communist Party, he was still sent abroad as a cultural ambassador. $42.10. 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. Shostakovich: 24 Preludes & 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. 34) for preludes alone. The fugue in 34 time is a frantic scurry with fast notes and staccato markings. The main subject of the three voice fugue could be by Bach. ), which differs from Shostakovich's Op. This thesis is a study of the fugal technique of Shostakovich as observed in Op. Shostakovich: 24 Preludes and Fugues, Op. It remains calm throughout despite wide ranging modulations and chains of "weeping" seconds towards the end, which trails off into nothing. The question of the relative stability of E major in Shostakovich's Prelude and Fugue No. NO. 87 (classical music album) - Play streams in full or download MP3 from Classical Archives (classicalarchives.com), … 87. Spring 4-23-2010. https://en.wikipedia.org/wiki/24_Preludes_and_Fugues_(Shostakovich) In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. After the Second World War, Dmitri Shostakovich was Russia's most prominent composer. Plutalov, Denis V, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues, op. NO. 24 Preludes and Fugues, Op. G major: 4. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich's own. A minor: 3. The complete work takes about two and a half hours to play. 1. Selected numbers have been arranged for such diverse instruments as organ, accordion, double bass with piano and string orchestra. 10 IN C SHARP MINOR: Again the spirit of Bach informs this Prelude. 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. 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. [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. Likewise, the composers' second fugues (A minor for 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). Denis V. Plutalov. Roger Woodward describes the "poignant intervallic juxtapositions of alto and tenor voices" throughout the prelude. The set of works in all 24 keys is not uncommon though; Chopin of course has the set of 24 preludes Op. About two-thirds into the fugue, Shostakovich brings back the original subject in the bass combined with the second subject in the soprano. E minor: 5. To further add to the quaint color of the movement, subito forte and piano are mixed in giving the fugue a frankly chipper tone. 2, Op. Following the prelude, Shostakovich proceeds directly to the fugue without pause. 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. ©2015 Vancouver Recital Society | Website by Raised Eyebrow Web Studio. 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 -- … 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. 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]. University of Nebraska at Lincoln, dplutalov@gmail.com. (Lin recorded this music beautifully for Hänssler Classic a decade ago.) 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. 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. Save my name, email, and website in this browser for the next time I comment. Organ Prelude and Fugue in A minor, S. 462 No. F sharp minor 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. The following fugue starts with a short introduction. In addition to more direct quotation, Shostakovich also at points imitates the various types of preludes found in the Bach cycle (and in other, similar, Baroque compositions). 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 is one of several examples of music written in all major and/or minor keys. to be produced by the "other Shostakovich," or as a composition "for the desk drawer. A major: 8. 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. Canadian pianist David Jalbert also recorded the piece for ATMA Classique in 2008, and Peter Donohoe for Signum Classics in 2017. 87. 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. 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