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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Don’t show me this message again. The form of the prelude is indeed similar to that of a set of variations written by Mozart. The keyboard writing is very demanding; the wide leaps and the clarity needed for this piece demand great finger strength.
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It is of course valid to play any of them singly, or to simply form groups out of selected ones from across the collection. Papadopoulos can also be just a touch too emphatic for my taste—the left hand accents in the E flat Prelude No. 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.
However, the hushed serene beauty of the C major coda, where Shostakovich uses the major key material to resolve the tonality, is perhaps the most poignant moment of all.
The final cadence is exquisitely beautiful, with dissonances gradually becoming more and more concordant and spaced further apart.
Shostakovich: 24 Preludes and Fugues, Op. 87 – Keith Jarrett | Songs, Reviews, Credits | AllMusic
The ultimate enigma of this great composer is that we can never be sure of what the message is. 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. Despite my glowing fugies of Nikolaieva’s performances, the Hyperion set was far from disappointing. But whereas in the symphony the tune is transmogrified into a grotesque and monstrous version of itself later in the movement, here it disappears off at the end in a happy-go-lucky fashion.
After the music subsides, an heroic theme in G major sounds; this has the character of a military memorial eulogy played on a distant trumpet, and will later become the subject of the fugue. In three voices, it is in a moderate tempo, the atmosphere autumnal.
The vivace fugue is a tour de force of chromatic and atonal writing. The slow declamatory majesty of the opening of the prelude rises like a monolith from the apparently calculated stasis of the preceding fugue in F major. Stream or buy on: Prelude and Fugue No 16 in B flat minor According to Tatiana Nicolayeva, the B-flat Minor prelude is the only one of the forty eight pieces that make up this cycle about which Shostakovich had second thoughts. It is reminiscent of the finale of his Ninth Symphony.
Shostakovich: 24 Preludes and Fugues Op 87 – Telegraph
Octave tremolos feature prominently fuguex the prelude. It holds an important thematic link in preparation for the Tenth Symphony. The happy mood is interrupted by the fugue, which is designed to be in the same tempo and to emerge directly from the prelude.
The following fugue starts with a short introduction.
The prelude is very ponderous and atmospheric. Poignant intervallic juxtapositions of alto and tenor voices throughout Prelude 23 in F major, are followed by another extended fugue subject in finely sculpted shodtakovich cantabile.
The fugue is one of the most inspired. This concept is extended into the martellatomotoric rhythms of Fugue 15, in D-flat major that contains all the notes of the serial row for the subject except for the last entry, which is reserved for the final resolution.
Looking at it from one angle, this is Jarrett ‘s most impressive technical achievement in the classical repertoire so far. The three-voice fugue begins with a statement of the main theme, or subject, in the soprano voice. They form the gestalt of a language that later became associated with a middle period of the composer’s compositional maturity. Meanwhile in the bass is an equally folky line, redolent of the sound of a cello. Dmitri Shostakovich Composer Marios Papadopoulos pf.
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Since the cycle moves in relative pairs, the second Prelude is an A minor toccata with implied cantus firmus developed as a perpetuum mobile before moving around the circle of fifths to a more obvious cantus firmus used throughout Prelude 4, in E minor.
Inhis reputation still not recovered, he traveled to Leipzig where he was one perludes the judges of the First International Bach Competition during the bicentennial commemoration of the composer’s death. Prelude and Fugue No 11 in B major This prelude is Shostakovich typically clowning around with a folky melody, adding incongruous notes to an apparently predictable tune, rendering it unpredictable in the extreme.
It has, probably coincidentally, a style suggestive of English country dance; the ghost of Percy Grainger seems to hover above the piece, with its witty harmonic twists and turns. As with every composer, 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. Staccato and chromatics add to the chilling nature of the melody.
In Kampf-und-Sieg stages of compositional growth an extended D-major coda recalls the victorious closing pages of the Fifth Symphony Op.
Prelude and Fugue No 2 in A minor The prelude is a swift toccata—a perpetuum mobile of whirling sixteenth notes that seems to be an accompaniment without a melody. It is trumped only by the spectacular compositional virtuosity and complexity of the final part of a double fugue where Shostakovich exploits every conceivable contrapuntal device including double strettocancrizanaugmentation, diminution, pedal point and invertible counterpoint.
The subject contains 11 of the 12 semitones available. Much of the piece uses a counter melody against the fugal entries. The E minor fugue is one of progressive complexity. It results from the progress of the majestic chorale that opens it, as it alternates several times with a nervous and tonally ambiguous passage of short chords. Prelude and Fugue No 1 in C major The opening of this sublime and diverse set of pieces is already enigmatic.
Thematic fragments throughout the Shostakovich cycle op. Each piece is in two parts— a prelude and a fugue —varying in pace, length and complexity for example, Fugue No. The piece ends in a very boisterous orchestral style, with an extended hemiola on the final cadence.
The complete work was written syostakovich 10 October and 25 February