Shostakovich: 24 Preludes and Fugues, Op. 87

Editorial Reviews
Amazon.com
Shostakovich performed at a Bach bicentennial festival at Leipzig in 1950. Under the spell of Bach, he quickly wrote this homage, which contains some of his most consistently inspired and inventive music. After half a century, it is now accepted as a timeless classic, a sincere homage to Bach, still individual and expressive. Shostakovich wrote the music for his student Tatiana Nikolayeva, who performed the world premiere. Her three recordings of the cycle are close to definitive, especially the set on Melodiya, which is economically priced but uneconomically spread over three CDs. Scherbakov, who has already made some impressive discs for Naxos, provides a very strong challenge. No recording of this cycle has captured the brooding, inward quality of some of this music as well as Nikolayeva's, but Scherbakov comes close. Where virtuosity is required, he actually surpasses the impressive Nikolayeva. Considering the fine sound quality and extremely reasonable price of this set, it's at least a clear second choice for the ultimate recording of the series, and probably a good first choice for an introduction to the music. The performances are even superior to the well-known versions by Keith Jarrett and Vladimir Ashkenazy. --Leslie Gerber

Tracks:

Preludes And Fugues Op. 87: Prelude And Fugue No. 1 In C Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 2 In A Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 3 In G Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 4 In E Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 5 In D Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 6 In B Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 7 In A Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 8 In F Sharp Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 9 In E Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 10 In C Sharp Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 11 In B Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 12 In G Sharp Minor

Tracks:

Preludes And Fugues Op. 87: Prelude And Fugue No.13 In F Sharp Major
Preludes And Fugues Op. 87: Prelude And Fugue No.14 In E Flat Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.15 In D Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.16 In B Flat Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.17 In A Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.18 In F Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.19 In E Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.20 In C Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.21 In B Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.22 In G Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.23 In F Major
Preludes And Fugues Op. 87: Prelude And Fugue No.24 In D Minor

Customer Reviews:

It doesn't get any better than this........2006-07-14

I am not a music "expert" so you may take this review with a grain of salt. I know what I like and this is amazing. Absolutely beautiful. In my humble opinion, it is warmer, more nuanced, and less rigid than the Nikolaieva or Ashkenazy versions. This would be on my "desert island" Top 5 list, no question about it.

IMPROVISED CLASSICAL MUSIC.......2005-06-12

All the great classical composers were great improvisors. Because of the constraints of the academy, one wonders if most of todays players could even fake "Happy Birtrhday".

We are lucky to have someone like Keith Jarrett alive in our own time. Since he is capable of actually improvising profound music, he seems to bring a liveness and spontenaity to this Shostakovich masterpiece. The first recording I ever heard was by Ashkenazy and even then I felt that something was missing. Then I heard the Jarrett version and it came to life! I'm sure any criticism by classical purists is just jealousy...this is perhaps like hearing a great musician/composer, such as Liszt, playing Chopin...or perhaps like Chopin playing Bach!

There are so many college trained "button-pusher" pianists around today that it is refreshing to hear the emotional vividness and luminous technique displayed by Jarrett in this recording. I assumed that these pieces would be dark and posess and dated, pre WORLD WAR II quality, but like the Bach pieces that inspired them, they convey all sorts of emotions that are beautifully realized by Keith Jarrett.

He makes the other versions seem like journeyman efforts that were played by pianists who had to seek out a teacher to told them "How" they should be performed.

A great combination..........2005-05-16

- Warm spring afternoon
- Shostokovich Preludes and Fugues
- Keith Jarrett

Jarrett's peculiar bright aspect works exceptionally well with the more lyrical, optimistic pieces, (most of them, I think). For pieces having that Shostakovich life-is-out-of-kilter feel the color contrast is striking, but it's odd and unsettling in the bottomless-despair ones (few are in this category). I think Shostakovich would be pleasantly surprised by the way these sound. On the other hand, Jarrett does miss some of the curled-up dimensions in these multidimesional gems. An interesting, refreshing, virtuoso reading, but by no means definitive as some corners are left undusted. Too much reverb in the recording space for my taste.

My pick from Jarrett/Ashkenazy/Nikolayeva.......2005-01-16

I own recordings of this work by Jarrett, Ashkenazy and Nikolayeva (on Hyperion). Ultimately it is Jarrett's version that I find myself listening to most often. My main gripe with Nikolayeva is that she can be excessively slow. Ashkenazy -- though technically strong as one would expect -- has a tendency to hammer out some of the fugues in rigid staccato that suppresses the natural lyricism of the music. The flip side as argued by another reviewer is that Jarrett is sometimes "mushy", but that seems a little harsh to me. Unless you have a very particular opinion on how these pieces must sound (in which case you can listen to them yourself) this recording makes a fine choice.

far and away the best, and don't give me no lip!.......2004-11-25

Keith Jarrett himself must have expected wildly polarized reviews on his take of Shostakovich's preludes and fugues, and it's no wonder, as he is more popularly known as a modern jazz master.

As I have had access to a public radio station music library, I decided to spend a weekend comparing and contrasting the different recording of this Opus 87, with score in-hand, by Jarrett, Nikolayevna, and Ashkenazy. I rate Jarrett first, second place going to Nikolayevna, and Ashkenazy bringing up a rather indifferent rear.

Jarrett's interpretation seems to be most often panned on grounds that he "doesn't understand the music", which is sheer hogwash. Add this to the fact that most critics fail to state what are the prerequisites for understanding this music, and I suggest it's a lot more than understanding Shostakovich's "pain"; a rather over-romantic view of a composer who could and did write extremely emotional music, but also music with humor and grace. There's a lot more to Shostakovich than just "pain". Jarrett has obviously studied the pieces well, and plays each prelude and fugue with flawless technique and even daring interpretation that is notably original, the most obvious case being the C-major fugue being taken at what sounds like a *very* slow pace. But having access to the score, he's taking it at the specified tempo: 92-to-the-quarter, interpreting the "alla breve" by playing very legato. So why do the other recordings have it so fast?

Jarrett's A-major fugue shines like the sun; his A flat-major fugue becomes a giddy, but slyly understated dance. (I should add here that in the A-flat prelude Ashkenazy makes a rather shocking note discrepancy in the main theme that either passed a producer's ear or was mis-read in the printed edition.) The more somber pieces are played with respect and deep concentration.

Add to this ECM's top-shelf engineering that provides a realistic, deep piano sound, and you've got a five-star set in your hands.

The pieces were written for Nikolayevna, but her autumn-years recording seems a bit one-dimensional to my ears at times, and the dynamics are a bit narrow as well, although she obviously has played these pieces for a very long time and seems to have absorbed them to the point where her interpretations seem more introverted, if that is your taste. The piano sound is broad, though it has a bit more hammer sound than Jarrett's.

For Ashkenazy, I have nothing exceptional to report. The Decca sound is dry, his rubato doesn't work for me and almost sounds as if he is unsure of himself in places, and overall it doesn't seem to add any air of authority or authenticity. Add to this Decca's assertion that since Askenazy is Russian, his recording is the final word on it, which is pretty trite.

Jarrett gives a modern, up-to-date performance that I think will stand the test of time, while the Askenazy will ultimately be re-packaged as a budget set.

Go with Jarrett; the man who dares to play classical music that is absolute, stripped bare of tuxedo snobbery. He gives his all for this one, and it shows.

Shostakovich: Piano Concertos; 3 Fantastic Dances; 5 Preludes & Fugues, Op. 87

Average customer rating:

One of the Greats
Shostakovich plays Shostakovich - SUPERB!!!
Shostakovich and the Mighty Fugue
The composer himself recorded beautifully....
Definitive Shostakovich Reissued

Shostakovich: Piano Concertos; 3 Fantastic Dances; 5 Preludes & Fugues, Op. 87

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Shostakovich Plays Shostakovich
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99
Lady Macbeth of Mtsensk
Shostakovich: Piano Concertos Nos. 1 & 2; Sonata No. 2
Shostakovich: 24 Preludes and Fugues, Op. 87

ASIN: B0000CG8ES
Release Date: 2003-10-07

Tracks:

I: Allegro Moderato - Allegro Vivace - Moderato
II: Lento
III: Moderato
IV: Allegro Con Brio - Presto - Allegretto Poco Moderato - Allegro Con Brio
I: Allegro
II: Andante
III: Allegro
I: Allegretto (C)
II: Andantino (G Minor)
III: Allegretto (C)
No.1 In C (Moderato)
No.4 in E Minor (Andante-Adagio)
No.5 In D (Allegretto)
No.23 In F (Adagio - Moderato Con Moto)
No.24 In D Minor (Andante - Moderato)

Customer Reviews:

One of the Greats.......2007-05-19

Dmitri (not Dmitry as shown in the listing) Shostakovich was one of the 20th century's greatest composers. In his early years, he was also a phenomenal pianist. Here we have the opportunity of hearing some of his finest efforts in both realms. I gave the disc four stars only because Shostakovich was past his prime as a pianist when the recording was made (he was suffering from a painful malady to his right hand), and the fact that this is a mono recording (but a fine one at that). Nevertheless, his performances of the two concerti are breathtaking (flubs and all). If you truly appreciate the importance of this man in the history of music, you will want this disc for your collection. Nowadays it is difficult to find any decent copies of his early efforts. A must have for those who love Russian music.

Shostakovich plays Shostakovich - SUPERB!!!.......2007-03-17

It's always a joy to hear a composer's own interpretation of his music. In the case of the great Soviet composer Dmitri Shostakovich, getting to hear him play his own piano concertos as well as several Preludes and Fugues is nothing short of breathtaking.
While the recordings on this disc (dating from 1958) are in Mono, they sound fantastic and the remastering is stunning. In fact, it is such a clear recording, you would almost think it was stereo.
Shostakovich's piano playing is jaw-dropping throughout this disc especially on the two concertos. You can hear the seriousness and the contrasting humor in both of these works as well as serene romanticism.
The "Three Fantastic Dances" and the five "Preludes and Fugues" which follow show off Shostakovich's superb solo piano technique and are definitive authentic performances of these works. It's a shame that although Shostakovich performed all 24 Preludes and Fugues himself in concert, he never recorded all 24. It would've been awesome had he done so.
Definitely, this CD is a must for anyone's Shostakovich collection. It's a rare opportunity to hear Shostakovich as a performer and in excellent quality sound. This is truly an historic album and with the 100th anniversary of his birth still being celebrated even after the passing of 2006, I cannot think of a better way to celebrate than with this CD.

Shostakovich and the Mighty Fugue.......2006-06-04

Much can be said about the concertos and dances, however I will only review the preludes/fugues. Having heard the complete preludes and fugues as played by Scherbakov I can hear a tremendous difference between the great composer's playing and a great virtuoso. The level of intensity and pathos in the Eminor and Dminor fugues is breathtaking. It is played well by the virtuoso, but when performed by the writer, whose playing is not at all perfect, the pieces are at another level. I compose pieces at the piano and know enough about performance by a composer and the interpreters to know that it can never be exactly similar. Shostakovich plays these pieces as he felt and wrote them, not to the letter of the score as perhaps he makes some mistakes but absolutely true to the subjective values of his work. I only wish we had the complete preludes and fugues on record as played by the master. The sound is less than perfect on this cd but this in no way detracts from the pleasure one gets upon listening to a composer play his compositions.

The composer himself recorded beautifully...........2004-02-03

This CD is truly amazing. Can you imagine if Beethoven himself was recorded in a similar fashion? The second movement from the piano concerto is sublime. What is the mood of the piece? It's hard to tell. It's as enigmatic as the man himself. All I know is that I'm glad this very talented man was alive when our recording technology was more than adequate to capture all the feeling in his works. 5 stars.

Definitive Shostakovich Reissued.......2003-11-03

It is delightful to have these definitive recordings of the two Shostakovich Piano Concertos available now at a mid-line price in EMI's "Great Recordings of the Century" series. A full-price version of these same recordings continues to be available in the "Composers in Person" series (which I unfortunately recently bought). Rarely in classical music do we get to hear well-recorded performances straight from the baton, or in this case the fingertips, of the composer. Well here we do, with Andre Cluytens conducting the Orchestre National de la Radiodiffusion Francaise with Shostakovich himself on piano (Ludovic Vaillant performs the trumpet on Concerto No. 1 as well). An added treat is Shostakovich performing some of his works for solo piano, "Three Fantastic Dances, Op. 5" and five of the "Preludes and Fugues, Op. 87." Despite the fact that these are late mono recordings (made in 1958), they sound nearly as good as vintage stereo performances from the same time period. It is a wonderful reissue, and even better at a cheaper price.

Shostakovich: 24 Preludes and Fugues, Op. 87

Average customer rating:

Beautifully done
in the abscence of Woodward's famous account this will do nicely.
A Twentieth Century Piano Masterwork
Delightful, completely satisfying
Such austerity! Such riddles!

Shostakovich: 24 Preludes and Fugues, Op. 87

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Shostakovich: The String Quartets
Shostakovich: Piano Concertos Nos. 1 & 2; Sonata No. 2
Lady Macbeth of Mtsensk
Shostakovich: Complete Concertos
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99

ASIN: B000050XA2
Release Date: 2001-02-20

Tracks:

Moderato
Moderato
Allegro
Fugue
Moderato Non Troppo
Allegro Molto
Andante
Adagio
Allegretto
Allegretto
Allegretto
Moderato
Allegro Poco Moderato
Allegretto
Allegretto
Andante
Moderato Non Troppo
Allegro
Allegro
Moderato
Allegro
Allegro
Andante
Allegro

Tracks:

Moderato Con Moto
Adagio
Adagio
Allegro Non Troppo
Moderato Non Troppo
Allegretto
Allegro Molto
Andante
Allegretto
Allegretto
Moderato
Moderato Con Moto
Allegretto
Moderato Con Moto
Moderato
Moderato
Allegro Non Troppo
Allegro Non Troppo
Moderato Non Troppo
Moderato
Adagio
Moderato Con Moto
Andante
Moderato

Amazon.com

Shostakovich performed at a Bach bicentennial festival at Leipzig in 1950. Under the spell of Bach, he quickly wrote this homage, which contains some of his most consistently inspired and inventive music. After half a century, it is now accepted as a timeless classic, a sincere homage to Bach, still individual and expressive. Shostakovich wrote the music for his student Tatiana Nikolayeva, who performed the world premiere. Her three recordings of the cycle are close to definitive, especially the set on Melodiya, which is economically priced but uneconomically spread over three CDs. Scherbakov, who has already made some impressive discs for Naxos, provides a very strong challenge. No recording of this cycle has captured the brooding, inward quality of some of this music as well as Nikolayeva's, but Scherbakov comes close. Where virtuosity is required, he actually surpasses the impressive Nikolayeva. Considering the fine sound quality and extremely reasonable price of this set, it's at least a clear second choice for the ultimate recording of the series, and probably a good first choice for an introduction to the music. The performances are even superior to the well-known versions by Keith Jarrett and Vladimir Ashkenazy. --Leslie Gerber

Customer Reviews:

Beautifully done.......2007-03-01

Nothing wrong with the playing here. I love Sherbakov's technique playing the fast Preludes with fluency. I love the last Fugue especially for its incredible weight. He almost screams out the theme, saying (implicitly) "THIS IS SHOSTAKOVICH'S LAST FUGUE."

I agree with the other reviewers here, in his attention to detail. What a great buy!

in the abscence of Woodward's famous account this will do nicely........2006-10-24

Roger Woodward was the first pianist outside of the USSR to record the complete Preludes and Fugues of Shostakovich (RCA) and in some ways his fresh faced account from the 70's still stands up well (alas,STILL unavailable)

In the meantime,Scherbakov's thoughful and beautifully articulated set will do nicely.The introverted side to Shostakovich suits him particularly well:the opening prelude in C is marvellously sustained at quite a slow tempo.An oasis of calm.The Bb fugue feels like gentle wisps of colour but doesn't flow quite as naturally as Woodward.

For my tastes,the famous Dflat prelude and Fugue lacks the final sense of abandon (Woodward is marvellously unhinged here)and the part writing gets a bit muddled.Perhaps the resonant recording is partly to blame.

highlights:breathtakingly deft handling of the Aminor prelude.
innocent,exquisitely neat in the Amajor Prelude and Fugue,and for the ultimate raunchy swing Scherbakov is every bit as extrovert Woodward in the G#minor Fugue.

A Twentieth Century Piano Masterwork.......2004-07-15

Dmitry Shostakovich (1906-1975) is best-known for his symphonies and for his difficult political life in the former Soviet Union. Between 1950-1951, while his work was under a performance ban, Shostakovich composed a work for solo piano, the "24 Preludes and Fugues" Op. 87, which is remarkable for its intimacy and devotion to the art of pure music. It is one of the great piano works of the twentieth century. The complete work is performed on this 2-CD collection by Konstantin Scherbakov, a young Russian pianist.

Shostakovich's work consists of a prelude and a following fugue in each major and minor key. It is modeled after Bach's two-volume "Well-Tempered Clavier" which consists of two volumes of preludes and fugues in each key. (Shostakovich was asked after completing this work whether he would compose another set, to parallel Bach's two sets. "Never!", he replied.) Chopin's 24 preludes is another model. I found Shostakovich's work closer in spirit to Chopin than to Bach.

Unlike Bach's collections, which proceed in order on the chromatic scale, (c major and minor, c-sharp major and minor,d major and minor, etc) Shostkovich's cycle follows the circle of fifths. Thus, the first prelude and fugue is in C major while the second is in the minor key with the same signature as C major -- A minor. The work then proceeds up by fifths -- to G major and its relative minor of E-minor througout the 24 major and minor keys.

In some instances, (such as nos. 3,6, and 10) the prelude and the fugue are written to contrast with each other. But most of the sets, I found, were complimentary in character with both the prelude and fugue expressing different aspects of the same emotional mood. Several of the fugues are based upon and develop the melodic material presented in the prelude. And some of the music does seem to be a deliberate recollection of Bach.

There is a great deal of variety within the set, with some pieces ironic, some humorous, some sad and quiet, and others virtuosic and showy. The final work in the set, no. 24, is appropriately, the most triumphal in the collection; the work marking the mid-point, no. 12, also reaches a climax. The prevailing tone of the collection, for me, is one of deep introspection. It is as if Shostakovich was not writing to please an audience or to adjust to the vagaries of the political censors but only for himself -- to capture in the quiet of his own study and heart what he wanted to say musically without pressure from anyone. Bach's volumes are the model for this type of attempt at "pure" or "abstract" music. Shostakovich's writing reflects his own character as a composer of the twentieth century. No listener will mistake Shostakovich's fugues for Bach's.

I thought Scherbakov's playing quiet, restrained, and thoughtful. It captures the character of this difficult work.

This work is tonal in character and more accessible than much contemporary music. Nevertheless, it will bear repeated listening. I approached the work by listening to it through, and then by listening separately to each half (i.e. dividing it into two sets of twelve). This CD is available at a budget price and will offer the adventurous listener the opportunity to explore a masterpiece of 20th century piano music.

Delightful, completely satisfying.......2004-06-23

This disc is a revelation for me: I had no idea that Shostakovich wrote so wonderfully for solo piano. He wrote all of the work collected here early in his career (he wrote the impressive, joyous "Three Fantastic Dances" at the tender age of sixteen). Most of these pieces are lyrical and tonal and draw from a wide array of styles, from from Bach to Chopin to jazz. Yet they are original, clearly the work of a great musical mind. Generally affirmative, they are nonetheless personal and the work of--and for--a virtuoso. Fortunately, Scherbakov is well up to the demands, and the recording is, like many Naxos discs, excellent.

Such austerity! Such riddles!.......2004-01-11

These are probably my favorite work by Shostakovich. Not being too big a fan of the more-celebrated symphonies, I believe that this work reveals much more of the man then most people think it does.

Shostakovich once said that his symphonies ultimately represented "a set of tombstones" to him. I mention this not, of course, to detract from those who praise those works. Shostakovich lived through the twentieth century as a Russian and a Soviet, so it's easy to see the root of all the angst and sadness he expressed through them. That, in short, is why they're still istened to even today, because of the level of emotion which was expressed with the aid of his musical genius. I can't help but view the symphonies as amazing in their own right.

The preludes and fugues, op. 87, couldn't be more different. They were written for solo piano, and are mostly subdued pieces where the symphonies are perfectly cacphonous. What I'd like to suggest, is that these pieces represent a kind of photo negative of the symphonies. Take a listen to a few of them. They sound so delicate - so full of innocence and youthful ardor! And yet so precise! One can scarcely believe they weren't written by a 20-year old prodigy. Where the symphonies drown you in a direct emotional assault, the preludes are like a light sprinkle of rain, often merely hinting at the emotions behind them. This of course is just what makes them such wonderful pieces to listen to, time and again. Each fugue behaves in much the same way that those of Bach did, with a well-defined subject and counter-subject, and yet so much arises out of this simple dynamic it is hard to put into words the effect they can have on a person.

I personally believe that Shostakovich was able to exorcise his demons through the symphonies. But what of his happiness? I believe if the man had experienced as much joy as sadness, we would be listening today to magnficent symphonies on a par with those of Beethoven. But unfortunately (or fortunately?) for us, he never felt exuberance on the same level he did melancholy. These preludes are a testament to the joy he must have wished he were capable of feeling. They hint at something that never was, but something that was always longed for. You can hear it in each piece: the misplaced ecstasy

Shostakovich: 24 Preludes & Fugues, Op. 87
Average customer rating:

Perspective from a choreographer

Outstanding

Pianism as Natural as Breathing

A most wonderful traversal of this masterwork

Too smooth by half

Shostakovich: 24 Preludes & Fugues, Op. 87

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Shostakovich: Piano Works

Shostakovich: 24 Preludes and Fugues, Op. 87

Shostakovich: 24 Preludes and Fugues, Op. 87

Works for Solo Piano

Debussy: Images / Prélude à l'après-midi d'un faune / Printemps - The Cleveland Orchestra / Pierre Boulez

ASIN: B00000J9FL
Release Date: 1999-06-15

Tracks:

Prelude & Fugue No. 1 in C major
Prelude & Fugue No. 1 in C major
Prelude & Fugue No. 2 in A minor
Prelude & Fugue No. 2 in A minor
Prelude & Fugue No. 3 in G major
Prelude & Fugue No. 3 in G major
Prelude & Fugue No. 4 in E minor
Prelude & Fugue No. 4 in E minor
Prelude & Fugue No. 5 in D major
Prelude & Fugue No. 5 in D major
Prelude & Fugue No. 6 in B minor
Prelude & Fugue No. 6 in B minor
Prelude & Fugue No. 7 in A major
Prelude & Fugue No. 7 in A major
Prelude & Fugue No. 7 in A major
Prelude & Fugue No. 8 in F sharp minor
Prelude & Fugue No. 9 in E major
Prelude & Fugue No. 9 in E major
Prelude & Fugue No. 10 in C sharp minor
Prelude & Fugue No. 10 in C sharp minor
Prelude & Fugue No. 11 in B major
Prelude & Fugue No. 11 in B major
Prelude & Fugue No. 12 in G sharp minor
Prelude & Fugue No. 12 in G sharp minor

Tracks:

Prelude & Fugue No. 13 in F sharp major
Prelude & Fugue No. 13 in F sharp major
Prelude & Fugue No. 14 in E flat minor
Prelude & Fugue No. 14 in E flat minor
Prelude & Fugue No. 15 in D flat major
Prelude & Fugue No. 15 in D flat major
Prelude & Fugue No. 16 in B flat minor
Prelude & Fugue No. 16 in B flat minor
Prelude & Fugue No. 17 in A flat major
Prelude & Fugue No. 17 in A flat major
Prelude & Fugue No. 18 in F minor
Prelude & Fugue No. 18 in F minor
Prelude & Fugue No. 19 in E flat major
Prelude & Fugue No. 19 in E flat major
Prelude & Fugue No. 20 in C minor
Prelude & Fugue No. 20 in C minor
Prelude & Fugue No. 21 in B flat major
Prelude & Fugue No. 21 in B flat major
Prelude & Fugue No. 22 in G minor
Prelude & Fugue No. 22 in G minor
Prelude & Fugue No. 23 in F major
Prelude & Fugue No. 23 in F major
Prelude & Fugue No. 24 in D minor
Prelude & Fugue No. 24 in D minor

Amazon.com

Under the spell of a Bach festival, Shostakovich composed one of his masterpieces: this monumental tribute to the master of Leipzig. You can hear baroque polyphony throughout this music, along with Shostakovich's typical range of emotions from elation to despair--with lots of the latter. Any pianist who records this music must face the stiff competition of Tatiana Nikolaeva. Shostakovich wrote the music specifically for her, and she plays with awesome command and mystery. Ashkenazy runs here a very close second, with nearly the same level of projection and extremely impressive fluency. Since no one version of this music can tell you everything it has to say, it's a good idea to get both. Nikolaeva's takes an extra CD but still costs less. --Leslie Gerber

Customer Reviews:

Perspective from a choreographer.......2005-04-24

I have the 24 Preludes and Fugues by Nikolayeva, Jarrett, and Ashkenazy. I have worked with this music before and am currently setting the Prelude and Fugue #12 on our dance company, BelCobraDance, with the prelude danced as a solo and the fugue danced by 3 or 4 dancers (at least!)

It always fascinates me how different pianists can have such a great variation in tempo for the same solo piano works. Perhaps this is especially true of romantic and neo-romantic works? The prelude certainly has the A-B-A structure, and the beautiful flow, typical of great romantic solo piano pieces.

Of the three, for this particular prelude, the Jarrett version is about 3 minutes, the Ashkenazy one about 4 minutes, and the Nikolayeva version close to 5 minutes. Like Goldilocks, I find the one in the middle (Ashkenazy's) just right. However, if I only had a three minute performance slot I could use Jarett's, though it would seem rushed for this beautiful and majestic passacaglia. Dancing the prelude #12 to Nikolayeva on the other hand would seem almost glacial, but I might try it sometime just for fun.

Interestingly enough the fugue of #12 varies relatively little in length between these 3 pianists, perhaps because it is a much more "modernist" piece, without the rubato of the prelude. They are wonderful together, however, and are a real voyage of discovery for this choreographer.

Outstanding.......2004-08-15

This is a wonderful set of pieces that deserve a wider audience. I suspect people are put off by Shostakovich's reputation as a difficult modern composer. Supposedly inspired by Bach's keyboard work, these works certainly reveal kinship with Bach's Preludes and Fugues but with a distinct 20th century slant. Shostakovich's own tonal voice is clear throughout. There is a great deal of lovely, sometimes powerful, and sometimes even playful music. Hearing the whole set played at this high technical level and with a consistent approach to interpretation is an excellent listening experience
As you can see from prior reviews, there is one of those typical music fan disagreements about performance quality. I find Ashkenazy's playing to be excellent. It is precise and not showy, letting the music speak for itself with clear intonation and regular tempi. Ashkenazy can certainly play more "expressively" as shown by his performance of the Romantic piano literature. Here, Ashkenazy uses a somewhat restrained approach but assuming Shostakovich was really aiming to emulate Bach, a legitimate and powerful one.

Pianism as Natural as Breathing.......2004-05-24

First, a caveat. I have never heard Tatiana Nikolaeva (the original dedicatee) play these pieces, nor Keith Jarrett or anyone else. As with practically any piece of classical music, there is value (aesthetic, if not always economic) in having more than one interpretation of a piece.

However, based on this recording alone, I have to say that Ashkenazy's interpretation feels absolutely right. The musical flow on these recordings feels entirely organic, with the various preludes and fugues (which Shostakovich wanted played seriatim, rather than piecemeal) leading the listener through an expert re-evaluation of the value of the "well tempered clavier" in the 20th century.

Never showy, forced or exaggerated, Ashkenazy plays this music as naturally as breathing. This music simply feels timeless.

A most wonderful traversal of this masterwork.......2004-03-06

Since he turned his attention from piano playing to conducting, Ashkenazy has stayed away from the recording studio for some time, but in the last years he seems to be picking up his old career again. A good decision, as he never equalled his keyboard success with his baton. He finally set to recording the complete Shostakovich Preludes and Fugues, a huge undertaking, as he says himself in the liner notes: "You have to devote so much time and energy and concentration!" That he eventually took the effort is something that deserves only applauds, as this is an absolutely superior recording of this 20th century masterwork. Compared to Ashkenazy's earlier recordings (those of the Rachmaninov Preludes, for example) he hasn't lost anything of his old musical feeling and sensitivity. What is gone a little is the energy and risk-taking he used to expose. But then, this set of Preludes and Fugues doesn't ask for so much virtuosity as it does for musicality. Because of that, Ashkenazy's approach does full right to the work. Even more so than the famous Nikolayeva (that is, in her 1990 Hyperion recordings; I don't know her 1987 set), as the famous dedicatee of this work plays much too slowly and heavy for my taste.

If anything distincts Ashkenazy's recordings so much, it's the vitality and relaxedness he plays with. His approach is quite `clean': he doesn't impart much romanticism or overwrought feelings, and this is something I admire greatly: Ashkenazy makes everything sound very direct and intimate. And above all: everything is so `naturally good' (an ability he has always had). He focuses rather on the work's musical side than its emotionality, and does this very successfully. These preludes and fugues are mainly a great thematic and musical traversal, as another reviewer rightfully commented, after the example of Bach, and hearing Ashkenazy makes me wish he would record some Bach too (the WTC maybe?). Most of his preludes sing beautifully, while the voicing in the fugues is very clear and architectural. I've heard comments that he is just too clean at everything, or that he sounds bored; this is definitely not the case. I'd rather say that he often reaches some kind of a transcendence in which his own person doesn't count much anymore. Many fugues in particular have very meditative qualities and it's absolutely wonderful to hear how much Ashkenazy unifies his mind with the music at those places. I have to say that Richter does this even better in the few preludes and fugues that he recorded, but Ashkenazy is a very close second after all.

Most of the 48 works on these discs are simply immensely enjoyable to listen, just because of Ashkenazy's greatly clear and communicative approach. When comparing Ashkenazy and Nikolayeva, I noticed something interesting: the latter usually plays slower and less interesting, but even when Ashkenazy plays slower than Nikolayeva he sounds far more expressive. Additionally, he's often much more at ease. The truly wonderful B flat minor fugue is a good example: he takes more than seven minutes for this piece, but has you hanging to the speakers every single second. I've always thought he has some natural talent for playing anything beautifully and easily and that's surely the case here too. On the other hand: in the more lively pieces, like the A flat major, B major or G major fugues, he gives much fresher and more vital accounts than Nikolayeva who's just too heavy for the faster works. His light touch is generally wonderful, though on a few occasions I'd like some more dynamic differences: in the concluding D minor fugue the end is a bit too understated for me, for example. On the whole, Ashkenazy seems to fully get the clue of all of these pieces and performs them masterfully.

Overall, a great set that makes more obvious than ever how good this music really is. This is a set that just can't make me stop listening. Ashkenazy's lucidity and transcendence is really wonderful for almost every of these 48 pieces and sets the absolute standard for this work so far. Only Sviatoslav Richter surpassed it at times but unfortunately he didn't record all 24 Preludes and Fugues. This one is fully worth its place on my shelves aside Richter's Well-Tempered Clavier. I hope Shostakovich' Preludes and Fugues will get more attention among other pianists in the coming time, though they will have a very hard job in beating these interpretations.

Too smooth by half.......2003-06-12

I, too, vote for Nikolaeva's version, and I base this on my first acquaintance with these magnificent pieces, thirty years ago, in Shostakovich's own recorded performances of several of them. There are to the composer's and to Nikolaeva's renditions a hard-edged quality that I miss in Ashkenazy's silken, almost oily performance. I purchased this, and also Jarrett's workmanlike but unremarkable version, and gave them both away. Scuttlebutt has it, incidentally, that the extant Nikolaeva recording from 1987 pales beside another record she cut about a quarter of a century earlier, said still to be moldering somewhere in Melodiya's vaults... cordially, Rand Careaga

Shostakovich: Preludes & Fugues Nos. 17-24

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Shostakovich: Preludes & Fugues Nos. 17-24

Manufacturer: Moscow Studio
ProductGroup: Music
Binding: Audio CD

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Shostakovich-Preludes & Fugues 1-10
Shostakovich-Preludes & Fugues 11-16
Shostakovich: Three Fantastic Dances; 24 Preludes; Piano Sonata No. 2
Shostakovich: 24 Preludes and Fugues, Op. 87
Bach: Well-Tempered Clavier

ASIN: B0007NFLQI
Release Date: 2005-03-08

Tracks:

Prelude No.17 In A Flat Major
Fugue No.17 In A Flat Major
Prelude No.18 In F Minor
Fugue No.18 In F Minor
Prelude No.19 In E Flat Major
Fugue No.19 In E Flat Major
Prelude No.20 In C Minor
Fugue No.20 In C Minor
Prelude No.21 In B Flat Major
Fugue No.21 In B Flat Major
Prelude No.22 In G Minor
Fugue No.22 In G Minor
Prelude No.23 In F Major
Fugue No.23 In F Major
Prelude No.24 In D Minor
Fugue No.24 In D Minor

Average customer rating:

5 Stars for a dead-on review too
One of the best
bravo
Often slow and labored... and too expensive
Wonderful Interpretation

Shostakovich: 24 Preludes and Fugues, Op. 87

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

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Bach: Die Kunst der Fugue
Shostakovich: Three Fantastic Dances; 24 Preludes; Piano Sonata No. 2
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Shostakovich: 24 Preludes & Fugues, Op. 87

ASIN: B000002ZO8
Release Date: 1993-11-18

Tracks:

Prelude And Fugue No 1 In C Major: Prelude : Moderato - D. Shostakovich
Prelude And Fugue No 1 In C Major: Fugue Moderato - D. Shostakovich
Prelude And Fugue No 2 In A Minor: Prelude: Allegro - D. Shostakovich
Prelude And Fugue No 2 In A Minor: Fugue: Allegro - D. Shostakovich
Prelude And Fugue No 4 In E Minor: Prelude: Andante - D. Shostakovich
Prelude And Fugue No 4 In E Minor: Fugue Adagio -- Piu mosso - D. Shostakovich
Prelude And Fugue No 5 In D Major: Prelude: Allegretto - D. Shostakovich
Prelude And Fugue No 5 In D Major: Fugue: Allegretto - D. Shostakovich
Prelude And Fugue No 6 In B Minor: Prelude: Allegretto -- Moderato - D. Shostakovich
Prelude And Fugue No 6 In B Minor: Fugue: Moderato - D. Shostakovich
Prelude And Fugue No 7 In A Major: Prelude: Allegro poco moderato - D. Shostakovich
Prelude And Fugue No 7 In A Major: Fugue: Allegretto - D. Shostakovich
Prelude And Fugue No 8 In F Sharp Minor: Prelude: Allegretto - D. Shostakovich
Prelude And Fugue No 8 In F Sharp Minor: Fugue: Andante - D. Shostakovich
Prelude And Fugue No 9 In E Major: Prelude: Moderato non troppo - D. Shostakovich
Prelude And Fugue No 9 In E Major: Fugue: Allegro - D. Shostakovich
Prelude And Fugue No 10 In C Sharp Minor: Prelude: Allegro - D. Shostakovich
Prelude And Fugue No 10 In C Sharp Minor: Fugue: Moderato - D. Shostakovich
Prelude And Fugue No 11 In B Major: Prelude: Allegro - D. Shostakovich
Prelude And Fugue No 11 In B Major: Fugue: Allegro - D. Shostakovich

Tracks:

Prelude And Fugue No 11 B Major: Prelude: Allegro (2,2; 80 Bars) - Dmitri Shostakovich
Prelude And Fugue No 11 B Major: Fugue (3 Voices): Allegro (2,4; 138 Bars) - Dmitri Shostakovich
Prelude And Fugue No 12 In G Sharp Minor: Prelude: Andante (3,4; 119 Bars) - Dmitri Shostakovich
Prelude And Fugue No 12 In G Sharp Minor: Fugue(4 Voices): Allegro (5,4; 123 Bars) - Dmitri Shostakovich
Prelude And Fugue No 13 In F Sharp Major: Prelude: Moderato con moto (6,8; 55 Bars) - Dmitri Shostakovich
Prelude And Fugue No 13 In F Sharp Major: Fugue (5 Voices): Adagio (2,4; 164 Bars) - Dmitri Shostakovich
Prelude And Fugue No 14 In E Flat Minor: Prelude: Adagio (7,4; 40 Bars) - Dmitri Shostakovich
Prelude And Fugue No 14 In E Flat Minor: Fugue (3 Voices): Allegro non troppo (3,4; 224 Bars) - Dmitri Shostakovich
Prelude And Fugue No 15 In D Flat Major: Prelude: Allegretto (3,4; 206 Bars) - Dmitri Shostakovich
Prelude And Fugue No 15 In D Flat Major: Fugue (4 Voices): Allegro molto (3.4; 282 Bars, With Variable Time Signatures) - Dmitri Shostakovich
Prelude And Fugue No 16 In B Flat Minor: Prelude: Andante (3,4; 102 Bars) - Dmitri Shostakovich
Prelude And Fugue No 16 In B Flat Minor: Fugue (3 Voices): Adagio (4,4; 72 Bars, With Variable Time Signatures) - Dmitri Shostakovich
Prelude And Fugue No 17 In A Flat Major: Prelude: Allegretto (2,2; 86 Bars) - Dmitri Shostakovich
Prelude And Fugue No 17 In A Flat Major: Fugue (4 Voices): Allegretto (5,4; 80 Bars) - Dmitri Shostakovich

Tracks:

Prelude And Fugue No 18 In F Minor: Prelude: Moderato (3,4; 50 Bars) - Dmitri Shostakovich
Prelude And Fugue No 18 In F Minor: Fugue (4 Voices): Moderato con moto (2,4; 210 Bars) - Dmitri Shostakovich
Prelude And Fugue No 19 In E Flat Major: Prelude: Allegretto (3,4; 133 Bars) - Dmitri Shostakovich
Prelude And Fugue No 19 In E Flat Major: Fugue (3 Voices): Moderato con moto (5,4; 72 Bars) - Dmitri Shostakovich
Prelude And Fugue No 20 In C Minor: Prelude: Adagio (4,4; 59 Bars) - Dmitri Shostakovich
Prelude And Fugue No 20 In C Minor: Fugue (4 Voices): Moderato (4,4; 124 Bars) - Dmitri Shostakovich
Prelude And Fugue No 21 In B Flat Major: Prelude: Allegro (4,4; 56 Bars) - Dmitri Shostakovich
Prelude And Fugue No 21 In B Flat Major: Fugue (3 Voices): Allegro non troppo (3,4; 218 Bars) - Dmitri Shostakovich
Prelude And Fugue No 22 In G Minor: Prelude: Moderato non troppo (3,4; 84 Bars) - Dmitri Shostakovich
Prelude And Fugue No 22 In G Minor: Fugue (4 Voices): Moderato (3,4; 128 Bars) - Dmitri Shostakovich
Prelude And Fugue No 23 In F Major: Prelude: Adagio (4,4; 31 Bars) - Dmitri Shostakovich
Prelude And Fugue No 23 In F Major: Fugue (3 Voices): Moderato con moto (2,2; 140 Bars) - Dmitri Shostakovich
Prelude And Fugue No 24 In D Minor: Prelude: Andante (3,4; 82 Bars) - Dmitri Shostakovich
Prelude And Fugue No 24 In D Minor: Fugue (4 Voices): Moderato (3,4; 297 Bars) - Dmitri Shostakovich

Customer Reviews:

5 Stars for a dead-on review too.......2005-07-10

"A MUSIC FAN" below gets right to an important point. I purchased this set because I wanted to hear what this highly regarded (by other professionals) artist had to say about these pieces. Yes, they're slower than others, Knappertsbusch and Klemperer took slower tempos than most. Glenn Gould did unusual interpretations. Schnabel missed keys. So what--these people are not hacks or grammar school music teachers from Muncie, Indiana. I like knowing that she took slower tempos--I knew what to expect--but it's hardly grounds for condemning the interpretation. I totally agree with A MUSIC FAN about the attitude problem, it's part of what's killing classical music.

One of the best.......2005-05-28

Tatiana is not so popular to American audience but she was a big name in Russia: A teacher, a pianist, and a composer in Moscow Conservatory. She died in 1994 in the US recital tour. Unluckily, there's not much her records. This set is one of her wellknowns and can be thought as the best (compare to others, like Schebakov or Ashkenaszy). This set was Gramophone winner, Prix Maurice Fleuret's top 100 best CDs all time. May say Tatiana lived and died with these preludes and fugues. She died while playing these in a performance in SanFrancisco, 1994. You also can listen to Tatiana's Goldberg Variations of Bach, that is a really nice one too. I strongly recommend this set. Other issue that you may try is Schebakov's.

Someone prefers to Keith Jarrett in Shostakovich's Preludes and Fugues. Jarrett's sound always like in the same level and not logical. It makes me feel like listening to his part 1 and 2 in Koln-1975. Do you think a jazzman can reach to the peak of classical? No. They're in the different worlds. Like a Classical pianist cannot play "Functional" like T. Monk.

bravo.......2004-07-04

Several distinguished artists have recorded the complete Op. 87--among them Nikolayeva (3 times), Jarrett, and Ashkenazy. Richter has recorded about half of them and his readings are available on various CDs. Each of these artists has something important to say. It is easy to snipe and find fault. It is harder to listen attentively and accept each interpretation on its own terms. These pianists are the best the 20th century has produced. Who are we to sit in judgment of them? How many of us can play the piano? How many of us have studied--really studied--the scores? My suggestion is that we stop trying to show how smart we are and how many recordings we have heard and instead learn humility in the face of the many forms of greatness.

Often slow and labored... and too expensive.......2004-03-06

Tatiana Nikolayeva is considered the foremost interpreter of these works, but these are probably not her best recordings of the Preludes and Fugues. She made earlier recordings on the Melodiya label that are generally said to be technically better and equipped with more spirit than these 1990 accounts on Hyperion. Unfortunately, that earlier set has disappeared from the Amazon catalogue so this is currently the only source for Nikolayeva's playing of Shostakovich. As said, it's far from ideal. Many of these preludes and fugues sound labored and heavy, and above all slow. She takes fairly everything at much more restrained tempi than the composer indicated; sometimes with wonderful results but often the music suffers of it. The humor in the E flat major prelude gets totally lost, for example, and the tension in the E flat minor sounds fabricated instead of natural. There's no question that she can also be staggeringly beautiful, such as in the sunny A major fugue or the A flat major prelude, but in the end the set's unevenness is too large. Much of the spirit in Shostakovich' music has gone here, and many fugues are played so slowly that they made me quite impatient. Additionally, her dragging takes often result in a very pounding, labored and tiresome sound, like in the G major and D flat major fugues. The muddy studio sound of Hyperion doesn't help either. So, in spite of many fine moments, this set is too unbalanced to get a really good recommendation. I'd go for Ashkenazy, who plays much faster, more vivid and natural and without Nikolayeva's too affected touch. Or maybe Scherbakov or Nikolayeva's earlier set, though I don't know the two of those myself. And, finally: you can get both Ashkenazy and Scherbakov at a much lower price than this set alone.

(To a few other reviewers: yes, it's possible not to like this set as much as you do)

Wonderful Interpretation.......2003-10-14

These preludes and fugures by Shostakovich are not the easiest in the world for interpretation. Think a Slavic Bach. It is unfair to call these works "modern" and it's not just because they are with the confines of a Medieval form. But sometimes the listener will catch something that is reminiscent of 20th centyury Soviet music.

Tracks:

Prelude No. 1 In C Major: Moderato
Fugue No. 1 In C Major: Moderato
Prelude No. 20 In A Minor BWV 865
Fugue No. 20 In A Minor
Prelude No. 15 In G Major BWV 860
Fugue No. 15 In G Major
Prelude No. 10 In E Minor BWV 855
Fugue No. 10 In E Minor
Prelude No. 5 In D Major: Allegretto
Fugue No. 5 In D Major: Allegretto
Prelude No. 6 In B Minor: Allegretto
Fugue No. 6 In B Minor: Moderato
Prelude No. 7 In A Major: Allegro Poco Moderato
Fugue No. 7 In A Major: Allegretto
Prelude No. 14 In F Sharp Minor BWV 859
Fugue No. 14 In F Sharp Minor
Prelude No. 9 In E Major BWV 854
Fugue No. 9 In E Major
Prelude No. 4 In C Sharp Minor BWV 849
Fugue No. 4 In C Sharp Minor
Prelude No. 11 In B Major: Allegro
Fugue No. 11 In B Major: Allegro
Prelude No. 12 In G Sharp Minor: Andante
Fugue No. 12 In G Sharp Minor: Allegro

Tracks:

Prelude No. 13 In F Sharp Major: Moderato Con Moto
Fugue No. 13 In F Sharp Major: Adagio
Prelude No. 8 In E Flat Minor BWV 853
Fugue No. 8 In D Sharp Minor
Prelude No. 3 In C Sharp Major BWV 848
Fugue No. 3 In C Sharp Major
Prelude No. 22 In B Flat Minor BWV 867
Fugue No. 22 In B Flat Minor
Prelude No. 17 In A Flat Major: Allegretto
Fugue No. 17 In A Flat Major: Allegretto
Prelude No. 18 In F Minor: Moderato
Fugue No. 18 In F Minor: Moderato Con Moto
Prelude No. 19 In E Flat Major: Allegretto
Fugue No. 19 In E Flat Major: Moderato Con Moto
Prelude No. 2 In C Minor BWV 847
Fugue No. 2 In C Minor
Prelude No. 21 In B Flat Major BWV 866
Fugue No. 21 In B Flat Major
Prelude No. 16 In G Minor BWV 861
Fugue No. 16 In G Minor
Prelude No. 23 In F Major: Adagio
Fugue No. 23 In F Major: Moderato Con Moto
Prelude No. 24 In D Minor: Andante
Fugue No. 24 In D Minor: Moderato

Average customer rating:

The Heart of the Andes

Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Jazz | Styles | Music

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Release Date: 2002-06-11

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Festina Tarde (Make Haste Slowly)
Portables: Where's The Tan Go?
Portables: Claire, Buoyant
Portables: Walt's Waltz
Bits And Pieces Of Hard Coal: Air Apparent
Bits And Pieces Of Hard Coal: Old Miner's Refrain
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Return Of The Microids: The Serialist Somnambulates
Return Of The Microids: Many Happy Returns
24 Preludes And Fugues For Piano, Op.87: Prelude #8 In F Sharp Minor
24 Preludes And Fugues For Piano, Op.87: Prelude #3 In G Major
24 Preludes And Fugues For Piano, Op.87: Prelude #1 In C Major
24 Preludes And Fugues For Piano, Op.87: Prelude #17 In A Flat Major
24 Preludes And Fugues For Piano, Op.87: Prelude #15 In D Flat Major
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The Heart Of The Andes (Suite): Mini Bar Talk/Misterioso/Reprises
The Heart Of The Andes (Suite): Song For The Other Guy/Waltz Of The Landscape Paintings

Dmitri Shostakovich: 24 Preludes And Fugues For Piano, Op. 87

Average customer rating:

Around Shostakovich ` s centenary!
One of the best
beautiful works
important recording of an impressive work
Keith Jarret cannot be superceded

Dmitri Shostakovich: 24 Preludes And Fugues For Piano, Op. 87

Manufacturer: Melodiya
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Shostakovich: Piano Concertos; 3 Fantastic Dances; 5 Preludes & Fugues, Op. 87
Brahms: Works for Solo Piano

ASIN: B000001HBQ
Release Date: 1995-06-13

Tracks:

24 Preludes And Fugues For Piano, Op.87: No. 1 In C Major
24 Preludes And Fugues For Piano, Op.87: No. 2 In A Minor
24 Preludes And Fugues For Piano, Op.87: No. 3 In G Major
24 Preludes And Fugues For Piano, Op.87: No. 4 In E Minor
24 Preludes And Fugues For Piano, Op.87: No. 5 In D Major
24 Preludes And Fugues For Piano, Op.87: No. 6 In B Minor
24 Preludes And Fugues For Piano, Op.87: No. 7 In A Major
24 Preludes And Fugues For Piano, Op.87: No. 8 In F Sharp Minor
24 Preludes And Fugues For Piano, Op.87: No. 9 In E Major
24 Preludes And Fugues For Piano, Op.87: No. 10 In C Sharp Minor

Tracks:

24 Preludes And Fugues For Piano, Op.87: No. 11 In B Major
24 Preludes And Fugues For Piano, Op.87: No. 12 In G Sharp Major
24 Preludes And Fugues For Piano, Op.87: No. 13 In F Sharp Major
24 Preludes And Fugues For Piano, Op.87: No. 14 In E Flat Minor
24 Preludes And Fugues For Piano, Op.87: No. 15 In D Flat Major
24 Preludes And Fugues For Piano, Op.87: No. 16 In B Flat Minor

Tracks:

24 Preludes And Fugues For Piano, Op.87: No. 17 In A Flat Major
24 Preludes And Fugues For Piano, Op.87: No. 18 In F Minor
24 Preludes And Fugues For Piano, Op.87: No. 19 In E Flat Major
24 Preludes And Fugues For Piano, Op.87: No. 20 In C Minor
24 Preludes And Fugues For Piano, Op.87: No. 21 In B Flat Major
24 Preludes And Fugues For Piano, Op.87: No. 22 In G Minor
24 Preludes And Fugues For Piano, Op.87: No. 23 In F Major
24 Preludes And Fugues For Piano, Op.87: No. 24 In D Minor

Amazon.com essential recording

Inspired by Tatiana Nikolaeva's playing of Bach at an East German piano competition, Shostakovich composed this takeoff (not to be confused with a rip-off) on The Well-Tempered Clavier expressly for her on her return to Russia. It turned out to be one of the greatest and most profound piano works of our century, and one which, until recently, remained virtually unknown. Shostakovich isn't usually thought of as a keyboard composer--indeed, there's relatively little piano music in his output. This work is special, however, because it reveals the composer dealing triumphantly with purely musical issues far removed from the epic, sometimes programmatic character of the symphonies, and the performance preserved here, by the dedicatee, is unbeatable. --David Hurwitz

Customer Reviews:

Around Shostakovich ` s centenary!.......2006-04-01

The prodigal hands and astonishing spirituality of Tatiana Nikolayeva has been submitted of intense analysis in the spheres of the Western World. She seemed a legitimate heiress of past traditions, that characterized the creative atmosphere generated by them at the same time to play just the first bar.

Curiously she is scantily known in spite of by her winning performances of Johan Sebastian Bach. So since that state of things it is so easy to understand these Shostakovich ' s preludes are so wonderful and fabulously played; impeccable phrasing, earnest expression, dramatic breath and first order inspiration. Somehow she was a muse for Dimitri at those hard times of oppression and struggling environment; where the art went much further.

The eternal debt of these Preludes are because Bach, but represent to my mind the highest legacy bequeathed by Shostakovich for this instrument.

One of the best.......2005-05-27

Tatiana is not so popular to American audience but she was a big name in Russia: A teacher, a pianist, and a composer in Moscow Conservatory. She died in 1994 in the US recital tour. Unluckily, there's not much her records. This set is one of her wellknowns and can be thought as the best (compare to others, like Schebakov or Ashkenaszy). This set was Gramophone winner, Prix Maurice Fleuret's top 100 best CDs all time. May say Tatiana lived and died with these preludes and fugues. She died while playing these in a performance in SanFrancisco, 1994. You also can listen to Tatiana's Goldberg Variations of Bach, that is a really nice one too. I strongly recommend this set.

Someone prefers to Keith Jarrett in Shostakovich's Preludes and Fugues. Do you think a jazzman can reach to the peak of classical? No. They're in two different worlds. Like a Classical pianist cannot play "Functional" like T. Monk.

beautiful works.......2003-07-07

These are some of the most beautiful piano pieces of the 20th century! And they're being performed here by the pianist that Shosty wrote them for. Not sure why these haven't been reissued. I lucked out and found all 3 volumes !

important recording of an impressive work.......2002-12-30

After performing and listening to performances of many of Shostakovich's symphonies, I was deighted to become aquainted with the lesser known keyboard work presented here. The preludes and fugues reveal talent and ability that reach far beyond the sometimes tiring, epic melodrama of Shostakovich's orchestral works. This may be due to the inherent limitations of the format. Shostakovich, a composer whose music often relies heavily on emotion created through typical exploits of a full orchestra, is forced to explore a more intimate landscape - a landscape rife with delicacy of harmony, conterpoint, and general detail. The success of this work bespeaks a composer who possesses a large palette of skill that he can aply to a variety of canvases, even those that he may not fully indentify with personally.

The Nikolayeva recordings are, of course, the ones that possess the interpertations that most closely resemble the composer's own intentions. I gave this recording four stars instead of five because it lacks the recording quality of Nikolayeva's Hyperion recording. Also, she fights a few of the more taxing technical passages. If you would like to hear how this music should undeniably sound, one of the Nikolayeva recordings are highly recommended. Of the two, this is far less $$, and not quite as good.

Keith Jarret cannot be superceded.......2000-09-29

There have been quite a few recordings of Shostakovich's 24 Preludes and Fugues for Piano ~ This particular interpretation, by Nikolayeva, has once again failed to capture the true essence of Shostakovich's music. Her playing is obviosuly exceptional, but that is not important here, since, as good as it may be, it is not suited for Shostakovich at all. The humourous and tragic tones of Shostakovich's preludes and fugues are not expressed properly...at times overexpressed, and at other times, ignored. "Too much nonsense" to put it roughly. The best recording of the preludes and fugues, stays with KEITH JARRET, and no-one will ever come close to his genial interpretation of this great Soviet masterpiece.

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Shostakovich-Preludes & Fugues 1-10
Dmitri Shostakovich , and Tatiana Nikolaeva
Manufacturer: Moscow Studio
ProductGroup: Music
Binding: Audio CD

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