Shostakovich: 24 Preludes & Fugues, Op. 87

Editorial Reviews
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

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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Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Ashkenazy, Vladimir | ( A ) | Featured Performers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
All Works by Shostakovich | Shostakovich, Dmitri | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
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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

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Infrequently Heard Shostakovich Works for Piano
Get this record and you'll simply like it

Shostakovich: Piano Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

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Rachmaninov: Piano Transcriptions
Shostakovich: 24 Preludes & Fugues, Op. 87

ASIN: B0000SWNIO
Release Date: 2004-02-10

Tracks:

I Allegretto
II Largo
III Moderato Con Moto
I Allegretto
II Andantino - Allegretto
III Allegretto
I Allegro Moderato E Scherzando
II Andante
III Allegro Moderato
IV Moderato
V Andantino
Lyric Waltz
Short Piece
Spanish Dance
Nocturne
I Recitative
II Serenade
III Nocturne
IV Elegy
V Marche Funebre
VI Etude
VII Dance Of Death
VIII Canon
IX Legend
X Lullaby
Polka

Customer Reviews:

Infrequently Heard Shostakovich Works for Piano.......2006-08-10

For those who are devoted to the symphonic works, the string quartets, the operas, and the concerti by Dmitri Shostakovich this album is a must for the collection. Not only are there excellent samplings of his works written expressly for the piano, bu there are also some fine piano arrangements of his orchestral works that give us another side of his personality.

Vladimir Ashkenazy is in top form for this collection. His technique is sure, finely sensitive to the difficult interplay of melody lines so often encounter in Shostakovich's music, and the sound he produces is never less than extraordinary. Included on the album is the Sonata for piano No. 2 in B minor, Op. 61 that Ashkenazy plays better than any other pianist on recordings. It is a spectacular work beautifully executed. The works written expressly for the piano include the 'Fantastic Dances', Op. 5, five of the 'Preludes (from collaborative work of 24 preludes with Clements & Feldt), and 'Aphorisms' Op. 13 .

Then Ashkenazy steps into the stage virtuoso ring with 'Dances of the Dolls' suite from the ballet 'Lyric Waltz', transcriptions from 'The Gadfly', Op. 97, and closes with an exuberant 'Polka' form 'The Golden Age'. The balance of works selected makes for a perfect hour of listening, creating one of those CDs destined to be on the player frequently! Highly Recommended. Grady Harp, August 06

Get this record and you'll simply like it.......2006-02-07

I certainly feel happy that I finally decided to purchase this CD. It is well performed and well recorded. I am sure most people will love this CD. This one is NOT like some other CDs, which are often confusing at first, but after several playing, you would start to understand. This CD is like love at first sight (or I should say first hear). Shostakovich's music is always attractive. Ashkenazy's performance adds beauty to the works.

Shostakovich: Three Fantastic Dances; 24 Preludes; Piano Sonata No. 2

Average customer rating:

A true legend: wonderful playing, great music.

Shostakovich: Three Fantastic Dances; 24 Preludes; Piano Sonata No. 2

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

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ASIN: B000002ZRY
Release Date: 1993-11-23

Tracks:

Three Fantastic Dances Op.5: March: Allegretto
Three Fantastic Dances Op.5: Waltz: Andantino
Three Fantastic Dances Op.5: Polka: Allegretto
24 Preludes, Op. 34: I. Moderato
24 Preludes, Op. 34: II. Allegretto
24 Preludes, Op. 34: III. Andante
24 Preludes, Op. 34: IV. Moderato
24 Preludes, Op. 34: V. Allegro vivace
24 Preludes, Op. 34: VI. Allegretto
24 Preludes, Op. 34: VII. Andante
24 Preludes, Op. 34: VIII. Allegretto
24 Preludes, Op. 34: IX. Presto
24 Preludes, Op. 34: X. Moderato non troppo
24 Preludes, Op. 34: XI. Allegretto
24 Preludes, Op. 34: XII. Allegro non troppo
24 Preludes, Op. 34: XIII. Moderato
24 Preludes, Op. 34: XIV. Adagio
24 Preludes, Op. 34: XV. Allegretto
24 Preludes, Op. 34: XVI. Andantino
24 Preludes, Op. 34: XVII. Largo
24 Preludes, Op. 34: XVIII. Allegretto
24 Preludes, Op. 34: XIX. Andantino
24 Preludes, Op. 34: XX. Allegretto furioso
24 Preludes, Op. 34: XXI. Allegretto poco moderato
24 Preludes, Op. 34: XXII. Adagio
24 Preludes, Op. 34: XXIII. Moderato
24 Preludes, Op. 34: XXIV. Allegretto
Piano Sonata No.2, Op.61: Allegretto
Piano Sonata No.2, Op.61: Largo
Piano Sonata No.2, Op.61: Moderato con moto

Customer Reviews:

A true legend: wonderful playing, great music........2006-04-09

Quote from Hyperion's site: "Her long working association with Shostakovich, and her great understanding of all aspects of his music, made her one of the leading sources of contemporary knowledge about that great composer. It was Nikolayeva for whom Shostakovich wrote his 24 Preludes and Fugues, inspired by hearing her Bach-playing at the 1950 Bach bicentenary Competition in Leipzig (he was on the jury), and it was she who premiered them in Leningrad in 1952."

All her discs recorded for Hyperion are jewels and this one is special. Highly recommended!

Average customer rating:

A Great cd!

Virtuoso Cello Encores

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000BK53GK
Release Date: 2005-11-15

Tracks:

Dance Of The Green Devil
Fantasy On Little Russian Songs
Serenade, Op.54, No.2
Air From Suite No.3 In D, BWV 1068
Standchen (Serenade)
Die Biene (The Bee)
Intermezzo From Goyescas
Tarantella From The Gadfly, Op.97
Habanera
The Girl With The Flaxen Hair
Allegro Spiritoso
Cantilena, Op.48, No.24
Boulevard De Garavan
Danse Bohemienne, Op.28
Vocalise, Op.34, No.14
Short Story

Customer Reviews:

A Great cd!.......2006-12-15

I love it. To me, every note of this sounds gorgeous. There is a really wide variety of songs. Every track is like the title says, a "virtuoso cello encore". Her playing is very expressive and beautiful but also has a flawless, effortless quality. This CD is over 75 minutes long and was recorded in only a couple days. Her concerts must be amazing.

Average customer rating:

Sarah Chang -- unparalleled even at 9!
Interesting historical document

Debut
Pablo de Sarasate , Edward Elgar , Niccolo Paganini , Fritz Kreisler , Aram Khachaturian , Fryderyk Chopin , Dmitry Shostakovich , George Gershwin , Franz Liszt , Pyotr Il'yich Tchaikovsky , Sergey Prokofiev , Sarah Chang , and Sandra Rivers
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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ASIN: B000002RSJ
Release Date: 1992-08-18

Tracks:

Concert Fantasy on Carmen, Op.25: Allegro Moderato
Concert Fantasy on Carmen, Op.25: l Moderato
Concert Fantasy on Carmen, Op.25: ll Lento assai
Concert Fantasy on Carmen, Op.25: lll Allegro moderato
Concert Fantasy on Carmen, Op.25: lV Moderato
Salut d'amour, Op. 12
La Caprecieuse, Op. 17
Sabre Dance form Gayane
Tempo di Minuetto In The Style Of Pugnani
Caprice No. 1 In E, Op. 1
Caprice No. 15 In E minor, Op. 1
Nocturne No. 20 In C Sharp Minor, Op. post. - Frederic Chopin
Prelude No. 10 In C Sharp Minor, Op. 34
Prelude No. 15 In D, Op. 34
Porty & Bess: It Ain't Necessarily So
Consolation No. 3 In D Flat
Melody in E flat, Op. 42/No. 3
The Love For Three Oranges: March

Amazon.com

This miraculous recital was Chang's debut recording, made when she was nine years old. In Sarasate's Carmen Fantasy you can hear some very minor flaws in the technique, which were gone when I heard her play it two years later. There's nothing else to indicate that this is a young violinist, not even the tone Chang draws from a quarter-size violin. While none of these pieces is very heavy in musical content, she shows a wide range of sympathies, from the singing lyricism of Chopin to a very hip-sounding "It Ain't Necessarily So" from Gershwin's Porgy and Bess. --Leslie Gerber

Customer Reviews:

Sarah Chang -- unparalleled even at 9!.......2001-01-20

What can I say that does not smack of praise for this debut album by one of the most gifted young violinists ever of the millennium?

The one thing that I find lacking in most violinists' playing is ... fire. Oh, of course, techincal ability ranks high on the list but one has to agree that most of the prodigial virtuosi we've heard so far have most of that particular area of playing down-pat. Chang certainly has the lightning-quick fingers required for virtually all of the songs she plays here, but as the Amazon.com review states -- she also plays with a good deal of _bite_. The deciding pieces are, in no particular order: Sarasate's very famous miniatures from Carmen, the Sabre Dance from Gayane (wonderfully played, with the tempo bright and fast-moving), Gershwin's It Ain't Necessarily So (when I first heard this track, I was in heaven! What jazzy playing for one so young! The violin literally sings and swoons in her capable hands), and Prokofiev's March from The Love of Three Oranges. The last piece, compared to Midori's version (which can be found on her "Encore!" CD), I feel, is better performed -- the speed and spear-driven flashes of the bow are just right. Midori overperforms on a song that's supposed to be a march.

Interesting historical document.......1999-01-06

Immaculate technique, remarkably good tone for a quarter-sized violin, and wonderful musicality for a nine-year-old. Of course, she still has some room for improvement artistically.

Her interpretation of Gershwin's "It ain't necessarily so" is the most sensuous (almost lascivious!) one I've ever heard--such abundant, luscious, provocative slides! Nonetheless, I love it!