Preludes Fugues & Riffs: Influence of Jazz

Editorial Reviews
Amazon.com
Musical hybrids are always a dicey venture, running the risk of the whole's being less than the sum of the parts. Discussing the incorporation of jazz in classical music (or vice versa) can involve a quagmire of definitions. Instead, it is best to judge the works individually on their musical merits. All those represented here succeed to a greater or lesser degree. This disc opens with Gershwin's Manhattan anthem, Rhapsody in Blue, among the first to mix the two genres and yet to be bettered for seamlessness. Conductor Bernstein's love and understanding of the jazz idiom imbues works by Milhaud (La Création du monde) and Copland ("Burlesque" from Music for the Theatre [sic]) with the requisite swing to make their jazz influences ring true. But it is composer Bernstein (Prelude, Fugue, and Riffs for Solo Clarinet and Jazz Ensemble, West Side Story) who blends the two genres into a brew that is less noble experiment and more ecstatic experience. Recommended. --Michael Ross

Tracks:

Divertimento In B-Flat (Adagio)
Cassation (Final-Musik) In G - Adgio
Divertimento In G Minor (Andante)
String Quartet No. 12 In B-Flat - Adagio
Divertimento In D, KV 131 - Adagio
'Eine Kleine Nachtmusik' - Romance (Andante)
Divertimento In D, KV 136 - Andante
Serenade In B-Flat 'Gran Partita' - Adagio
Prelude No. 3 In F
String Quartet No. 1 In B-Flat - Adagio
Violin Concerto In D - Andante cantabile
Divertimento In B-Flat - Adagio

Customer Reviews:

Wonderful.......2007-06-26

I bought this CD to listen to at work (I am 6 months pregnant). The quality is awesome and the choice of songs is perfect I can listen to it over and over.

Great for putting kids to sleep!.......2007-06-08

I absolutely love this CD! In fact this is our second one because we wore out the first since we played it so much. It is very soothing, and in fact we used it to help both our kids (now 4 and 18 mo) go to sleep since they were babies. I highly recommend it!

Very Relaxing.......2007-04-10

It is very soothing and really helps you relax. I enjoy listening to it in the car during my high stress commute.

A Must Have for all Parents of Little Children !!!.......2006-11-25

I bought this when my first baby was...well, a baby. That was 8 years ago. Now I am on my 4th copy of this cd (Mozart For Mothers to Be) and my 3rd child. Nothing works better. I'm on here to buy my 4th copy becasue I've worn them out over the years and have to keep replaceing them. My 8 and 3 year old still use it, and now the new baby, also. Make it part of your nightly bed time routine and you'll have good little sleepers in no time. I swear by it. It is very soothing, calming and not distracting so it won't drive you bonkers if you can hear it a little from the next room.

A truely great gift for new parents, or if you have a sleepless little one at home. Turn on the cd, turn down the lights and let it sooth them to sleep.

Inspire the baby-within.......2005-12-13

Beyond sheer musical appreciation and enjoyment, Mozart's music in general is ideal for gently stimulating the "creative centers" as well as instilling a sense well-being. While there is much academic disagreement about the extent or reality of the so-called "Mozart Effect," it doesn't take a genius to observe how Mozart's music puts most people (and probably babies-to-be) in a happy mood ready to take on the day's challenges. There is a simplicity - yet elegance and musical brilliance - in his music that is also well-suited for the youngest of children.

The selections on this CD are all excellent and represent a nice range of Mozart's compostions, emphasising those that are ideal for creating a pleasant backdrop for leisure, dining and social occasions ("divertimentos"). The recordings are from the creme of musicians famous for their Mozart. Few works are as elegant and soaring as the Serenade #10 for winds - an astonishingly beautiful tune made famous from the early scenes of the movie, "Amadeus." Mozart supreme gifts of music are even seen in such humble "background music" as these pieces. And such continuity of warm, leisurely tones as these over 70 minutes is ideal for inspiring the baby to-be if that is why you are considering this CD. Better to expose a baby to the gentile, lyrical music of Mozart than to the dissonant, loud and disturbing tones of some classical music written well after Mozart.

As the reviewer below rightfully notes, compilation CD's of various unrelated works like this one is not quite how classical music is best meant to be heard. But in a way it is better for many to start with such collections like this - especially for those who just want the more quiet selections that are unintrusive. In that respect, this collection can be satisfying for most anyone (not just moms or babies). I have a huge classical music collection, but still really enjoy listening to one full CD of similar-temperament music like this one that flows easily and smoothly that doesn't demand my attention but only seeks to delight. And, in the end, that was the simple and primary goal of many of Mozart's compositions - to be purely enjoyed and delighted.

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I

Average customer rating:

Best CD I Own.
Your Inner Voice is Calling
Fascinating
Gould's unique sound
Listen to a more conventional recording first.

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I
Johann Sebastian Bach , and Glenn Gould
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Improvisation | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II
A State of Wonder: The Complete Goldberg Variations (1955 & 1981)
Art of the Fugue - 70th Anniversary Edition
French Suites - 70th Anniversary Edition
Bach: The Goldberg Variations

ASIN: B0000028NI
Release Date: 1994-01-11

Tracks:

Prelude And Fugue No. 1 In C Major, BWV 846: Praeludium
Prelude And Fugue No. 1 In C Major, BWV 846: Fuga
Prelude And Fugue No. 2 In C Minor, BWV 847: Praeludium
Prelude And Fugue No. 2 In C Minor, BWV 847: Fuga
Prelude And Fugue No. 3 In C-Sharp Major, BWV 848: Praeludium
Prelude And Fugue No. 3 In C-Sharp Major, BWV 848: Fuga
Prelude And Fugue No. 3 In C-Sharp Minor, BWV 849: Praeludium
Prelude And Fugue No. 3 In C-Sharp Minor, BWV 849: Fuga
Prelude And Fugue No. 5 In D Major, BWV 850: Praeludium
Prelude And Fugue No. 5 In D Major, BWV 850: Fuga
Prelude And Fugue No. 6 In D Minor, BWV 851: Praeludium
Prelude And Fugue No. 6 In D Minor, BWV 851: Fuga
Prelude And Fugue No. 7 In E-Flat Major, BWV 852: Praeludium
Prelude And Fugue No. 7 In E-Flat Major, BWV 852: Fuga
Prelude In E-Flat Minor And Fugue In D-Sharp Minor No. 8, BWV 853: Praeludium
Prelude In E-Flat Minor And Fugue In D-Sharp Minor No. 8, BWV 853: Fuga
Prelude Fugue No. 9 In E Major, BWV 854: Praeludium
Prelude Fugue No. 9 In E Major, BWV 854: Fuga
Prelude And Fugue No. 10 In E Minor, BWV 855: Praeludium
Prelude And Fugue No. 10 In E Minor, BWV 855: Fuga Fugue No. 10 In E Minor, BWV 855
Prelude And Fugue No. 11 In F Major, BWV 856: Praeludium
Prelude And Fugue No. 11 In F Major, BWV 856: Fuga
Prelude And Fugue No. 12 In F Minor, BWV 857: Praeludium
Prelude And Fugue No. 12 In F Minor, BWV 857: Fuga

Tracks:

Prelude And Fugue No.13 In F-Sharp Major, BWV 858: Praeludium
Prelude And Fugue No.13 In F-Sharp Major, BWV 858: Fuga
Prelude And Fugue No.14 In F-Sharp Minor, BWV 859: Praeludium
Prelude And Fugue No.14 In F-Sharp Minor, BWV 859: Fuga
Prelude And Fugue No.15 In G Major, BWV 860: Praeludium
Prelude And Fugue No.15 In G Major, BWV 860: Fuga
Prelude And Fugue No.16 In G Minor, BWV 861: Praeludium
Prelude And Fugue No.16 In G Minor, BWV 861: Fuga
Prelude And Fugue No.17 In A-Flat Major, BWV 862: Praeludium
Prelude And Fugue No.17 In A-Flat Major, BWV 862: Fuga
Prelude And Fugue No.18 In G-Sharp Minor, BWV 863: Praeludium
Prelude And Fugue No.18 In G-Sharp Minor, BWV 863: Fuga
Prelude And Fugue No.19 In A Major, BWV 864: Praeludium
Prelude And Fugue No.19 In A Major, BWV 864: Fuga
Prelude And Fugue No.20 In A Minor, BWV 865: Praeludium
Prelude And Fugue No.20 In A Minor, BWV 865: Fuga
Prelude And Fugue No.21 In B-Flat Major, BWV 866: Praeludium
Prelude And Fugue No.21 In B-Flat Major, BWV 866: Fuga
Prelude And Fugue No.22 In B-Flat Minor, BWV 867: Praeludium
Prelude And Fugue No.22 In B-Flat Minor, BWV 867: Fuga
Prelude And Fugue No.23 In B Major, BWV 868: Praeludium
Prelude And Fugue No.23 In B Major, BWV 868: Fuga
Prelude And Fugue No.24 In B Minor, BWV 869: Praeludium
Prelude And Fugue No.24 In B Minor, BWV 869: Fuga

Amazon.com essential recording

It's rather amazing today, when recordings of Bach's Well-Tempered Clavier practically fall of the shelves, to recall just how unusual it was back in the 1960s for a pianist to undertake to record this amazing work. It's probably fair to say that until Glenn Gould got his fingers around it, Bach's music was used for teaching purposes more than anything else. What Gould proves in this essential set is that Bach is decidedly not just a threat to hold over the head of budding pianists but a joy to listen to. One of Gould's very greatest recordings. --David Hurwitz

Customer Reviews:

Best CD I Own........2007-07-13

If I could give this album 10 stars, I would. To me it is the platonic ideal for music. These 24 pieces from Bach are important fundamental building blocks for all of music, and Gould interprets them in ways that allows their greatness to come through. These performances never get stale. I started my toddler kids off in listening to both WTC Book 1 and 2, and they loved them immediately. Even now, if given a choice of what CD to put on they will usually choose one of the WTC CD's. I tend to be underdramatic, but when I listen to this composer and this performer and see how my kids respond, I feel like its a gift from God.

Your Inner Voice is Calling.......2007-03-01

Let's admit it right off the bat - these are individualistic recordings that do not sound like anything you've ever heard. That's probably why I value them so much, that and their brilliant artistic temperament. Bach can sound boring, particularly by those who insist on a rigid (rather than flowing) tempo and an emotionless rendition that approaches machine-like quality. This is NOT the WTC you are used to but it is a work of art unto itself.

Whether it is a Brahms Intermezzo, a work by Scriabin or these creations, there is no one who can bring out that inner melody with such clarity and perfection. It's almost as if his fingers operated totally independent of each other in a way we have yet to discover. At times, he manages to find inner voices that cannot be seen even when looking at the music. Then there is his technique of focusing a work - from the entire piece to a movement to a section, phrase, chord and finally a single note. You know that every single note sounds as it does for a reason known only to Gould. As usual, I have trouble choosing a "favorite" although I admit that I prefer the minor over major because of their alleged "richness".

Questions of authenticity or "how they were meant to be heard" are irrelevant. Chopin wrote for a small pianoforte, not the Grand we hear today. Who wants a tiny "original" chorus of Handel's Messiah or Julius Reubke's Organ Sonata heard on a pre-French Romantic organ? By all means, this is a recording for the ages - buy and enjoy.

Fascinating.......2007-02-13

I was quite surprised to read other reviewer's comments about Gould not following Bach's 'intentions'. Given that there is one prelude with a tempo mark and almost no dynamic markings in the entire 48, it would be hard to find his intentions except by assuming that the tradition is 100 % accurate. I find this recording interesting, most of all because of the lack these days of originality. Gould was original, but that was not his goal. He had a connection with the music of Bach and felt that he had something to say with it that no one else had. It's refreshing to hear something so sincerely original as these unconventional renditions. The fugues are especially amazing. His control over each voice is nothing short of spectacular. I highly recommend this to anyone who is tired of hearing the Prelude in C major played the same way by everyone else.

Gould's unique sound.......2006-06-02

No pianist has been able to play these pieces as steadily and with as much control as Gould, nor with his reverence and clarity in fugues such as the c# and e-flat minor. In the C# major prelude in Book I Gould plays a wrong note in bar 37--a b natural for b#--but this more minor-sounding wrong line actually sounds interesting and maybe even better, and it contrasts with bar 45. I did not realize this elusive sound was a wrong note until relistening after a break of many years. It had to be either a deliberate change or a finger slip--no edition of the piece contains that note. There is also a finger slip in the C# major fugue on the 'and' of beat one in bar 17 where Gould bumps into an f#--that could not be deliberate. These are the only note errors I have found in Gould's recordings, and I don't know that any outtakes have been released of the WTC.
Carefully listening one can also detect the splice between takes in the a minor fugue in Gould's Book I, and other splices in II. Other controversial things await the listener in this immortal record.

Listen to a more conventional recording first........2006-02-16

I highly recommend Gould's recording of WTC books one and two with the caveat that his performances reach the peak of the unpredictable and can be rather traumatizing to the uninitiated.

Glenn Gould's interpretation of The WTC is a manifesto of his musical opinions, saturated with absolute confidence. Gould sees Bach as a sibling to be rivaled and conveys his ideas, from the sentimental to the vulgar to the insane, with perfect clarity.

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II

Average customer rating:

Recommended
Gould brings the voices out
My Favorite WTC
Superlative Gould, but bad Bach.
Please consider the version by Andras Schiff...

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II
Johann Sebastian Bach , and Glenn Gould
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Improvisation | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I
A State of Wonder: The Complete Goldberg Variations (1955 & 1981)
Art of the Fugue - 70th Anniversary Edition
French Suites - 70th Anniversary Edition
Bach: English Suites, BWV 806-811

ASIN: B0000028NJ
Release Date: 1994-01-11

Tracks:

Prelude And Fugue No.1 In C Major, BWV 870: Praeludium
Prelude And Fugue No.1 In C Major, BWV 870: Fuga
Prelude And Fugue No. 2 In C Minor, BWV 871: Praeludium
Prelude And Fugue No. 2 In C Minor, BWV 871: Fuga
Prelude And Fugue No. 3 In C-Sharp Major, BWV 872: Praeludium
Prelude And Fugue No. 3 In C-Sharp Major, BWV 872: Fuga
Prelude And Fugue No. 4 In C-Sharp Minor, BWV 873: Praeludium
Prelude And Fugue No. 4 In C-Sharp Minor, BWV 873: Fuga
Prelude And Fugue No. 5 In D Major, BWV 874: Praeludium
Prelude And Fugue No. 5 In D Major, BWV 874: Fuga
Prelude And Fugue No. 6 In D Minor, BWV 875: Praeludium
Prelude And Fugue No. 6 In D Minor, BWV 875: Fuga
Prelude And Fugue No. 7 In E-Flat Major, BWV 876: Praeludium
Prelude And Fugue No. 7 In E-Flat Major, BWV 876: Fuga
Prelude And Fugue No. 8 In D-Sharp Minor, BWV 877: Praeludium
Prelude And Fugue No. 8 In D-Sharp Minor, BWV 877: Fuga
Prelude And Fugue No. 9 In E Major, BWV 878: Praeludium
Prelude And Fugue No. 9 In E Major, BWV 878: Fuga
Prelude And Fugue No. 10 In E Minor, BWV 879: Praeludium
Prelude And Fugue No. 10 In E Minor, BWV 879: Fuga
Prelude And Fugue No. 11 In F Major, BWV 880: Praeludium
Prelude And Fugue No. 11 In F Major, BWV 880: Fuga
Prelude And Fugue No. 12 In F Minor, BWV 881: Praeludium
Prelude And Fugue No. 12 In F Minor, BWV 881: Fuga

Tracks:

Prelude And Fugue No. 13 In F-Sharp Major, BWV 882: Praeludium
Prelude And Fugue No. 13 In F-Sharp Major, BWV 882: Fuga
Prelude And Fugue No. 14 In F-Sharp Minor, BWV 883: Praeludium
Prelude And Fugue No. 14 In F-Sharp Minor, BWV 883: Fuga
Prelude And Fugue No. 15 In G Major, BWV 884: Praeludium
Prelude And Fugue No. 15 In G Major, BWV 884: Fuga
Prelude And Fugue No. 16 In G Minor, BWV 885: Praeludium
Prelude And Fugue No. 16 In G Minor, BWV 885: Fuga
Prelude And Fugue No. 17 In A-Flat Major, BWV 886: Praeludium
Prelude And Fugue No. 17 In A-Flat Major, BWV 886: Fuga
Prelude And Fugue No. 18 In G-Sharp Minor, BWV 887: Praeludium
Prelude And Fugue No. 18 In G-Sharp Minor, BWV 887: Fuga
Prelude And Fugue No. 19 In A Major, BWV 888: Praeludium
Prelude And Fugue No. 19 In A Major, BWV 888: Fuga
Prelude And Fugue No. 20 In A Minor, BWV 889: Praeludium
Prelude And Fugue No. 20 In A Minor, BWV 889: Fuga
Prelude And Fugue No. 21 In B-Flat Major, BWV 890: Praeludium
Prelude And Fugue No. 21 In B-Flat Major, BWV 890: Fuga
Prelude And Fugue No. 22 In B-Flat Minor, BWV 891: Praeludium
Prelude And Fugue No. 22 In B-Flat Minor, BWV 891: Fuga
Prelude And Fugue No. 23 In B Major, BWV 892: Praeludium
Prelude And Fugue No. 23 In B Major, BWV 892: Fuga
Prelude And Fugue No. 24 In B Minor, BWV 893: Praeludium
Prelude And Fugue No. 24 In B Minor, BWV 893: Fuga

Amazon.com

Glenn Gould's Bach is by now so ingrained in the 20th-century musical consciousness that it's almost hard to remember just how unusual his devotion to this composer was back in the 1950s and '60s when he first started making records. That his Bach recordings are still the standard by which all others are measured is a tribute to his self-awareness as an artist. If you are looking for the essential Glenn Gould playing Bach, then the three sets you really ought to have are his Goldberg Variations (either version), plus the two books of The Well-Tempered Clavier. Gould was simply incomparable in the contrapuntal intricacies of Bach's fugal writing, and in The Well-Tempered Clavier he has 48 opportunities to strut his stuff. He makes a show of every one. --David Hurwitz

Customer Reviews:

Recommended.......2004-08-24

Why is the Well-Tempered Clavier 2 not as famous as the first Well-Tempered Clavier? I dont know. But just to let you know, I prefer Glenn Goulds recording of this 2nd Clavier book over the first. There are many reasons. The first is that Glenn Gould takes a good tempo on almost all of the preludes and fugues, unlike on the first book. Dont get me wrong though, the first Well Tempered clavier vol. 1 recording is also one of my favorite recordings. The second reason is that he does a VERY GOOD job on bringing out the voices in the fugues of book 2. The third is that there is wonderful sound quality. There are also many other reasons, but I cant name them all right now. I just happen to like this recording better...HIGHLY reccomended.

Gould brings the voices out.......2003-05-12

If you can get by the sound of Gould's own voice as he hums throughout you will get to feast on the genius of Bach's counterpoint. I don't know that I've heard another performer more evenly and distinctly bring out each voice in Bach's keyboard works. The recordings have been excellently remastered from the early originals.

I feel that Bach's early music had a more effortless and sometimes wistful or inspired quality than his later works. However, his later works seem much deeper in thought and character and emotion and skill than the earlier ones. I would have to say that if forced to choose I take the later works (Amazing Mass in B minor, Art of Fugue) including the later set of Preludes and Fugues performed here by a Bach master. I would never force myself to make that choice, however. Pick this one up and hear the voices sing (including Gould's, ouch!).

My Favorite WTC.......2003-03-25

The music of JS Bach is extremely interesting, and one thoughtful listening to his works has the power to change the way you hear and perceive music forever more. Bach's keyboard works are typically polyphonic, and that basically means two melodies, or more acurately stated, two musical thoughts, are presented simultaneously. The resulting musical edifice has the potential to sound like, how does one say? "too many notes". Because of the very nature of counterpoint, the simple elegance of Mozart, or the heart-tugging in-your-face-passion of Beethoven, are not as accessible to the average listener. But there is an unmistakable breadth and vitality found in Bach's musical counterpoint, conjoined with a unique grandeur and nobility, that can move and uplift the spirit in a way that is entirely unique.

The Well Tempered Clavier (WTC) consists of two books, both of which are comprised of a prelude and fugue written in each of the major and minor keys of western music. Because there are twelve major keys, and twelve related minor keys, each book of the WTC is comprised of 24 prelude and fugues. One enjoyable aspect of the WTC for the new listener is that, because all of the major and minor keys are presented in a systematic way, one is able to discern what is most appealing to the listener's unique sensibilities. Perhaps you will find that you prefer major to minor, or vice versa. Perhaps you will find a handful of key signatures that you think are preferable, and that can be the foundation for further exploration into other pieces of music written in the same key.

I own a number of recordings of J.S. Bach's WTC. I happen to like book II better than book I, and this rendition is undoubtedly my favorite of them all. Gould's sense of rhythm is impeccable, and it is that aspect that makes this recording so stunning. The pulse is extraordinary, the ornamentation is played with extreme verve, and Gould's technical abilities and musicianship are more than adequate to keep strict time throughout. I also really appreciate the fact that Gould keeps his foot off the pedal, unlike Richter, or Fischer, or any number of the other standard recordings. A powerful and distinct rhythmic momentum should be felt throughout these works. It is also essential to maintain the clarity of each voice, and the pedal, or reverberation in general, can obscure both rhythm and clarity in the context of polyphonic music. Gould is able to bring distinctness to each voice in a way that is entirely unique.

With that said, Gould does have some singular ideas about tempo. Sometimes it works, sometimes not. For an incredible example of when it works, listen to to his remarkable rendering of the prelude and the fugue in C#-Major. Both, but particularly the fugue, are taken at extremely slow tempos. The result is extraordinary. This is hands down my favorite recording of Bach's WTC. In my opinion, no other recording compares to this one.

Superlative Gould, but bad Bach........2003-03-07

Once again, David Hurwitz is pushing his personal agenda. Do NOT purchase these discs unless you already own several sets of the 48 and want a truly unorthodox view that belies the intent of the music. After staying away from Gould's interpretations of Bach's major keyboard works for some years, I recently decided to revisit them. Unfortunately, my impression of Gould's interpretations hasn't improved over the years. There is some incredible pianism on these CDs, and Gould's insights are often revealing. Nonetheless, the eccentricities and musical anomalies are too numerous and prohibitively distracting. What's more, the plaintive vocalizing is annoying, to say the least. This may be a must for Gould fans, but not for the rest of us. If you want something truly legendary in this repretoire, buy Edwin Fischer's classic recordings from the 30s. Or, if you want digital sound, Angela Hewitt's performances are beyond reproach.

Please consider the version by Andras Schiff..........2002-08-05

I am a person who will not keep multiple versions (by different performers) for a specific record, and this is the version that made me spent extra! I always believe that if I commit a purchase, that will be the only copy that will keep me accompany for many years, and I would rather spend the money on other recordings and give myself more variety in classical music. To be fair, I have to admit that I canýt tell how well he had interpreted this work by Bach, as commented by many other reviewers. As far as I am concern, in term of personal preference and individual expectation, this set had failed me completely!

I bought both WTC Book 1 and 2 by Glenn Gould recently but was extremely disappointed. I like the music very much but I hate the way he played this beautiful piece. It is annoying and frustrating to hear the mumbling throughout his playing! Guess what I did after listening to all the 4 discs? I went to buy WTC Book 1 again by Andras Schiff (London Decca) and immediately I realize the differences - Schiffýs version is definitely the version that I will strongly recommend. Just few words to describe ý Clarity, Pleasant, and Excellent Recording!!! I have no hesitation to buy the Book 2 (by Andras Schiff too).

Tracks:

Divertimento (String Trio) In E Flat, KV 563: Allegro
Divertimento (String Trio) In E Flat, KV 563: Adagio
Divertimento (String Trio) In E Flat, KV 563: Menuetto. Allegretto - Trio
Divertimento (String Trio) In E Flat, KV 563: Andante
Divertimento (String Trio) In E Flat, KV 563: Menuetto. Allegretto - Trio I - II
Allegro
Duo For Violin And Viola In G, KV 423: 1. Allegro
Duo For Violin And Viola In G, KV 423: Adagio
Duo For Violin And Viola In G, KV 423: Rondeau, Allegro
Duo For Violin And Viola In B Flat, KV 424: Adagio - Allegro
Duo For Violin And Viola In B Flat, KV 424: Andante cantabile
Duo For Violin And Viola In B Flat, KV 424: Tema con variazioni. Andante grazioso - Allegretto - Allegro

Tracks:

Sonate (Trio) In B Flat, KV 266: Adagio
Sonate (Trio) In B Flat, KV 266: Menuetto, Allegretto
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 1 In D Minor: Adagio
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 1 In D Minor: Fuga
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No.2 In G Minor: Adagio
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No.2 In G Minor: Fuga
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 3 In F: Adagio
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 3 In F: Fuga
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 4 In F: Adagio
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 4 In F: Fuga
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 5 In E Flat: Largo
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 5 In E Flat: Fuga
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 6 In F Minor: Adagio
Six Preludes And Fugues For Violin, Viola And Cello, KV 404a No. 6 In F Minor: Fuga

Customer Reviews:

forgotten masterpieces.......2007-02-22

I was a little surprised to see so many reviews for this CD, most of them are full of praise. As I, too, am full of praise I can be brief.
First I must confess that, after listening to Mozart for well over 40 years, it is only very recently that I came accross any of the works on these CDs. I heard the last movement of the string trio and went straight to the computer to get it. As last year was Mozart's 250th birthday and we were deluged with his music this is incredble.
The string trio K563 is a late work by a mature Mozart, it is a very fine work, beautifully played by Arthur Grumiaux and friends. The two duos for violin and viola is another great find for me, more superb Mozart. These do not have a bass line, the composition is so good that they don't need one, indeed I was well into them before I noticed that there wasn't one. In all of these works all the instruments are equals, there is lots of work for the viola and the cello too has an important role. The six preludes and fugues again were new to me, but I am getting to know them and love them.
This is another excellent recording of Mozart's chamber music from Philips Duo, and well worth full marks. I recommend it highly, especially for Mozart lovers. If you are not well versed in Mozart I might suggest that you start with his concertos and instrumental works before you buy these Cds.

Eclipsed.......2006-08-04

For me the point here is the K.563, and while I have loved Grumiaux's playing for decades, and this is a nice older [1967] recording, it is completely blown away by the recent recording by Yo Yo Ma, Gidon Kremer, and Kim Kashkashian. On the other hand, the latter recording is defective in that the technicians managed to make the violin sound shrill and harsh -- the usual suspects are of course recording engineers who've spent much of their careers blowing out their high-end hearing listening to and working with "rock and roll" recordings, and thus needing to boost the highs in order to hear them; at the same time, it was miked much too closely. At least the Philips recordings were done in an era when the engineers were older folks who had spent their careers listening to and recording music. My choice: the Ma / Kremer / Kashkashian CD, but with my treble control cranked down....

A style made for Mozart.......2005-08-26

Here is yet another great Mozart Philips recording featuring the elegant playing of Arthur Grumiaux. The String Quintets and Violin Concertos are other ones. When you hear Grumiaux play Mozart like this, you think, "Now, how can one top that?" Such a dignified, galante and poised style as his is perfect for Mozart's music. These two CD's provide a cournacopia of Mozart delights played magnificantly by Arthur Grumiaux and friends: three string duos, the one and only great string trio (K.563) and a rather unique collection of preludes and fugues mostly transcribed from Bach's "Well Tempered Clavier" for violin and viola. Each work also has an interesting story behind it as does most of Mozart's music.

Two of the late duos Mozart wrote were "ghost written" for a terribly ill Michael Haydn - a comtemporary and great friend of Mozart. As history goes, Haydn had promised a series of six duos for the impatient Archbishop Colloredo and was two short. Mozart's continual visiting the ill Haydn and lightening-fast composing of these two duos reveal the compassionate, warm-hearted side of Mozart. In each you can hear both Haydn and Mozart by the various musical mannerisms, but they eventually passed off as Haydn's works just fine.

The trio is a late work (K563/626) that was written in 1788 - the year that Mozart's popularity with the fickle Vieneese dwindled and life strarted to fall apart. But, one would never know this from the skill and stature of the great work. Having a full six movements lasting a full 45 minutes, the string trio is a work of grand scale and rich diversity that does not once become bogged down, repetitive or dull. The equality of the part writing is especially notable as much as is the complex sonorities, intelligent design and lyrical charm. It ranks right up there with his quintets as Mozart's most accomplished chamber works.

Perhaps the surprize delight of the set are the six preludes and fugues, most of which are transcribed from JS Bach (and one each from JC Bach and Mozart). It is said that Mozart's wife Constanze adored the fugues of Bach and Handel upon first hearing them in 1782 and supposedly begged her husband to compose such music - which apparently he obliged with these works here. Of course they sound like Bach as they mostly are Bach. The Grumiaux Trio makes them sound glorious from their rich and nuanced playing and the fine Philip's sound quality. Overall, a rich, rewarding listening experience.

If you are new to Mozart's chamber music, these Philips DUO sets are excellent CD's to collect. The most recommended Philips Mozart CD's are: The Great Piano Concertos Vol I, II, the Violin Concertos, Great Quintets Vol. I and II, the Piano Trios and String Trios/Duos here. Then, the Great Seranades, the six 'Haydn' String Quartets, the two Piano Quartets and Great Violin Sonatas Vol. I, II are also fine music.

A nice pair.......2005-06-22

Not much to add here: 1st CD: The string trio K. 563 is a peer to Mozart's greatest quartets and quintets. Period! The string duos K. 423 and 424 are simple in sound, but rich in texture; the simplicity of means calls for advanced composing and Mozart doesn't dissappoint. 2nd CD: The trio K. 266 is less interesting, but the six preludes and fugues are really great, fusions of Mozart and Bach. All the playing is excellent.

Nobody like Artur Grumiaux for Mozart violin music!.......2004-07-19

Joseph Szigetti gave a towering surprise with the ten violin sonatas , but Grumiaux was a real fighter for this Mozart music so plenty of lyricism.

The vibrato and musicality given for Grumiaux is out of this world. His playing is kindness enjoyable extremely cantabile and above all deeply idomatic , loaded with majesty and charm and intimacy.

This belgium violinist was a pupil of Georges Enesco . Pleas acquire also the trio Kv 563 . I've never a recording that rivalizes with that.
Certainly Grumiaux was a champion master in this field!

If you take a look around about the most remarkable string Trios, you will find out that these are not so many. Before that immense Mozart's Divertimento in E flat Kv. 563, written in 1788, we just find a dozen of Trios by Bocherini and after, Beethoven Piano Trios, Schubert, Tchaikovsky, Brahms. Dvorak Dohnayi, Webern, Roussel and Schoenberg. In this sense and taking into account the brief set it's obvious to state we are in presence of the most significant, pyramidal and complete string Trio ever written, not only because it was a true milestone in what concerns to structural complexity, lyrical density and enjoyable mood.

Surprisingly, it does not use to appear among the most extraordinary musical achievements ion the enormous musical legacy of the beloved son of Salzburg. But measure by measure, I wouldn't hesitate just for a second in what respects to include it among the ten best works of Mozart throughout his opulent and extraordinary production.

And particularly this version possesses that touch of genius and dazzling luminosity, filled of kind spirits, cheerful energy and rhythmic vitality.

This masterpiece by itself justifies plainly your inversion in this double CD, but additionally you will find out another treasures of highest level as both Duos for violin and viola, The Kv. 266 The six preludes and fugues for violin, viola and cello written as a profound and heartfelt homage in Bach's memory are astonishing and notable compositions by themselves.

So I think not to sin of exaggerate when I recommend you this extraordinary set, one of my most beloved albums of my personal collection and wishing for you to have. You will agree with me once you have acquired and enjoyed over and over.

It's almost useless to talk about the purity of spirit of Artur Grumiaux, one of the most distinguished, refined and honest violinists ever born as well as one of the maxim exponents of Mozart's repertoire for violin, and I don't think to sound exaggerate to affirm this record was one of his highest artistic peaks as musician.

Shostakovich: 24 Preludes & Fugues op. 87 / Jarrett

Average customer rating:

It doesn't get any better than this.
IMPROVISED CLASSICAL MUSIC
A great combination...
My pick from Jarrett/Ashkenazy/Nikolayeva
far and away the best, and don't give me no lip!

Shostakovich: 24 Preludes & Fugues op. 87 / Jarrett
Keith Jarrett
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000006MTX
Release Date: 2000-01-25

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.

Average customer rating:

The very best performance of WTC
Sound Quality Problems
A little more about the sound
Richter gives great WTC but not on this recording
It's Bach and Richter, but the recording quality....

Bach: Well-Tempered Clavier
Johann Sebastian Bach , and Sviatoslav Richter
Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B000026OHN
Release Date: 1992-01-06

Tracks:

Prelude & Fugue I BWV 846 In C Major
Prelude & Fugue II BWV 847 In C Minor
Prelude & Fugue III BWV 848 In C Sharp Major
Prelude & Fugue IV BWV 849 In C Sharp Minor
Prelude & Fugue V BWV 850 In D Major
Prelude & Fugue VI BWV 851 In D Minor
Prelude & Fugue VII BWV 852 In E Flat Major
Prelude & Fugue VIII BWV 853 In E Flat Minor
Prelude & Fugue IX BWV 854 In E Major
Prelude & Fugue X BWV 855 In E Minor
Prelude & Fugue XI BWV 856 In F Major
Prelude & Fugue XII BWV 857 In F Minor
Prelude & Fugue XIII BWV 858 In F Sharp Major
Prelude & Fugue XIV BWV 859 In F Sharp Minor

Tracks:

Prelude & Fugue XV BWV 860 In G Major
Prelude & Fugue XVI BWV 861 In G Minor
Prelude & Fugue XVII BWV 862 In A Flat Major
Prelude & Fugue XVIII In G Sharp Minor
Prelude & Fugue XIX BWV In A Major
Prelude & Fugue XX BWV 865 In A Minor
Prelude & Fugue XXI BWV 866 In B Flat Major
Prelude & Fugue XXII BWV 867 In B Flat Minor
Prelude & Fugue XXIII BWV 868 In Major
Prelude & Fugue XXIV BWV 869 In B Minor

Tracks:

Prelude & Fugue I BWV 870 In C Major
Prelude & Fugue II BWV 871 In C Minor
Prelude & Fugue III BWV 872 In C Sharp Major
Prelude & Fugue IV BWV 873 In C Sharp Minor
Prelude & Fugue V BWV 874 In D Major
Prelude & Fugue VI BWV 875 In D Minor
Prelude & Fugue BWV 876 In E Flat Major
Prelude & Fugue VIII BWV 877 In D Sharp Minor
Prelude & Fugue IX BWV 878 In E Major
Prelude & Fugue X BWV 879 In E Minor
Prelude & Fugue XI BWV 880 In F Major
Prelude & Fugue XII BWV 881 In F Minor
Prelude & Fugue XIII In F Sharp

Tracks:

Prelude & Fugue XIV BWV 883 In F Sharp Minor
Prelude & Fugue XV In G Minor
Prelude & Fugue XVI BWV 885 In G Minor
Prelude & Fugue XVII BWV 886 In A Flat Major
Prelude & Fugue XVIII BWV 887 In G Sharp Minor
Prelude & Fugue XIX BWV 888 In A Major
Prelude & Fugue XX BWV 889 In A Minor
Prelude & Fugue XXI BWV 890 In B Flat Major
Prelude & Fugue XXII BWV 891 In B Flat Minor
Prelude & Fugue XXIII BWV 892 In B Major
Prelude & Fugue XXIV BWV 893 In B Minor

Customer Reviews:

The very best performance of WTC.......2007-03-16

Having listening to more than a dozen recordings of WTC played with piano,
I have to say Richter's rendition is one of the few I love best. Technical virtuosity, melodic fluency, contrapuntal precision, and musical depth are perfectly combined here. Even the tempos could not be better handled. The only thing I find not so good about this rendition is that Richter seems to have used too much petal, making the sound blurring at times. Even so, I stronly recommend this recording on grounds of its artistic value and relevation.

Sound Quality Problems.......2007-01-31

1-I can barely hear the left hand, which is supposed to be central to counterpoint, fugues...etc

2-I can barely hear the preludes as they sound distant and the piano sound is very thin, and suddenly you hear the fugues very powerfull [...].

3- at times, I could hear a sound coming from the piano that is similar to that sound you get when you hit a piece of glass with a metal spoon!

[...]
Thank you.

A little more about the sound.......2006-11-24

Not being an "audiophilic" sophisticate I can hardly delve into details of this recording's sound reproduction, but it is not nearly as bad as to make this great performance un-listenable. Quite the opposite, the peculiarities of the sound have deeper reasons behind them. Bach wrote WTK for the keyboard, but in his mind he must have heard them played on a particular instrument. If Gould (whose WTK, IMHO, is his weakest Bach recording) plays it like a harpsichord, or Schiff (another dud) - like fortepiano, every note of Richter's performance echoes with the sound of an organ. I am certain it was deliberate on Richter's part, and the fact that the selected venue of the recording was a church, only confirms that notion. Of course, the church's acoustics did affect the sound, but in a way that was consistent with the artist's conception.
As far as the playing itself, there is not much I can add to what has been written by the previous reviewers. Book II, which is somewhat more "abstract" portion of the WTK-48, receives great treatment here, but it is Richter's performance of Book I that stands like a solitary granite peak, high above the clouds, projecting mysterious and purifying force.

Richter gives great WTC but not on this recording.......2006-10-26

Sviatoslav Richter brings his superb technique and penetrating musical intelligence to bear on the WTC and the result may not please scholars but it is deeply enjoyable (which is probably what Bach had in mind). Unfortunately the sound on these recordings is abominable. After listening for more than a couple of minutes I give up. I think it is the fault of the original recording in an over reverberant acoustic but there is a constant "aura" which really gets in the way. There is a far better and consistently more exciting version recorded in Innsbruck in the early 70s but it is only available in a CD version on "Polo" which is published in China. Presumably RCA Victor has problems with the dissemination of this version in the West! It's not a perfect recording by any means but it is far more listenable.

It's Bach and Richter, but the recording quality...........2006-09-30

I love this music and Sviatoslav Richter is one of my favorite classical artists, but the quality of this recording is horrible and is so bad that the quality of both the performance (excellent!) or of the works themselves (wonderful!) can not be overcome by the quality of the sound.

Average customer rating:

Bach: Preludes, Fughettas and Fugues

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

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ASIN: B0000CF33K
Release Date: 2003-09-30

Tracks:

Prelude In C Major, BWV 933
Prelude In C Minor, BWV 934
Prelude In D Minor, BWV 935
Prelude In D Major, BWV 936
Prelude In E Major, BWV 937
Prelude In E Minor, BWV 938
Prelude
Fughetta
Prelude In G Major, BWV 902
Prelude In G Major, BWV 902/1a
Fughetta In G Major, BWV 902
Prelude In C Major, BWV 924
Prelude In F Major, BWV 927
Prelude In D Minor, BWV 926
Prelude In D Major, BWV 925
Prelude In F Major, BWV 928
Prelude In G Minor, BWV 930
Fugue In C Major, BWV 952
Fughetta In C Minor, BWV 961
Fugue In C Major, BWV 953
Prelude
Fugue
Prelude
Fughetta
Fugue On A Theme By Tomaso Albinoni In B Minor, BWV 951
Fugue On A Theme By Tomaso Albinoni In A Major, BWV 950
Chromatic Fantasy In D Minor, BWV 903a
Fantasy In G Minor, BWV 917
Fantasy In C Minor, BWV 919
Fantasy (And Fugue) In C Minor, BWV 906

Bach: The Well-Tempered Clavier (book 1)

Average customer rating:

Bach made boring
Penguin Rosette Award Winner
Good piano skills, poor sound quality
Just Great
CARRYING THE STANDARD

Bach: The Well-Tempered Clavier (book 1)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DG23
Release Date: 1998-10-27

Tracks:

No. 1 In C Major, BWV 846: Prelude
No. 1 In C Major, BWV 846: Fugue
No. 2 In C Minor, BWV 847: Prelude
No. 2 In C Minor, BWV 847: Fugue
No. 3 In C-Sharp Major, BWV 848: Prelude
No. 3 In C-Sharp Major, BWV 848: Fugue
No. 4 In C-Sharp Minor, BWV 849: Prelude
No. 4 In C-Sharp Minor, BWV 849: Fugue
No. 5 In D Major, BWV 850: Prelude
No. 5 In D Major, BWV 850: Fugue
No. 6 In D Minor, BWV 851: Prelude
No. 6 In D Minor, BWV 851: Fugue
No. 7 In E Flat Major, BWV 852: Prelude
No. 7 In E Flat Major, BWV 852: Fugue
No. 8 In E Flat Minor, BWV 853: Prelude
No. 8 In E Flat Minor, BWV 853: Fugue
No. 9 In E Major, BWV 854: Prelude
No. 9 In E Major, BWV 854: Fugue
No. 10 In E Minor, BWV 855: Prelude
No. 10 In E Minor, BWV 855: Fugue
No. 11 In F Major, BWV 856: Prelude
No. 11 In F Major, BWV 856: Fugue
No. 12 In F Minor, BWV 857: Prelude
No. 12 In F Minor, BWV 857: Fugue

Tracks:

No. 13 In F Sharp Major, BWV 858: Prelude
No. 13 In F Sharp Major, BWV 858: Fugue
No. 14 In F Sharp Minor, BWV 859: Prelude
No. 14 In F Sharp Minor, BWV 859: Fugue
No. 15 In G Major, BWV 860: Prelude
No. 15 In G Major, BWV 860: Fugue
No. 16 In G Minor, BWV 861: Prelude
No. 16 In G Minor, BWV 861: Fugue
No. 17 In A Flat Major, BWV 862: Prelude 862
No. 17 In A Flat Major, BWV 862: Fugue
No. 18 In G Sharp Minor, BWV 863: Prelude
No. 18 In G Sharp Minor, BWV 863: Fugue
No. 19 In A Major, BWV 864: Prelude
No. 19 In A Major, BWV 864: Fugue
No. 20 In A Minor, BWV 865: Prelude
No. 20 In A Minor, BWV 865: Fugue
No. 21 In B Flat Major, BWV 866: Prelude
No. 21 In B Flat Major, BWV 866: Fugue
No. 22 In B Flat Minor, BWV 867: Prelude
No. 22 In B Flat Minor, BWV 867: Fugue
No. 23 In B Major, BWV 868: Prelude
No. 23 In B Major, BWV 868: Fugue
No. 24 In B Minor, BWV 869: Prelude
No. 24 In B Minor, BWV 869: Fugue

Customer Reviews:

Bach made boring.......2006-08-15

Hewitt is a fine and talented pianist, to be admired also for her careful dedication, refinement, and zeal to record Bach's works on the piano.

There is nothing objectionable about her recordings, and of course the music itself (Bach's) is wonderful. But I find her playing very conservative. Exactly what one's aging piano teacher would tell you about how to play. Nothing excessive. Each note carefully considered. Not too fast. Not too slow. Not too nuanced. Not too eccentric. Totally in keeping with correct Baroque style.

But really I find her playing quite boring, in part because of the above qualities. When I hear so many people gushing about her playing, I find myself wondering how it is that I feel so differently...maybe such devoted Bach players as Hewitt are relatively rare, and maybe the community of music critics for this genre are quite conservative (and, dare I say, boring) themselves, so playing like Hewitt's would be right up their alley.

I recommend instead any recording by Glenn Gould (who can be at times exasperating, eccentric, or even cacophonous, but never boring, and very often sublime). For a less eccentric Bach player, I think Murray Perahia is wonderful, but I don't think he's done the WTC yet.

Penguin Rosette Award Winner.......2005-09-12

Angela Hewitt's WTC Book I and II received the prestigious Penguin Guide "Rosette" award - as well as high marks from the other UK classical music guide, Gramophone (whose readers voted Ms. Hewitt "Artist of the Year" in 2007). This set came early in Hewitt's massive, 11-year traversal of Bach's major keyboard works. As compared to Book II, the preludes in this Book I set tend to be more lyrical and musically charming where those of Book II are longer in length, denser in texture and more complex in scope. Most people find the preludes/fugue of Book I more lyrical and memorable, although the masterful works of Book II are a treasure trove especially for the pianist and connoisseur.

But, if you are not a pianist - or are newer to classical music - some background may help here regarding the phrase, "Well-Tempered Clavier." Translated from the German, it basically means a keyboard (clavier) that is "evenly-tempered" or evenly-divided into twelve equal intervals of an octave scale. Before Bach, there was no agreement as to how to tune the keyboard, and many scientific and religious theories abounded. This compromised (12-semi-tone) approach of Bach had the main advantage of having all 12 major and minor keys in a tuning that is both convenient to the player and overall acceptable to the ear. So, without any tuning changes, the harpsichordist could play in any key at will and it sound good - something critical as the keyboard was gaining prominance. So, historically, these 48 pairs of preludes and fugues became a foundation of the Western tonal music system. They not only showcase this new system of tuning, but they also are a systematic exploration of harmony as well as a highly-structured method of keyboard teaching. This achievement brought Bach recognition as one of the great scientific practitioners of music - and even one compared as "the Issac Newton of Music."

Out of the many fine recordings, the preferred choices must certainly include Angela Hewitt's sets here - which are also some of the most beautiful in tone. To get a feel for Hewitt's sweet, lyrical style, listen to tracks 1, 5, 17 and see how she beautifully shapes the legato lines and uses her trademark light & gingerly touch to create truly lovely colorations and subtle moods. I don't think any other pianist has played such preludes (especially the C# major) with such sheer delicacy and luminescent beauty. But, Hewitt is much more than sweetness as seen in her precise articulations and confident progression through the complex fugues. In these she brings the needed "gravity" and intellectualism to such German-minded polyphonic works that Bach intended (such as the closing fugue).

As far as other recordings, Hungarian pianist, Andras Schiff, also gives a similarly attractive reading of the WTC - but perhaps not quite as elegant and pleasantly straightforward as Hewitt, who usually gives good "reference" readings with minimal interpretative excesses. Other versions of the WTC for the more serious classical collector or pianists would also include Rosalyn Tereck's recordings (a Bach legend), Glenn Gould (highly individual but with superb clarity of parts), Edwin Fischer (classic), Tatiana Nikolayeva (emaculate aria and noble tones) and Russian Sergey Schepkin (dazzling pianism with crisp, "plucky" articulations that remind one of Mikhail Pletnev) - although expect poorer sound quality for the pre-60's recordings. Frederich Gulda's recordings on Philips DUO are not in the top tier mostly due to a rather harsh sound quality (and style at times). Also, Daniel Barenboim just released his recordings of both books the WTC if you are a fan of that great pianist.

Speaking of sound quality, Hewitt's WTC is one of the few in her discography that has a slightly sub-standard sound quality (not as rich and "full bodied" as others)... maybe due to the fact it was one of her first on Hyperion. Other reviewers note this as well, but it should be not a "show stopper." Also, one other good reason to get Angela Hewitt's set (or any CD of hers for that matter) are her superlative liner notes (a small book of 16 full pages in English here). All her notes are the best-in-class and allow a deeper enjoyment and satisfying learning experience. So, overall, Angela Hewitt's WTC Book I is a most superb, educational and delightful set of a landmark work in music history. In 2007, Hewitt will do a world tour of "the 48" - playing them from memory no less. Compositions - 5 stars; Performance - 5 stars; Sound quality -4 stars.

Good piano skills, poor sound quality.......2004-07-08

Although the musicality of Ms. Hewitt and performance is outstanding, I found the sound very muffled, and ended up returning the CD.

Just Great.......2004-07-06

For years I wasted my money on other Well-Tempered Clavier sets by other artists that shall remain nameless. But THIS one is a keeper. Thanks Angela!

CARRYING THE STANDARD.......2004-05-09

My head is ringing with preludes and fugues by Bach at the moment. Just a week ago I attended a festival of keyboard counterpoint at the Royal Northern College of Music, and over the last year or two the BBC has been broadcasting a midnight series of the 48 played by Gavrilov, Demidienko and Joanna McGregor. One thing is very apparent from it all - Bach's preludes and fugues don't get many bad performances, in public at least. Angela Hewitt is in a very distinguished line of north American Bach-players on the piano. During the 50's and 60's Rosalynn Tureck kept the tradition of playing Bach on the piano alive as the purist bandwagon gathered momentum, and slightly later Hewitt's great Canadian compatriot Glenn Gould gave that tradition a spectacular new impetus, and by now matters are where they ought to be, with instruments seen and heard as the servants of music and not the reverse.

It's difficult to give the right impression of a set of performances where there is really nothing to criticise. Hewitt works within strict parameters of moderation and impeccable taste and sense of style. That is not faint praise, but very emphatic praise indeed. There is plenty of variety in her touch, and plenty of light and shade in her dynamics and tempi. What she doesn't go in for is the dramatic contrasts of loud and soft so favoured by Tureck, nor the sometimes spectacular tempi adopted by Gould. Her technique is absolutely perfect, but her touch is not one that you could identify in an instant the way you can often identify Gould's. Now and again she raises her voice to some purpose, as when she adds an extra octave in the bass (very properly) at the end of the D major fugue, and we get an impression of what she could she could do along with the best of them if she saw fit. In general, though, this is the exception. Her way with the first book of the 48 is neither unduly severe nor tending towards the romantic, as one may feel Richter does. This is a musical world of its own. It contains limitless variety in everything except the consistently magnificent standard of the pieces, but it's a world that stays within its own orbit and this player goes on no trips outside that orbit. Whatever the piece seems to ask for, Angela Hewitt seems to have it. She tells us that she detects a danger that the second prelude, in C minor, can be made to sound ugly. Nobody I've listened to lately did that, and I suspect Hewitt wouldn't even know how. She is not without individuality in her own terms either, as you will hear right away in the famous first prelude. I have always been very attracted to Gould's highly individual way of doing this, each arpeggio half-legato and half-staccato. In case it was time for a change, here is a very beautiful alternative, light and ethereal.

She is particularly effective in the C sharp major prelude too, and actually tells us to some extent how she achieves her effect. Her liner-booklet is one of the best I have ever seen. It's informative, thoughtful, unpretentious, practical and down-to-earth, and all the better in that respect for being concerned with music that is anywhere but down to earth. Sometimes she lets us into her thinking as to why she adopts a certain approach - she favours a constant pulse in the big E flat prelude, for instance, and she ends the C sharp minor fugue quietly because (according to Czerny) Beethoven did it that way and it makes the best sense to her done like that in any case.

This is an absolute joy of a set, in case I haven't made that clear already. There are other fine sets around (e.g. Schiff apart from others already mentioned) and it's unlikely that any listener will like one interpreter's account of all 48 pieces best in every single case. The very special individuality of Gould is very special for me, and I am the sort of Gould-follower who can take more or less anything from him in Bach. For a distinguished version that places less weight on personal taste and temperament, and particularly for a version to recommend to newcomers as some kind of generally-acceptable ideal without idiosyncrasies, this one is going to take some beating.

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

General | Concertos | Forms & Genres | Classical | Styles | Music
Fugues | Forms & Genres | Classical | Styles | Music
Suites | Forms & Genres | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
Piano | Keyboard | Instruments | Classical | Styles | Music
Shostakovich, Dmitri | ( S ) | Featured Performers, A-Z | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | 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

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

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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

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