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

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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

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