Find album reviews, stream songs, credits and award information for Shostakovich: 24 Preludes and Fugues, Op. 87 – Keith Jarrett on AllMusic – – Dmitri. A new recording of Dmitri Shostakovich’s 24 Preludes and Fugues, deeply original and enigmatic works—encompassing charming simplicity and dazzling. Find a Dmitri Shostakovich – Keith Jarrett – Dmitri Shostakovich: 24 Preludes And Fugues Op first pressing or reissue. Complete your Dmitri Shostakovich.

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The fugue is based on a singing and simple subject, from which the rhythm of a quarter note shostwkovich by two eighth notes becomes the dominant force of its later development. It is answered by a lonely voice in the treble. Notated largely on four staves, it consists of a series of phrases alternating between the two extremes of the keyboard—mostly unharmonised and in unison two octaves apart.

Prelude and Fugue No 20 in C minor This is a very special pair shhostakovich pieces. Prelude and Fugue No 16 in B flat minor According to Tatiana Nicolayeva, the B-flat Minor prelude is the only one of the forty eight pieces that make up this cycle about which Shostakovich had second thoughts.

24 Preludes and Fugues (Shostakovich)

Such works as The Gadfly and The Age of Gold demonstrate this, but this talent sometimes spilled over into his symphonic works—e. Skip to main content. Simultaneously, he sought out Bach who lifted up the tormented artist’s soul and his nightmare existence.

The fugue—in three voices—is based on a remarkable subject consisting entirely of the notes of a broken chord of A major. The first subject is a slow stepwise melody consisting mostly of half notes and quarter notesanv the second subject is a partial diminution or variation fughes the first subject eighth notes instead of quarter notes.

The fugue is unique in this collection in that it is the only one written in five voices. From Wikipedia, the free encyclopedia. The dotted rhythms of the French overture used for Prelude 6 in B minor are followed by a shostakovvich Fugue whose countersubject adopts nad role of a secondary subject prreludes part of a double-fugue construction. Prelude and Fugue No 4 in E minor The sad prelude is built on drooping pairs of eighth notes, over which appears a sighing motif in long notes.

The music then settles down, gently leading to the recapitulationwhere a single statement of the subject in the tonic key brings the piece to a close. However, occasional strange harmonic turns indicate something disturbing underneath.


Retrieved from ” https: Of all the great Soviet composers, Shostakovich is the most politicised by historians, and yet he remains the most questioning, at the same time as which he almost never reveals the answers, and usually not even the questions. Drinking Hanging Out In Love.

It follows that Shostakovich had in mind the context of each one when writing its successor. Jarrett is on the hunt for detail, too — the “No. Sexy Trippy All Moods. The E minor fugue is one of progressive complexity. Towards the end, over a dominant pedal-point, the music becomes particularly beautiful, rising to a lyrical climax which then falls away to the final phrase.

With the similarities in his approach to tonality and many other aspects of his technique of composition comes a similar enigma. The final resolution in F major is like an echo of the same uneasy calm that concluded the prelude. Prelude 7 is a lucid two-part invention and the Fugue is constructed on the second inversion of an extended A-major triad. The pianissimo opening of the fugue in four voices grows out of the end of the prelude.

Dmitri Dmitriyevich Shostakovich: 24 Preludes & Fugues, Op. 87

The original composition had been very different, and the composer decided later to create a piece using the model of a Mozartian set of variations. Prelude and Fugue No 21 in B flat major This pair of works constitutes a formidable challenge for the performer. And, although the possible long-term consequences of his being publicly labeled politically incorrect, deeply concerned him, he immediately attended to his various agitprop, Party, film and oratorio commissions whilst simultaneously completing serious works of non-commissioned art-music.

April Total duration: Fugue 16’s elegiac arabesques are developed from the cycle’s most expansive fugue subject. Woodward’s version thus has the historic importance of being the first-ever complete recording outside the USSR; it is an unusually secure performance for a pianist of only 32 years of age at the time of the recording.

The bass plays has much of the melodic content — again a device used by Bach in his 48 preludes and fugues. Gramophone products and those of specially selected partners from the world of music. Hyperion offers both CDs, and downloads in a number of formats. The final D-minor fugue is a fitting crown to the cycle where triple fugue masquerades as double, and permutations of the D-S-C-H motto return together with references to Die Kunst der Fuge and Das Wohltemperirte Clavier.


Shostakovich: 24 Preludes and Fugues, Op. 87 – Keith Jarrett | Songs, Reviews, Credits | AllMusic

Poignant intervallic juxtapositions of alto and tenor voices throughout Prelude 23 in F major, are followed by another extended fugue subject in finely sculpted legato cantabile. Inthere had never been a recording made of the complete cycle outside of what was then the Soviet Union. From here onwards, the music is not fugal at all, but constitutes a coda to the whole cycle.

He soon attracts the attention of the local musicians’ community, and before too long he is asked to travel to the United States, making his Carnegie Hall debut with Witold Rowicki and the Warsaw Philharmonic playing Bartok’s 2nd Piano Concerto. By comparison, the fugue—which is in four voices—is choral in style and beatific in mood.

Shostakovich: Preludes & Fugues

Before premiering the work, Shostakovich privately performed the first half of the cycle before the Union of Composers as was typical with new compositions during the Soviet Era on 31 March January Learn how and when to remove this template message. Marked Adagio, it is choral in style—reminiscent of the singing of Russian Orthodox Church choirs—and takes us through a remarkable tapestry of different tonalities. Prelude and Fugue No 12 in G sharp minor The magnificent prelude has the form of prelkdes Passacaglia throughout.

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The prelude is very ponderous and atmospheric. Unexpectedly, the mood is transformed as the key changes to the distant one of D major, the tempo becomes Adagio, and an ecstatic moment, represented by very simple slow-moving chords is an unexpected as it is brief. This long double fugue shares a key signature and several prreludes with the last fugue from Bach’s The Art of Fugue.

The double fugue that follows is one of the three in the cycle that gradually builds from a quiet opening to a fortissimo final climax; the majority of the slower fugues climax in the middle, and return to their opening moods, whilst most of the quicker ones remain a static statement.

For as long as I can prelydes there have been two pieces of received wisdom about Shostakovich’s 24 Preludes and Fugues: Gramophone’s expert reviews easier than ever before.