Fugue 8:39 Dmitri Shostakovich (1906-1975) Prelude and Fugue in C minor, Op. Of great interest is the CD jacket notes which express that Shostakovich composed these among controversy of Soviet Union restrain from abstract composition. Shostakovich wrote out all the pieces without many corrections except the B♭ minor prelude, with which he was dissatisfied and replaced what he had begun initially. Subscribe and save up to 20% on single ticket prices! 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by doing the recording for EMI.[24]. Like many of the great composers before him (Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others), Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful career as such. Only two voices develop with increasing stretto in the middle culminating at the end when the two voices join in unison as before in the prelude though only with an octave separation. 87 No. 87, written in late 1950 and early 1951. This work is considered by many (e.g. 9 in E major is in only two voices). Music. In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully … $44.04. Plutalov, Denis V, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues, op. The Prelude is written in simple two-part texture, and in Shostakovich’s inimitable fashion combines a playful ambiance with a touch of the sinister. The fugue, marked allegretto, contrasts beautifully with the legato feel of the prelude with repeated staccato notes forming the basis of the fugal subject. E minor: 5. The cycle was composed in 1950 and 1951 while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December 1952;[1] it was published the same year. As he had in only a few of the other fugues, Shostakovich took one of the themes of the prelude as the subjects for his fugue. About a dozen years have passed since the appearance of the last complete recording of Shostakovich’s op. 11) followed that. Shostakovich: 24 Preludes and Fugues, Op. Impressed while in Leipzig by pianist Nikolayeva, he wrote these preludes and fugues. 1 10:38 3 I. Prelude 3:42 4 II. 2 in A minor on YouTube, played by … 1, 7 and 15 in 1952–1953. For sheer, unabashed joy and an almost reckless sense of abandon, the Fugue is hard to beat. Canadian pianist David Jalbert also recorded the piece for ATMA Classique in 2008, and Peter Donohoe for Signum Classics in 2017. The first performance presented what amounted only to a teaser: Shostakovich offered four of the preludes and fugues at a recital on November 18, 1951 in Leningrad’s Glinka Hall. The analysis will point towar ds After the Second World War, Dmitri Shostakovich was Russia's most prominent composer. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance", doctoral document by Denis V. Plutalov, May 2010, University of Nebraska School of Music; Prelude and Fugue No. The intellectual rigor with which Shostakovich creates a fugue from his angular, raw-boned subject is truly awe-inspiring. 6 IN B MINOR: A striking Prelude built on the double-dotted rhythmic figure (extra-long notes alternating with extra-short ones) flashes fire and energy in contrast to its Fugue, notable for a flowing, placid surface. The fugal subject is based entirely on the notes of the tonic chord (A – C-sharp – E). Significantly enough, the First Symphony contained a prominent part for the piano. to be produced by the "other Shostakovich," or as a composition "for the desk drawer. The fugue in 34 time is a frantic scurry with fast notes and staccato markings. Following the prelude, Shostakovich proceeds directly to the fugue without pause. 28 in all 24 keys, and Rachmaninoff (Op. Denis V. Plutalov. on the Composer's Recorded Performance. 28, is organised in the same way, as are the earlier sets of preludes by Joseph Christoph Kessler, Johann Nepomuk Hummel, and Shostakovich's earlier 24 Preludes, Op. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich’s own. Among his prizes was one from the First International Chopin Competition in Warsaw (1927). 87 – 24 Preludes and Fugues: Analysis, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 7 IN A MAJOR: The spirit of Bach hovers over the Prelude. In 1950, Shostakovich was sent by his government as the head of a Soviet delegation to East Germany for the ceremonies surrounding the bicentenary of the death of Johann Sebastian Bach. "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. In Bach's cycle, however, the pieces are arranged in parallel major/minor pairs ascending the chromatic scale (C major, C minor, C♯ major, C♯ minor etc. It is one of several examples of music written in all major and/or minor keys. 87 Dmitri Shostakovich. 1 and 2), then to one sharp (G major, E minor), two sharps (D major, B minor), and so on, ending with D minor (1 flat). subject table. A long, florid melody opens this prelude, then the mode darkens and the pace slows to adagio for an intense short interlude before the melody returns. music critic Alex Ross, musicologist Tanya Ursova, etc.) 23, and Op. Selected numbers have been arranged for such diverse instruments as organ, accordion, double bass with piano and string orchestra. 13 in F♯ major is in five voices, while Fugue No. NO. 10 IN C SHARP MINOR: Again the spirit of Bach informs this Prelude. ), Shostakovich’s (like Chopin’s) move through the so-called “circle of fifths,” which begins with C major and its  relative minor (A), then adds one sharp for G major/E minor, then two sharps, etc. References to and quotations from Bach's cycle appear throughout the work. The inspiration came principally from Bach, as it has for similar sets from other composers: Hans Huber, Castelnuovo-Tedesco (for guitar duo) and Niels Viggo Bentzon for preludes and fugues together; Chopin, Scriabin, Busoni, Debussy, Rachmaninoff and Shostakovich himself (Op. Each one has a “message.”. 87, in light of the fugal style of Bach as observed in … Dmitri Shostakovich: 12 Preludes and Fugues from Op. The main subject of the three voice fugue could be by Bach. The Fugue consists of “a theme stuttering in repeated notes, with farcical clownish effect.”. Roger Woodward describes the "poignant intervallic juxtapositions of alto and tenor voices" throughout the prelude. Subject Area. 24 Preludes and Fugues, Op. NO. Although out of favour with the Soviet Communist Party, he was still sent abroad as a cultural ambassador. She also recorded Nos. Only 2 left in stock - order soon. The cycle was composed in 1950 and 1951 while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December 1952; [1] it was published the same year. G major: 4. Once finished, Shostakovich dedicated the work to Nikolayeva, who undertook the public premiere in Leningrad on 23 December 1952. These lead to a climax in A major, signalled by a dominant pedal, but this lasts just four bars before the music plunges into C major. 2, Op. 3 No. As part of the festival, Shostakovich was asked to sit on the judging panel for the first International Johann Sebastian Bach Competition. Three voices develop with contrasting legato passages against the staccato. (Frédéric Chopin's set of 24 Preludes, Op. In contrast to the characteristic harmonic complexity of the prelude, the fugue is written in, The prelude is a toccata mostly for one voice, with, The prelude is composed of a juxtaposition of a. Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent. One of the entrants in the competition was the 26-year-old Tatiana Nikolayeva from Moscow. The pieces proceed in relative major/minor pairs around the circle of fifths: first C major and A minor (prelude and fugue nos. 1 IN C MAJOR: The cycle gets underway with a sarabande, a stately Baroque dance in slow triple meter with its characteristic rhythmic pattern. While fugal subjects usually use stepwise motion, this subject uses only the notes of the A-major triad. $42.10. Sviatoslav Richter never played all the pieces in concerts but made notable recordings of 15 numbers in 1961. He never recorded Nos. The Three Fantastic Dances get some airings. AllMusic Review by Richard S. Ginell [+] Dmitri Shostakovich 's epic series of preludes and fugues for solo piano was inspired by the very composer whom you would immediately suspect -- … No. The fugue is a double fugue in four voices with two distinct subjects developed in separate expositions. The pioneering pianist performed selections from Shostakovich’s 24 Preludes and Fugues, Op. These days Shostakovich’s 24 Preludes and Fugues are encountered in recital only rarely, but over the decades the cycle has attracted champions who … Shostakovich, 48 Preludes and Fugues (1951) These preludes and fugues are among the masterpieces of the twentieth century. 77), Shostakovich – Op. D major: 6. 9 IN E MAJOR: In a reversal of the process found in the previous Prelude and Fugue, No. The composition begins rather humbly with a quiet, conservative exposition, but it ends triumphantly with nearly every possible fugal device (invertible counterpoint, stretto, double stretto, diminution, augmentation, retrograde) exploited in the final bars. Shostakovich worked fairly quickly, taking only three days on average to write each piece. 87. To Tatiana Nikolayeva, it is music “of great depth, of unsurpassed mastery and greatness. NO. 87. The two sonatas are good but not great; the 24 Preludes, op. There is conflicting evidence as to Shostakovich’s feelings about whether the 2½-hour cycle should be played complete in performance. Required fields are marked *. Thus, the stage is set for the culmination of the first volume.”, Your email address will not be published. 2 IN A MINOR: The Prelude is a toccata-like affair (“pure harpsichord textures,” says Melnikov), with a single line of rapid sixteenth-notes running in perpetual motion throughout. About two-thirds into the fugue, Shostakovich brings back the original subject in the bass combined with the second subject in the soprano. 9’s focal weight rests in its Prelude – longer by far than the Fugue. Along these lines, Lawrence Kramer writes that "musical affect, expression, and association become pure forms of self-apprehension; music is known by, and valued for its … 87 by Dmitri Shostakovich is a set of 24 preludes and fugues for solo piano, one in each of the major and minor keys of the chromatic scale. Your email address will not be published. Shostakovich recorded 18 of the 24 pieces at five recording sessions in 1951–1952, 1956 and 1958 (EMI). NO. 5 IN D MAJOR: “A graceful, wistful dance-song over a lightly arpeggiated accompaniment” is how Wilfrid Mellers describes this Prelude. (at this point the flat keys take over in reverse order, decreasing in number down to one – F major/D minor – where the cycle ends). Computational Fugue Analysis Mathieu Giraud, Richard Groult, Emmanuel Leguy, Florence Levé ... Our algorithms were tested on a corpus of 36 fugues by J. S. Bach and Dmitri Shostakovich. 6 and 9. 87. Shostakovich: 24 Preludes & Fugues, Op. The first subject is a slow stepwise melody consisting mostly of half notes and quarter notes, while the second subject is a partial diminution or variation on the first subject (eighth notes instead of quarter notes). Shostakovich composed his 24 Preludes and Fugues in the early 1950s, in a style that is more tonal and retrospective than much of his earlier music. This is followed by a fugue with another highly extended subject, which unfolds "in finely sculpted legato cantabile. 87 (classical music album) - Play streams in full or download MP3 from Classical Archives (classicalarchives.com), … They also objected to the fugue in Soviet music because it was considered too Western and archaic. In their vast range of textures, figurations, rhythmic devices, characterizations, compositional procedures and moods, Shostakovich’s 24 preludes and fugues rank as one of the monuments of  twentieth-century piano literature. This type of linear movement is something common to much of Shostakovich’s body of work (24 Preludes and Fugues, Op. 87. His graduation exercise from the Leningrad Conservatory, the First Symphony, catapulted him at the age of twenty to worldwide attention, and he decided to devote the bulk of his efforts to composition. Two separate subjects are introduced in turn (the second in slightly faster tempo), then are combined fortissimo in a towering musical edifice. 87. NO. We provide formalized ... preludes and fugues. NO. In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. The following fugue starts with a short introduction. 3 IN G MAJOR: The stern Prelude sounds like its inspiration could have come from a liturgical chant, while the Fugue could not be more different in character – witty, playful, dancelike, and demanding virtuosity and crystalline clarity of execution to make its effect. This analysis will focus exclusively on the succession of pitches and their corresponding durations contained within the given work. It then continues in a gentle weaving fashion (much like the C♯ minor fugue from Book I of Bach's 48). He did often perform the preludes and fugues in groups of three to six, as have many other pianists, notably Sviatoslav Richter and Emil Gilels. In addition to more direct quotation, Shostakovich also at points imitates the various types of preludes found in the Bach cycle (and in other, similar, Baroque compositions). Each piece is in two parts—a prelude and a fugue—varying in pace, length and complexity (for example, Fugue No. A major: 8. ), which differs from Shostakovich's Op. Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. NO. Though not required by competition regulations, she had come prepared to play any of the 48 preludes and fugues of The Well-Tempered Clavier on request. The cycle was not given as a unit until a year later when Tatiana Nikolayeva performed it at the same venue in two sessions, on December 23 and 28, 1952. The piece with few exceptions consists of unison quindicesima melodies beginning first in the lowest, The prelude starts softly and quite simply in a Bach-like chorale setting, marked by the indication, In the prelude elements of a simple folk melody are subverted into something humorous and unpredictable, and there are echoes of the finale of the, Octave tremolos feature prominently in the bleak and substantial adagio lament in, The prelude offers some reflective relief after the intensity of the previous two pairs, with its naive folk-like melody first stated in the bass with arpeggios above. NO. NO. Baroque prelude and fugue perfected by J.S.Bach. Composed in 1950-51 by Dmitri Shostakovich (1906-1975), the 24 Preludes and Fugues, Opus 87 for piano represented a relief from the Russian composer’s life under the Stalinist yoke. The five-note rhythmic cell upon which it is based recalls a jocular passage from the third movement of the Fourth Symphony. 34.). (Lin recorded this music beautifully for Hänssler Classic a decade ago.) Audio CD. The question of the relative stability of E major in Shostakovich's Prelude and Fugue No. The E minor fugue is one of progressive complexity. Recommended Citation. The appendices include information on Shostakovich's compositional dates and recordings of his preludes and fugues. Shostakovich continued to write music for his instrument throughout his twenties – about half his output during these years was for or with piano – which he also performed. The three-voice fugue begins with a statement of the main theme, or subject, in the soprano voice. Save my name, email, and website in this browser for the next time I comment. Fugues are often viewed as one of the highest forms of classical Western music, and The tone continues in the Fugue; whereas Bach begins with a scaled 4th, Shostakovich has a bleak bare 5th. The complete work takes about two and a half hours to play. This subject is then stated a fourth below in the alto, as would be expected in a Baroque fugue. 4.8 out of 5 stars 52. Customize your own series and save 15% on single ticket prices. 11 IN B MAJOR:  The B major Prelude suggests an orchestral conception, particularly the jocular, light-hearted movements of Symphonies Nos. NO. It will focus on six movements from the work, three preludes and three fugues respectively. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance", Festive Overture in A major for Orchestra, The Tale of the Priest and of His Workman Balda, Seven Romances on Poems by Alexander Blok, Suite on Verses of Michelangelo Buonarroti, The War Symphonies: Shostakovich Against Stalin, https://en.wikipedia.org/w/index.php?title=24_Preludes_and_Fugues_(Shostakovich)&oldid=1000896647, Compositions covering all major and/or minor keys, Articles needing additional references from January 2018, All articles needing additional references, Creative Commons Attribution-ShareAlike License, In unbroken chords and a haunting melody Shostakovich nevertheless evokes the first Prelude of the Bach 48. Title Composer Bachlund, Gary: I-Catalogue Number I-Cat with which Shostakovich creates a fugue from Book of. 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Played by Shostakovich ; prelude and fugue, Shostakovich has a bleak bare 5th culmination the..., dmitri Shostakovich ( 1906-1975 ) prelude and fugue, No notes: Shostakovich Preludes and Fugues Op. It then continues in the alto, as would be expected in a major: the spirit of Bach 48! Was the monumental set of 24 Preludes and Fugues, Op wide modulations!, No so, though he recorded all of it and Fugues additional. Not uncommon though ; Chopin of course has the set and complexity ( for example, his a (. This sad prelude – longer by far than the fugue in 34 time is a prelude—a. A gentle weaving fashion ( much like the C♯ minor fugue is appropriately 5/4 shostakovich preludes and fugues analysis at … subject.... Shostakovich left only one definitive argument - his music Printed Edition based the only definitive. Shostakovich recorded 18 shostakovich preludes and fugues analysis the Fugues in only two voices only, and Peter Donohoe for Signum Classics 2017. S feelings about whether the 2½-hour cycle should be played complete in performance in late 1950 early!

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