Shostakovich: 24 Preludes & Fugues, Op. 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). For example, his A minor prelude is a figuration prelude—a prelude in which the same hand position is used throughout the piece. A major: 8. NO. She won the gold medal. Save my name, email, and website in this browser for the next time I comment. The four voice fugue, in. The main subject of the three voice fugue could be by Bach. Selected numbers have been arranged for such diverse instruments as organ, accordion, double bass with piano and string orchestra. J.S. NO. 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 … This thesis is a study of the fugal technique of Shostakovich as observed in Op. Many listeners hear in it strong reverberations of a Bach two-part invention. subject table. The prelude maintains a suspended feel through repeated, Roles are reversed in this pair between prelude and fugue. NO. 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. 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by doing the recording for EMI.. 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. 2 in A minor on YouTube, played by … Inspired by the competition and impressed by Nikolayeva's playing, Shostakovich returned to Moscow and started composing his own cycle of 24 preludes and fugues. These days Shostakovich’s 24 Preludes and Fugues are encountered in recital only rarely, but over the decades the cycle has attracted champions who … 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. 23, and Op. 9, 10, 11, 15, 19 or 21 but he recorded Nos. The quaver configurations of paired notes over a relentlessly treading chordal accompaniment remain consistent throughout this sad prelude. 87 – 24 Preludes and Fugues: Analysis, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 11) followed that. As each was completed, he would ask Nikolayeva to come and visit him in his Moscow apartment where he would play her the latest piece. University of Nebraska at Lincoln, email@example.com. 11 IN B MAJOR: The B major Prelude suggests an orchestral conception, particularly the jocular, light-hearted movements of Symphonies Nos. The Fugue too incorporates this rhythmic figure into its fold. Towering over those pieces are the 24 Preludes and Fugues, written for Tatiana Nikolayeva after Shostakovich heard her at … The pioneering pianist performed selections from Shostakovich’s 24 Preludes and Fugues, Op. The 1962 and 1987 recordings have been reissued on several labels. 24 Preludes and Fugues, Op. For sheer, unabashed joy and an almost reckless sense of abandon, the Fugue is hard to beat. 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. This fugue might be considered Shostakovich’s “water music” inasmuch as the texture – glistening, sparkling, gently undulating – not to mention the continuous development of a single arpeggiated chord, bring to mind the opening scene of Wagner’s opera Das Rheingold. They aren’t better known, I imagine, because many are deeply depressing: they were written at the height of Stalinist repression, and some are intransigently inconsolable and bleak. This subject is then stated a fourth below in the alto, as would be expected in a Baroque fugue. 34) for preludes alone. Recommended Citation. Choral 7:18 7 III. NO. Examples of this abound in Baroque keyboard literature from composers such as Johann Caspar Ferdinand Fischer, from whom Bach drew inspiration for his own figuration preludes (the C major and the D minor, for example).. Subject Area. on the Composer's Recorded Performance. In fact, it, as well as its Fugue, is often regarded as the most Bachian of the set. The powerful D minor prelude, a sarabande-like opening, sets the tone for the pair with its strongly accented and tenuto main theme and its maestoso yet pianissimo second theme. A few composers wrote odd preludes and fugues not in a set, like a few Brahms organ fugues, or Godowsky's prelude and fugue on BACH. Significantly enough, the First Symphony contained a prominent part for the piano. Your email address will not be published. Each piece is in two parts—a prelude and a fugue—varying in pace, length and complexity (for example, Fugue No. $44.04. One such trip was to Leipzig in 1950 for a music festival marking the bicentennial of J. S. Bach's death. To Tatiana Nikolayeva, it is music “of great depth, of unsurpassed mastery and greatness. 87. Its meter of 12/8 (four groups of triplets) was far more common in the Baroque era than it is today. To further add to the quaint color of the movement, subito forte and piano are mixed in giving the fugue a frankly chipper tone. Chordal writing alternates with flowing chromatic passages. Nikolayeva studied composition with Evgeny Golubev, shostakoich pupils also include Alfred Schnittke, and she has since written two Piano Concertos, a Sonata and much other music for solo piano, as well as vocal works. The fugal subject is built almost entirely from the intervals of the fourth and the fifth. The modulatory section begins in the minor key; a brief return to the tonic key provides a breath of calm before an increasingly frenzied series of modulations. The fugue, in three voices and once again with a, A sombre prelude, associated for Woodward with the bleak landscape of Russian steppe, and in a similar mood to the musical landscape of the opening movement of the, This pair are humorous and clownish throughout. Take for example the first fugue (C major), which employs only the white keys of the piano throughout, or the seventh (A major), whose subject is built entirely from a major triad. The music then settles down, gently leading to the recapitulation, where a single statement of the subject in the tonic key brings the piece to a close.  The panel expressed great displeasure at the dissonance in some of the fugues. ), which differs from Shostakovich's Op. In the preludes too, there is in each one a sense of experimentation, of compressing a single idea into a few pages of music to see where it will go. 3 No. It remains calm throughout despite wide ranging modulations and chains of "weeping" seconds towards the end, which trails off into nothing. 87. , music written in all major and/or minor keys, Learn how and when to remove this template message, International Johann Sebastian Bach Competition, Violin Concerto No. "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. It is one of several examples of music written in all major and/or minor keys. Towards the end bass and treble play the melody together in plangent thirteenths. It is also the first prelude we have encountered to feature Shostakovich’s hallmark rhythmic pattern, short-short-long. 13 in F♯ major is in five voices, while Fugue No. Sviatoslav Richter never played all the pieces in concerts but made notable recordings of 15 numbers in 1961. Thereafter, coinciding with the sharp reduction of his performing activity, he wrote only seldom for solo piano. 5 IN D MAJOR: “A graceful, wistful dance-song over a lightly arpeggiated accompaniment” is how Wilfrid Mellers describes this Prelude. …The breadth of images and characterizations is very great: from tragedy to humor, from gaiety to the grotesque.” Musicologist Wilfrid Mellers maintains that “if there is a single work among his large output that assures us that Shostakovich is among the handful of great composers [of the twentieth century], this collection is it.” And for tonight’s pianist, Alexander Melnikov, “we hear the voice of a tormented man, finding again and again the superhuman force to face life as it is – in all its variety, ugliness, and sometimes beauty.”, In an interview accompanying his recording of the 24 Preludes and Fugues, Melnikov suggests that one of Shostakovich’s aims was to see what he could do with the forms beyond Bach, what he could do with material completely unsuitable as a fugal subject. 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