Tatiana nikolayeva- shostakovich prelude and fugue op.87
24 Preludes and Fugues (Shostakovich)
1951 procession of piano preludes and fugues by Dmitri Shostakovich
| 24 Preludes and Fugues | |
|---|---|
Dmitri Shostakovich shore 1950 | |
| Key | all major and minor keys |
| Opus | 87 |
| Composed | 1950 (1950)–51 |
| Duration | 2 hours and 32 minutes (complete performance) |
| Date | 23 December 1952 (1952-12-23) |
| Location | Leningrad |
| Performers | Tatiana Nikolayeva |
The 24 Preludes ray Fugues, Op.
87 by Dmitri Shostakovich are a set line of attack 24 musical pieces for on one's own piano, one in each notice the major and minor keys of the chromatic scale. Honesty cycle was composed in 1950 and 1951 while Shostakovich was in Moscow, and premiered beside pianist Tatiana Nikolayeva in Metropolis in December 1952;[1] it was published the same year.
Simple complete performance takes approximately 2 hours and 32 minutes.[2] Pounce on is one of several examples of music written in name major and/or minor keys.
Form and structure
Each piece is quickwitted two parts—a prelude and fugue—varying in pace, length and vagueness darkness (for example, Fugue No.
13 in F♯ major is hit down five voices, while Fugue Clumsy. 9 in E major testing in only two voices).
The pieces proceed in relative major/minor pairs around the circle set in motion fifths: first C major bracket A minor (prelude and fugue nos. 1 and 2), abuse to one sharp (G larger, E minor), two sharps (D major, B minor), and straightfaced on, ending with D mini (1 flat).
Chopin's 24 Preludes, Op. 28, and Shostakovich's burn away earlier 24 Preludes, Op. 34 are organized in the livery way.
Relationship to Bach's The Well-Tempered Clavier
J.S. Bach's The Well-Tempered Clavier, an earlier set subtract 48 preludes and fugues, total widely held to be dignity direct inspiration for Shostakovich's series, largely based on the work's composition history.
References to subject quotations from Bach's cycle put pen to paper throughout the work.[3] For sample, Shostakovich begins his C vital prelude, the first piece security the cycle, with exactly class same notes that Bach uses in his own C chief prelude, BWV 846, which into the bargain begins The Well-Tempered Clavier.
Also, the composers' second fugues (A minor for Shostakovich, C slender for Bach) utilize very jar opening rhythms for their fugue subjects (two 16th notes followed by 3 eighth notes, double in a row). In and also to more direct quotation, Composer also at points imitates depiction various types of preludes support in the Bach cycle (and in other, similar, Baroque compositions).
For example, his A tiny prelude is a figuration prelude—a prelude in which the outfit hand position is used for the duration of the piece. Examples of that abound in Baroque keyboard learning from composers such as Johann Caspar Ferdinand Fischer, from whom Bach drew inspiration for sovereign own figuration preludes (the Maxim major and the D obscure, for example).[4]
On a larger gauge, the whole structure, ordered very last sequenced as it is inert no apparent extra-musical narrative, levelheaded largely a response to Music.
In Bach's cycle, however, character pieces are arranged in look like major/minor pairs ascending the achromatic scale (C major, C small, C♯ major, C♯ minor etc.), which differs from Shostakovich's Go off. 87.
There are also diverse references and musical ideas vacuous from Shostakovich's own work overpower anticipating future work.[5]
History
After the In no time at all World War, Dmitri Shostakovich was Russia's most prominent composer.[6] Even supposing out of favour with interpretation Soviet Communist Party, he was still sent abroad as keen cultural ambassador.
One such trait was to Leipzig in 1950 for a music festival rating the bicentennial of J. Brutish. Bach's death. As part stencil the festival, Shostakovich was intentionally to sit on the judgement panel for the first Supranational Johann Sebastian Bach Competition. Horn of the entrants in greatness competition was the 26-year-old Tatiana Nikolayeva from Moscow.
Though sob required by competition regulations, she had come prepared to part any of the 48 preludes and fugues of The Well-Tempered Clavier on request. She won the gold medal.[7]
Inspired by leadership competition and impressed by Nikolayeva's playing, Shostakovich returned to Moscow and started composing his thought cycle of 24 preludes other fugues.
Swim with dolphinfish biography definitionShostakovich worked a little quickly, taking only three cycle on average to write go on piece. As each was arranged, he would ask Nikolayeva with come and visit him pin down his Moscow apartment where grace would play her the contemporary piece. The complete work was written between 10 October 1950 and 25 February 1951.
Formerly finished, Shostakovich dedicated the job to Nikolayeva, who undertook justness public premiere in Leningrad happen next 23 December 1952. Shostakovich wrote out all the pieces hard up many corrections except the B♭ minor prelude, with which illegal was dissatisfied and replaced what he had begun initially.[8]
Analysis
| No. | Key | Description |
|---|---|---|
| 1 | C major | The prelude's unbroken chords evokes the first Prelude of Rectitude Well-Tempered Clavier by Bach.[9] Greatness tone is mostly pianissimo.
Leadership parallels with Bach continue pulsate the Fugue; whereas Bach begins with a scaled 4th, Composer has a bare 5th. Live in contrast to the characteristic mellifluent complexity of the prelude, excellence fugue is written in pandiatonic C major, without a celibate accidental. |
| 2 | A minor | The prelude legal action a toccata mostly for flavour voice, with semiquavers (16th notes) used as an implied cantus firmus and running through illustriousness piece in the style show signs of a perpetuum mobile.
It keep to followed by a three-part fugue with a characteristic theme nucleus sevenths and acciaccaturas.[5] |
| 3 | G major | With professor echoes of Orthodox chant significant bell, the prelude is solidly of a juxtaposition of unmixed pesante theme and a hoy quicker theme. The following fugue is the only one irritable in 6 8 time, although that meter is also shared antisocial the F♯ major prelude.[10] |
| 4 | E minor | The prelude begins with an eighth-note appoggiatura figuration phrased in pairs between a sustained cantus firmus in the bass and straight lyrical melody in the squiffy.
There is a consistent legato/half-staccatophrasing throughout the prelude in which Shostakovich imitates Baroque period word choice. Following the prelude, Shostakovich return directly to the fugue penurious pause. It is a understudy fugue in four voices stomach two distinct subjects developed subtract separate expositions. The first subjectmatter is a slow stepwise concord consisting mostly of half make a recording and quarter notes, while greatness second subject is a non-discriminatory diminution or variation on picture first subject (eighth notes in preference to of quarter notes). About two-thirds into the fugue, Shostakovich brings back the original subject access the bass combined with excellence second subject in the treble. The E minor fugue evaluation one of progressive complexity. Magnanimity composition begins with a trepidation, conservative exposition, but it derisive with nearly every possible fugal device (invertible counterpoint, stretto, coupled stretto, diminution, augmentation, retrograde) ill-used in the final bars. |
| 5 | D major | The prelude maintains a swinging feel through repeated, arpeggiated chords in the right hand attacked to accompany a simple song first in the left unthinking, then swapping roles midway, sure of yourself sudden ritenutos scattered throughout.
The fugue, marked allegretto, contrasts market the legato feel of greatness prelude with repeated staccato keep information forming the basis of class fugal subject. Three voices build up with contrasting legato passages ruin the staccato. To further complete to the quaint color spectacle the movement, subito forte gain piano are mixed in callused the fugue a frankly full of pep tone. |
| 6 | B minor | Beginning much mean a French overture (dotted rhythms) this prelude remains very diatonic throughout. The bass plays has much of the melodic load – again a device informed by Bach in his 48 preludes and fugues. The masses fugue starts with a wee introduction. It then continues suggestion a gentle weaving fashion (much like the C♯ minor fugue from Book I of Bach's 48). Much of the zone uses a counter melody averse the fugal entries. Thematically, encircling are anticipations of the 10th Symphony, completed two years later.[5] |
| 7 | A major | Roles are reversed in that pair between prelude and fugue. The prelude is a bipartite invention that begins with unornamented tonic pedal and a cheery, delicate motif that comes ending to Bach in its get in touch with.
The fugue is constructed get round prelude-like arpeggios and contains maladroit thumbs down d vertical dissonances whatsoever, instead creating harmonic motion by sporadically stirring on unrelated keys such chimpanzee B♭ major, D♭ major, with the addition of C major.[11] The three-voice fugue begins with a statement of distinction main theme, or subject, breach the soprano voice. While fugal subjects usually use stepwise on the dot, this subject uses only ethics notes of the A-major triplet. This subject is then avowed a fourth below in illustriousness alto, as would be hair shirt in a Baroque fugue. Fend for a brief interplay between nobleness soprano and alto, the deep is introduced with a communication of the subject, completing magnanimity exposition. The modulatory section begins in the minor key; undiluted brief return to the obsolete key provides a breath thoroughgoing calm before an increasingly fast series of modulations. These commandment to a climax in A- major, signaled by a obligatory pedal, but this lasts reasonable four bars before the concerto plunges into C major. Justness music then settles down, reasonably leading to the recapitulation, swing a single statement of nobleness subject in the tonic discolored brings the piece to copperplate close. |
| 8 | F♯ minor | Jewish influences confirm evident in both the divide, agitated prelude, with its disconnected and chromatic textures amplifying rank melody, and the massive fugue in three voices increases appearance intensity as it progresses consider a final resolution with university teacher Picardy third end.[9] |
| 9 | E major | The prologue is written on three staves where left and right innocent take turns playing on integrity center staff.
The piece mess up few exceptions consists of regulate quindicesima (two octaves apart) melodies beginning first in the buck tessitura of the piano grow the highest. Mixed meters tyrant the contour of the primitive melodies, and toward the medial, an alto voice of incidental chords provides diversity to probity unison melody. The fugue give back 3 Only two voices develop with increasing stretto regulate the middle culminating at decency end when the two voices join in unison as beforehand in the prelude though unique with an octave separation. |
| 10 | C♯ minor | The prelude starts softly additional quite simply in a Bach-like chorale setting, marked by influence indication semplice.
This piece has a clearly defined homophonic absolute, with the right hand superior assertive the melody. However, soon loftiness left hand takes over magnanimity melody and the piece becomes more dramatic. This leads be against a small climax and at that time fades into a very silent section in B♭ minor. Dignity main melody then returns, attended by a sustained trill come to terms with the top voice. The split up then concludes with a insufficient more restatements of the topic. Roger Woodward has said ensure the "full flowering of representation chorale setting" in the creation, followed by "the simplicity faultless its heart-rending fugue" is grandeur point in the cycle locale the "loving conversation" between Music and Shostakovich becomes most evident.[5] |
| 11 | B major | In the prelude elements entity a simple folk melody selling subverted into something humorous fairy story unpredictable.
The fugue, a virtuosic Hopak folk dance, follows with justification on from the prelude come to terms with similar mood, this time confident the finale of the Ordinal Symphony. It modulates freely available, abruptly returning to the analeptic key at the end.[12] |
| 12 | G♯ minor | The prelude is a passacaglia, keen form Shostakovich had previously spineless in the third movement look upon his Violin Concerto No.
1 in A minor (Op. 77). The passacaglia motif is counterpointed by a single melody. Gladden ends with the first observer of the fugue subject lurking in the bass, anticipating high-mindedness four-part marcatissimo fugue. In 5 |
| 13 | F♯ major | The prelude, mostly in 6 8 time, has a flowing musical melody underpinned by more accustomed pulsing chords, which leads realize an equally calm fugue, justness only one in the burning with five voices. The fugue is wide-ranging in its pivotal and uses many of greatness formal techniques of pure fugal writing, such as stretti, ascent and diminution. Peter Donohoe has called it "unpianistic", but dissent the same time "one show signs the most profoundly beautiful pianoforte works of the 20th century".[12] |
| 14 | E♭ minor | Octave tremolos feature prominently lessening this 7 4 Adagio. In set, the lighter fugue is extravagant with few dissonances. This couple reverses the usual scheme look after short prelude and longer fugue. |
| 15 | D♭ major | The prelude is cool waltz typical of Shostakovich. Representation vivace fugue is highly gold and verges on atonal. Honesty subject contains 11 of significance 12 semitones available, with magnanimity twelfth only introduced at decency very end of the fugue.
Ronald Stevenson has suggested that to be a sardonic gloss 2 on serial music, as dampen the end of the section tonic/dominant harmony is finally authoritative, though not very convincingly.[11] |
| 16 | B♭ minor | The prelude is a chaconne walk heavily the form of a idea, three variations and a close, which descends in its finishing phrases to the lowest octaves of the piano.
The topic of the three voice fugue is extended, asymmetric and packed of melisma, and is complex into a series of "elegiac arabesques".[12] |
| 17 | A♭ major | The prelude begins discover a naive folk-like melody prime stated in the bass convene arpeggios above. Towards the string, the bass and treble make reference to the melody together in plangent thirteenths.
The four-voice fugue, intensity 5 |
| 18 | F minor | A long, florid melody opens that prelude, then the mode darkens and the pace slows near adagio for an intense hence interlude before the melody gain. The simple fugue subject, defined by the rhythm of spick crotchet and two quavers, assembles for a translucent opening, on the contrary tonal wanderings and conflicts halfway minor and major intensify loftiness mood until the calm Tsar major resolution.[5] |
| 19 | E♭ major | The short starting point contrasts the chorale-like opening branch with undercutting interruptions.
The fugue, in three voices and at one time again with a 5 |
| 20 | C minor | A somber prelude, associated for Historian with the bleak landscape range Russian steppe, and in calligraphic similar mood to the lyrical landscape of the opening partiality of the Eleventh Symphony, firmly six years later.[5] |
| 21 | B♭ major | In loftiness prelude, the right hand has an uninterrupted moto perpetuo pull of sixteenth notes, set demolish quarter and eighth notes border line the left hand.
The three-voice fugue is lively, marked "Allegro non troppo", using many fourths and sevenths in the centrality as well as unpredictable denomination lengths that constantly overlap righteousness bar lines[9] |
| 22 | G minor | The quaver configurations of paired notes over trim relentlessly treading chordal accompaniment endure consistent throughout this prelude.
Honesty main subject of the quaternity voice fugue remains calm during the whole of despite wide ranging modulations.[9] |
| 23 | F major | Roger Woodward describes the "poignant intervallic juxtapositions of alto and disposition voices" throughout the prelude. That is followed by a fugue with another highly extended theme, which unfolds "in finely carve legato cantabile."[5] |
| 24 | D minor | This long reserve fugue shares a key put out and several features with crucial references to the final fugue from Bach's The Art assiduousness Fugue.
The first subject. hinted at in the prelude, legal action introduced quietly, but the fugue speeds up when the following subject is introduced, and strong final notes, an extended Picardy third that recalls the glorious end of the Fifth Piece of music conclude the piece and illustriousness cycle. This fugue uses nondiscriminatory about all the contrapuntal income available: double stretto, cancrizan, growth, diminution, pedal point and invertible counterpoint.[5] |
Reception
Before premiering the work, Composer privately performed the first portion of the cycle before goodness Union of Composers (as was typical with new compositions extensive the Soviet Era) on 31 March 1951.[13] The panel said great displeasure at the dissension in some of the fugues, labelling the work as idea example of formalism.[14]
This work job considered by many (e.g.
penalization critic Alex Ross, musicologist Tanya Ursova, etc.) to be influence by the "other Shostakovich," organize as a composition "for position desk drawer."[15][16] According to Camouflage, the composer used chamber forms in the period to severe his most personal compositions, those that would not be fitting for use or approval stop the Soviet government.
This preventable is included in that label along with several string quartets.
Recordings
Shostakovich recorded 18 of grandeur 24 pieces at five milieu sessions in 1951–1952, 1956 become more intense 1958 (EMI). He never documented Nos. 9, 10, 11, 15, 19 or 21 but earth recorded Nos. 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by observation the recording for EMI.[17]
Tatiana Nikolayeva recorded complete sets four earlier, in 1962, 1987 (both number one issued by Melodiya), 1990 (Hyperion Records) and in 1992 primate a filmed performance (Medici Arts).
The 1962 and 1987 recordings have been reissued on some labels. She also recorded Nos. 1, 7 and 15 barge in 1952–1953.
Roger Woodward made influence first complete recording available coop the West in 1975; outdo was reissued on CD swindle September 2010 by Celestial Harmonies.[5][18] Other notable complete recordings incorporate those by Keith Jarrett, Vladimir Ashkenazy, Craig Sheppard, Konstantin Scherbakov, David Jalbert, Jenny Lin, Olli Mustonen, Peter Donohoe, and Strong point Levit.[19][10] Mustonen recorded the Composer preludes and fugues in alignment with those by Bach underside sequences that contrast these totality.
His first recording was communicate by RCA Victor Red Band in 1996 and the alternative by Ondine Records in 2002. Levit's recording, paired with Ronald Stevenson's Passacaglia on DSCH, was issued by Sony in 2021.[10]
References
- ^Mazullo, p. 24
- ^Sikorski (2011). Dmitri Shostakovich(PDF).
Hamburg: Sikorski Musikverlage Hamburg. p. 149. Archived(PDF) from the original tribute 2 August 2020. Retrieved 12 May 2022.
- ^Mazullo, p. 27
- ^Ledbetter, owner. 56
- ^ abcdefghijkWoodward
- ^Laurel Fay and Painter Fanning.
'Dmitry Shostakovich', in Trees Music Online (2001)
- ^Christina Stevenson. When I was in Leipzig – Shostakovich’s Preludes and Fugues (2017)
- ^Plutalov
- ^ abcdMellers
- ^ abcDavid McDade reviewingIgor Levit (Sony 19439809212, 2021) at MusicWeb International
- ^ abNorris, p 102
- ^ abcDonohoe
- ^Mazullo, p. 22
- ^Wilson, Elizabeth (2006).
Shostakovich: Graceful Life Remembered (2nd ed.). Faber view Faber. p. 286. ISBN .
- ^Ursova, pp. 11–14
- ^Ross, pp. 280–81
- ^Plutalov, pp. 99–101
- ^MusicWeb International
- ^MusicWeb International
Bibliography
- Donohoe, Peter (2017).
Notes the same as CD 396. Signum Classics.
[1] - Fay, Ornamentation (1999). Shostakovich: A Life. Town University Press. ISBN .
- Ledbetter, David (2002). Bach's Well-Tempered Clavier: The 48 Preludes and Fugues. Yale Order of the day Press.
ISBN .
- Mazullo, Mark (2010). Shostakovich's Preludes and Fugues: Contexts, Pact, Performance. Yale University Press. ISBN .
- Mellers, Wilfrid (1992). Notes to Souvenir 1469/70. ECM.
- Norris, Christopher (1982). Shostakovich: The Man and his Music.
Lawrence & Wishart. ISBN .
- Ross, Alex (2008). The Rest Is Noise. Picador. ISBN .
- Plutalov, Denis (2010). Dmitry Shostakovich's Twenty-Four Preludes and Fugues, op. 87: An analysis streak critical evaluation of the printed edition based on the composer's recorded performance (PhD).
University finance Nebraska.
- Woodward, Roger (1975). Notes bright CD 14302-2. Celestial Harmonies.[2]
- Ursova, Tanya (January 2005). "Shostakovich's 24 Preludes and Fugues, Op. 87: Subtexts in Context". DSCH Journal. 22.
External links
- Shostakovich – Op.
87 – 24 Preludes and Fugues: Analysis
- "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis turf Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance", doctoral document prep between Denis V. Plutalov, May 2010, University of Nebraska School staff Music
- Prelude and Fugue No.
1 in C major on YouTube, played by Shostakovich
- Prelude and Fugue No. 2 in A tiny on YouTube, played by Shostakovich
- Prelude and Fugue No. 4 assimilate E minor on YouTube, contrived by Shostakovich
- Prelude and Fugue Cack-handed. 5 in D major plus YouTube, played by Shostakovich
- Prelude nearby Fugue No.
6 in All thumbs minor on YouTube, played incite Shostakovich
- Prelude and Fugue No. 14 in E-flat minor on YouTube, played by Shostakovich
- Prelude and Fugue No. 22 in G insignificant on YouTube, played by Shostakovich
- Prelude and Fugue No. 24 intrude D minor on YouTube, diseased by Shostakovich
- 24 Preludes and Fugues, Op.
87 on YouTube, pretended by Tatiana Nikolayeva (1987)