NO. …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. Chordal writing alternates with flowing chromatic passages. 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. Fugue 6:57 César Franck (1822-1890) Prélude, choral et fugue 21:32 5 I. Prélude 5:35 6 II. 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. NO. NO. There are sweeping and breathtaking in … 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. 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. NO. Music. Towering over those pieces are the 24 Preludes and Fugues, written for Tatiana Nikolayeva after Shostakovich heard her at … 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. 10 IN C SHARP MINOR: Again the spirit of Bach informs this Prelude. The fugue is a double fugue in four voices with two distinct subjects developed in separate expositions. NO. 2 in A minor on YouTube, played by … 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. 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. A minor: 3. 9 IN E MAJOR: In a reversal of the process found in the previous Prelude and Fugue, No. One of the entrants in the competition was the 26-year-old Tatiana Nikolayeva from Moscow. 1 IN C MAJOR: The cycle gets underway with a sarabande, a stately Baroque dance in slow triple meter with its characteristic rhythmic pattern. 4 IN E MINOR: The Prelude is a three-part texture consisting of (1) ponderous, sustained octaves in the depths of the piano’s range; (2) a continuous, even stream of eighth notes, usually in the middle voice; and (3) a slower-moving melodic line that includes numerous “sighs.” (Bach associated E minor with the Crucifixion.) 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. ), which differs from Shostakovich's Op. The E minor fugue is one of progressive complexity. Following the prelude, Shostakovich proceeds directly to the fugue without pause. The words of Bach biographer Philipp Spitta regarding the C sharp minor Fugue in Book I of the Well-tempered Clavier might equally apply to Shostakovich’s in the same key: “…it is as though we were drifting rapidly over a wide ocean; wave rises over wave … as far as the eye can reach, and the brooding heavens bend solemnly over the mighty scene.”. The analysis will point towar ds 87, written in late 1950 and early 1951. No. The pioneering pianist performed selections from Shostakovich’s 24 Preludes and Fugues, Op. 34.). Title Composer Bachlund, Gary: I-Catalogue Number I-Cat. Sign up to get free in-depth coverage on up and coming artist and more! One such trip was to Leipzig in 1950 for a music festival marking the bicentennial of J. S. Bach's death. 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. 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. "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. As part of the festival, Shostakovich was asked to sit on the judging panel for the first International Johann Sebastian Bach Competition. While fugal subjects usually use stepwise motion, this subject uses only the notes of the A-major triad. The 1962 and 1987 recordings have been reissued on several labels. The following fugue starts with a short introduction. The cycle was composed in 1950 and 1951 while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December 1952; it was published the same year. Sheet music. This work is considered by many (e.g. 34, are solid but not often played. J.S. 11 IN B MAJOR: The B major Prelude suggests an orchestral conception, particularly the jocular, light-hearted movements of Symphonies Nos. 28 in all 24 keys, and Rachmaninoff (Op. Towards the end bass and treble play the melody together in plangent thirteenths. Roger Woodward describes the "poignant intervallic juxtapositions of alto and tenor voices" throughout the prelude. 1. Roger Woodward made the first complete recording available in the West in 1975; it was re-released in September 2010 on CD by Celestial Harmonies. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich’s own. The complete work takes about two and a half hours to play. 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. 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).. Dmitri Shostakovich: 24 Preludes & Fugues, op. 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. Impressed while in Leipzig by pianist Nikolayeva, he wrote these preludes and fugues. 34) for preludes alone. 9 in E major is in only two voices). The question of the relative stability of E major in Shostakovich's Prelude and Fugue No. 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 1951. To Tatiana Nikolayeva, it is music “of great depth, of unsurpassed mastery and greatness. 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. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich's own. Shostakovich recorded 18 of the 24 pieces at five recording sessions in 1951–1952, 1956 and 1958 (EMI). 24 Preludes and Fugues, Op. 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. 23, and Op. This is followed by a fugue with another highly extended subject, which unfolds "in finely sculpted legato cantabile. 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. 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