shostakovich preludes and fugues analysis

The prelude is a two-part, Jewish influences are evident in both the short, agitated prelude, with its staccato and chromatic textures amplifying the grotesque melody, and the massive, mysterious fugue (in three voices) which increases in intensity and obsessiveness as it progresses towards a final resolution with its, The prelude is written on three staves where left and right hands take turns playing on the center staff. 32) and Scriabin (Op. Music. 87. Sheet music. 2 in A minor on YouTube, played by … The Three Fantastic Dances get some airings. 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.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. 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. 1 10:38 3 I. Prelude 3:42 4 II. 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. The four voice fugue, in. Fugues are often viewed as one of the highest forms of classical Western music, and [27], 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. 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 … 9 IN E MAJOR: In a reversal of the process found in the previous Prelude and Fugue, No. It will focus on six movements from the work, three preludes and three fugues respectively. The simple fugue subject, characterised by the rhythm of a crotchet and two quavers, makes for a translucent opening, but tonal wanderings and conflicts between minor and major intensify the mood until the calm F major resolution. The pieces proceed in relative major/minor pairs around the circle of fifths: first C major and A minor (prelude and fugue nos. Shostakovich: 24 Preludes and Fugues, Op. 87 – 24 Preludes and Fugues: Analysis, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. Towards the end bass and treble play the melody together in plangent thirteenths. 87. Program Notes: Shostakovich Preludes and Fugues. This analysis will focus exclusively on the succession of pitches and their corresponding durations contained within the given work. Among the events was a piano competition in Leipzig, where Shostakovich sat on the jury. Your email address will not be published. The five-note rhythmic cell upon which it is based recalls a jocular passage from the third movement of the Fourth Symphony. With this in mind, I … We provide formalized ... preludes and fugues. 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. References to and quotations from Bach's cycle appear throughout the work. To further add to the quaint color of the movement, subito forte and piano are mixed in giving the fugue a frankly chipper tone. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 77), Shostakovich – Op. For example, his A minor prelude is a figuration prelude—a prelude in which the same hand position is used throughout the piece. B minor: 7. In fact, it, as well as its Fugue, is often regarded as the most Bachian of the set. 87 Dmitri Shostakovich. NO. The Fugue too incorporates this rhythmic figure into its fold. The short prelude contrasts the heroic chorale-like opening section with capricious, undercutting interruptions. 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. $44.04. It then continues in a gentle weaving fashion (much like the C♯ minor fugue from Book I of Bach's 48). 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. 87: An Analysis and Critical Evaluation of the Printed Edition Based. 87 highlights this especially). A major: 8. NO. Recommended Citation. The two sonatas are good but not great; the 24 Preludes, op. NO. 28 in all 24 keys, and Rachmaninoff (Op. The fugue in 34 time is a frantic scurry with fast notes and staccato markings. 8 IN F SHARP MINOR: One of the briefest preludes sits beside the longest fugue by far of the twelve we hear tonight – nearly nine minutes in Melnikov’s performance. 9 in E major is in only two voices). 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. Customize your own series and save 15% on single ticket prices. The three-voice fugue begins with a statement of the main theme, or subject, in the soprano voice. After a brief interplay between the soprano and alto, the bass is introduced with a statement of the subject, completing the exposition. 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. Only 2 left in stock - order soon. The fugue is a double fugue in four voices with two distinct subjects developed in separate expositions. The complete work was written between 10 October 1950 and 25 February 1951. The appendices include information on Shostakovich's compositional dates and recordings of his preludes and fugues. Dmitri Shostakovich: 12 Preludes and Fugues from Op. 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.) Subject Area. Many listeners hear in it strong reverberations of a Bach two-part invention. 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. Dmitri Shostakovich: 24 Preludes & Fugues, op. 87. NO. Canadian pianist David Jalbert also recorded the piece for ATMA Classique in 2008, and Peter Donohoe for Signum Classics in 2017. 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. (Frédéric Chopin's set of 24 Preludes, Op. G major: 4. She also recorded Nos. The Fugue consists of “a theme stuttering in repeated notes, with farcical clownish effect.”. Shostakovich: 24 Preludes & Fugues, Op. 87. Thus, the stage is set for the culmination of the first volume.”, Your email address will not be published. ), which differs from Shostakovich's Op. Fugue 8:39 Dmitri Shostakovich (1906-1975) Prelude and Fugue in C minor, Op. 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. ), 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. 1, 7 and 15 in 1952–1953. On a larger scale, the whole structure, ordered and sequenced as it is with no apparent extra-musical narrative, is largely a response to Bach. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich's own. 87, in light of the fugal style of Bach as observed in … After the Second World War, Dmitri Shostakovich was Russia's most prominent composer. Unlike Bach’s two books of preludes and fugues, each of which proceeds up the steps of the chromatic scale alternating major and minor keys (C – C-sharp – D, etc. 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. Roger Woodward describes the "poignant intervallic juxtapositions of alto and tenor voices" throughout the prelude. Likewise, the composers' second fugues (A minor for Shostakovich, C minor for Bach) utilize very similar opening rhythms for their fugue subjects (two 16th notes followed by 3 eighth notes, twice in a row). As part of the festival, Shostakovich was asked to sit on the judging panel for the first International Johann Sebastian Bach Competition. Twenty-Four Preludes and Fugues 24 Preludes and Fugues, opus 87 Craig Sheppard (piano) Roméo Records 7315-6 TT: 141:35 (63:34 + 78:01) Compiled from recordings of two concerts at the Meany Theatre Seattle, April 2015. Fugue 6:57 César Franck (1822-1890) Prélude, choral et fugue 21:32 5 I. Prélude 5:35 6 II. Sign up to get free in-depth coverage on up and coming artist and more! Among his prizes was one from the First International Chopin Competition in Warsaw (1927). Choral 7:18 7 III. They are 24 masterpieces, each with its own internal world. Dmitri Shostakovich: 12 Preludes and Fugues from Op. The 1962 and 1987 recordings have been reissued on several labels. Part of the Composition Commons. He himself never did so, though he recorded all of it. 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. 1 in A Minor (Op. [25][26] Other notable complete recordings have been made by Keith Jarrett (ECM Records 1991), Vladimir Ashkenazy (Decca Records 1996–1998) and Konstantin Scherbakov (Naxos Records 1999). Sviatoslav Richter never played all the pieces in concerts but made notable recordings of 15 numbers in 1961. 87. There is conflicting evidence as to Shostakovich’s feelings about whether the 2½-hour cycle should be played complete in performance. Shostakovich, 48 Preludes and Fugues (1951) These preludes and fugues are among the masterpieces of the twentieth century. 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. music critic Alex Ross, musicologist Tanya Ursova, etc.) Baroque prelude and fugue perfected by J.S.Bach. Follow this and additional works at: Required fields are marked *. 12 IN G SHARP MINOR: The Prelude is written in passacaglia form (a method of composition in which a set of variations is constructed over a repeating bass line or chord progression). 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. : IGB 326 Movements/Sections Mov'ts/Sec's: 24 pieces Prelude and Fugue … This work is included in that group along with several string quartets. NO. Following the prelude, Shostakovich proceeds directly to the fugue without pause. Once finished, Shostakovich dedicated the work to Nikolayeva, who undertook the public premiere in Leningrad on 23 December 1952. NO. Shostakovich recorded 18 of the 24 pieces at five recording sessions in 1951–1952, 1956 and 1958 (EMI). Although out of favour with the Soviet Communist Party, he was still sent abroad as a cultural ambassador. This work is considered by many (e.g. 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. 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. About a dozen years have passed since the appearance of the last complete recording of Shostakovich’s op. 4.8 out of 5 stars 52. NO. 87. 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by doing the recording for EMI.[24]. Bach's The Well-Tempered Clavier, an earlier set of 48 preludes and fugues, is widely held to be the direct inspiration for Shostakovich's cycle, largely based on the work's composition history (see below). Save my name, email, and website in this browser for the next time I comment. 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. She won the gold medal. 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. Shostakovich worked fairly quickly, taking only three days on average to write each piece. 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 quaver configurations of paired notes over a relentlessly treading chordal accompaniment remain consistent throughout this sad prelude.

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