34 – no. Permalink. Recorded on Feb. 5th , 1952 (Revelation) EMI version (1958) -- http://www.youtube.com/watch?v=0TcW-K3rXDE The recording is clear and atmospheric, and the playing has power, grandeur, character, intellectual clarity and unforced intensity. Logged It's better to act today than to regret tomorrow. 87). 2 in A minor (0:42) 24 Preludes, op. Shostakovich's compositional dates and recordings of his preludes and fugues. The creation of this document would not have been possible without the encouragement and support of several individuals. Towering over those pieces are the 24 Preludes and Fugues, written for Tatiana Nikolayeva after Shostakovich heard her at the Bicentennial Bach competition in Leipzig in 1950. If Jarrett's is the more detailed performance, it also seems the more modern except for one obvious factor: the American pianist never produces harshness from his instrument. Peter Laenger, eng. Three Must-Have Shostakovich Recordings Immersing yourself in Dmitri Shostakovich's complete works would take days, but familiarizing yourself with his … Not since Wagner has a composer’s reception history been so bitterly contested. Shostakovich's Preludes and Fugues. I write pleasure, because this compendium, written for Nikolayeva in 1951 after a Leipzig Bach competition in which that pianist won first prize, is an extraordinary collection, one that has grown on me every time I have heard it. Werbefrei streamen oder als CD und MP3 kaufen bei Amazon.de. 6 in B minor (1:01) 24 Preludes, op. The set, in fact, may be the most important of its type—preludes and fugues in all the keys—since Bach's own Well-Tempered Clavier. 34 – no. recordings was available at any given point). 5 in D major02:57 - no. Discover and compare alternative recordings. Both pianists are technically superior, Jarrett in particular emerging (as in Preludes 2 and 21) as really quite dazzling. DDD. But what to make of the piece – or of Shostakovich himself? Acknowledgements . Here are some to start with… NBC Symphony Orchestra/Arturo Toscanini Opus Kura OPK7050 A performance that Shostakovich is said to have felt was unsatisfactory, but an essential document in the work’s history: this was the performance that … After the highly praised recording of music by Ustvolskaya (DDA 25130), Natalia Andreeva presents a brief survey of the Prelude and Fugue - one of the most prevalent of keyboard forms over the centuries. Most piano collectors are aware of Tatiana Nikolayeva’s 1987 Melodiya and 1990 Hyperion cycles devoted to Shostakovich’s 24 Preludes and Fugues, together with a recently released video presentation. 34 – no. This page lists all recordings of Preludes & Fugues for piano (24), Op. I find both interpretations of great value. Throughout, in fact, it invariably is the Russian pianist who is the slower, but that slowness is never stagnant. Comparing Nikolayeva's 2¾-hour-long survey with Keith Jarrett's, the latter a full half-hour shorter and on two rather than three discs, I have found several interesting differences. So – here’s my short comment on two recordings of Shostakovich’s op.87. The composer said the 150-minute set wasn’t meant to be performed as a cycle, but Alexander Melnikov makes a solid argument against that claim, in words and sound. Introduction. From Bach to Shostakovich, this concert-format album is a useful introduction to the genre, and also a fine interpretation for the […] Art of Fugue. Thank you. That expansiveness, especially in the slower movements, is what causes such a remarkable discrepancy in playing times between the two: as examples, Jarrett's Prelude and Fugue No.13 lasts 7:03, Nikolayeva's 10:05; Jarrett's No.16 runs to 8:59, Nikolayeva's 12:44. Copyright © 2002-21 Presto Classical Limited. This page lists all recordings of Prelude & Fugue for piano, Op. In contrast, Nikolayeva's is the more distant, with consequently less easily perceived articulation; Hyperion has produced a recessed wash of sound that ostensibly derives from an empty London hall of considerable size as opposed to the comfortably large room sound presented in the ECM recording (Salle de Musique in La Chaux-de-Fonds, Switzerland). In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully developed in a D minor fugue. Overall, from the standpoint of sound, Jarrett's piano, beautifully recorded, is closer, easier to pinpoint, but never dry. If finances are a factor, by all means choose the excellent Jarrett on his two CDs, but if two renditions are a reasonable possibility, I'd be most tempted to try both.—Igor Kipnis, Recording of February 2021: Newvelle Records Season Five, Revinylization #13: Tone Poet, Analogue Productions, ERC reissues, Analog Corner #290: The Haniwa LP Playback System, Gramophone Dreams #44: Audio-Technica, Goldring, LP Gear phono cartridges, Cambridge Audio CXA81 integrated amplifier, PS Audio Stellar M1200 monoblock power amplifier, Acoustic Geometry Room treatments (before & after), My current and likely the last home audio setup, Fascinating wiev by Verity Audio Sarastro, Recommended Components: Fall 2020 Edition. GMG Classical Music Forum . Dmitri Shostakovich playing 8 of his own Preludes and Fugues, op. 4 in E minor (1:30) 24 Preludes, op. 87. More surprising is t… 7 ‘Leningrad’ ? The best recordings of JS Bach’s The Well-Tempered Clavier. I would like to thank my Committee, Dr. Anthony Bushard, Dr. Paul Barnes, for their advice and inspiration. This page lists all recordings of Prelude & Fugue for piano, Op. Latest update: COVID-19 Shipping Delays. Nikolayeva, on the other hand, harkens back to the post-romantic, conjuring a style that exhibits many of the vestiges of romanticism, a greater use of rubato, more individualism in her tempo fluctuations, a greater shaping of melodic lines, and a tendency to emphasize fugal subjects while subjugating subsidiary parts. 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. Can one easily disregard the imprimatur of the Nikolayeva version? All rights reserved. 3 in G major (1:15) 24 Preludes, op. Tatiana Nikolayeva's Shostakovich Prelude and Fugues recordings- a query (too old to reply) Handel8 2006-11-04 16:15:03 UTC. 87 No. Full Member; Posts: 568; Re: Shostakovich's Preludes and Fugues « Reply #84 on: March 16, 2020, … Keith Jarrett, best known as a jazz pianist, gives a technically perfect, but rushed interpretation. 1 in C major by Dmitri Shostakovich (1906-75). I personally find this the best recording of the Shostakovich Preludes and Fugues around. Creative figures as disparate as Robin Holloway and the late Pierre Boulez may have earned the right to rail against what they heard, respectively, as ‘battleship-grey…factory-functional…music without inner musical necessity’ (The Spectator, 2000) and ‘third-pressing Mahler’. Of the several recorded versions of Shostakovich's Preludes and Fugues made by Nikolayeva, the first one of 1962 - presented in this set - is considered to be unique as Shostakovich himself was present at the recording sessions and affirmed it as the one he approved and recommended. This is similar to other great music e.g. 34 – no. I previously highly recommended this and still do. 5 in D major (0:25) 24 Preludes, op. Despite the remarkable clarity of counterpoint in the fugues, and the pointillistic accuracy of Lin’s technique in this often sharp-edged and brittle music, she’s acutely sensitive to texture and atmosphere where Shostakovich demands it: witness the impressionistically dreamy E major, B-flat minor, and the evocatively-pedalled E minor and G minor preludes. 24 Preludes and Fugues, Op. Emil Gilels (piano), Sviatoslav Richter (piano), Tatjana Nikolayeva (piano), Dmitri Shostakovich (piano), Dmitri Shostakovich (piano), Ludovic Vaillant (trumpet), Mstislav Rostropovich (cello), Orchestre National de la Radiodiffusion Française, André Cluytens, Usually despatched in 8 - 10 working days. Our warehouse team are currently working hard to ensure your order is despatched as quickly as possible. The experience inspired Shostakovich to compose his own set of 24 preludes and fugues in all the major and minor keys (Op. How should one go about choosing between them? 1 in C major (1:11) 24 Preludes, op. 87. For many, the Preludes and Fugues are the richest, most personal and, often, the most beautiful of all of Shostakovich’s music. I recall that the middle one she did is reputed to be the best of the three. Vladimir Ashkenazy provides his usual polished, professional performance. Shostakovich* / Sviatoslav Richter ‎– Preludes And Fugues Label: Philips ‎– 835 204 AY, Speakers Corner Records ‎– 835 204 AY This recording has been reviewed by me and others in the past. However, her 1962 Melodiya cycle never has been reissued until now, and it comprises what promises to be Doremi’s first in a series of historic releases featuring Nikolayeva. 87, from a record released around 1952. Then along came Vladimir Ashkenazy (Decca) and, in 2000, Keith Jarrett (ECM) entered the fray. 87 von Konstantin Scherbakov bei Amazon Music. 87 (1950-1951), performed by Olli Mustonen. Shostakovich: Preludes & Fugues for piano (24), Op. The ending of the fugue #24 is amazing and brings a wonderful production to a magnificent conclusion. 1 in C major by Dmitri Shostakovich (1906-75). 87 No. Recorded in Prague, some of these vivid and characterful performances are on CD for the first time and they’re a must-have for all pianophiles. 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. She succeeds in holding one's attention at all times. No, I’m not going to do a track-by-track comparison of two interpretations of the 24 Preludes and Fugues, op.87, by Dmitri Shostakovich (1906 – 1975): I don’t have the scores, and I’m not a pianist, hence I’m not going to try the impossible!.

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