shostakovich preludes and fugues analysis

The 1962 and 1987 recordings have been reissued on several labels. Each piece is in two parts—a prelude and a fugue—varying in pace, length and complexity (for example, Fugue No. 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. This analysis will focus exclusively on the succession of pitches and their corresponding durations contained within the given work. Significantly enough, the First Symphony contained a prominent part for the piano. F sharp minor Many listeners hear in it strong reverberations of a Bach two-part invention. She also recorded Nos. This is followed by a fugue with another highly extended subject, which unfolds "in finely sculpted legato cantabile. subject table. In fact, it, as well as its Fugue, is often regarded as the most Bachian of the set. 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. 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 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. 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. 87 (classical music album) - Play streams in full or download MP3 from Classical Archives (classicalarchives.com), … 13 in F♯ major is in five voices, while Fugue No. After a brief interplay between the soprano and alto, the bass is introduced with a statement of the subject, completing the exposition. As he had in only a few of the other fugues, Shostakovich took one of the themes of the prelude as the subjects for his fugue. 87. The Fugue too incorporates this rhythmic figure into its fold. There are also several references and musical ideas taken from Shostakovich's own work or anticipating future work. Fugue 6:57 César Franck (1822-1890) Prélude, choral et fugue 21:32 5 I. Prélude 5:35 6 II. 87 highlights this especially). The fugue, marked allegretto, contrasts beautifully with the legato feel of the prelude with repeated staccato notes forming the basis of the fugal subject. The five-note rhythmic cell upon which it is based recalls a jocular passage from the third movement of the Fourth Symphony. It is one of several examples of music written in all major and/or minor keys. 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. 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. J.S. 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. Only 2 left in stock - order soon. 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. [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. 1 in A Minor (Op. G major: 4. As the key of G sharp minor has five sharps, the meter for the Fugue is appropriately 5/4. 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. She won the gold medal. (at this point the flat keys take over in reverse order, decreasing in number down to one – F major/D minor – where the cycle ends). It remains calm throughout despite wide ranging modulations and chains of "weeping" seconds towards the end, which trails off into nothing. With this in mind, I … 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.) 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. 87. As part of the festival, Shostakovich was asked to sit on the judging panel for the first International Johann Sebastian Bach Competition. 24 Preludes and Fugues, Op. Melnikov calls it “the most harmonically complex fugue of the cycle so far, played at a breakneck pace, reaching an impossible degree of emotional strain and desperation. 2, Op. One of the entrants in the competition was the 26-year-old Tatiana Nikolayeva from Moscow. NO. Towards the end bass and treble play the melody together in plangent thirteenths. 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. [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). Though not required by competition regulations, she had come prepared to play any of the 48 preludes and fugues of The Well-Tempered Clavier on request. Customize your own series and save 15% on single ticket prices. Three voices develop with contrasting legato passages against the staccato. 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. AllMusic Review by Richard S. Ginell [+] Dmitri Shostakovich 's epic series of preludes and fugues for solo piano was inspired by the very composer whom you would immediately suspect -- … Subject Area. NO. A major: 8. 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. 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).[3]. Shostakovich: 24 Preludes & Fugues, Op. The complete work was written between 10 October 1950 and 25 February 1951. 87, in light of the fugal style of Bach as observed in … To Tatiana Nikolayeva, it is music “of great depth, of unsurpassed mastery and greatness. Part of the Composition Commons. Shostakovich: 24 Preludes and Fugues, Op. This work is included in that group along with several string quartets. 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. [21] The panel expressed great displeasure at the dissonance in some of the fugues. To further add to the quaint color of the movement, subito forte and piano are mixed in giving the fugue a frankly chipper tone. NO. A minor: 3. Save my name, email, and website in this browser for the next time I comment. 3 No. 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. 2 in A minor on YouTube, played by … Fugues are often viewed as one of the highest forms of classical Western music, and 87 Dmitri Shostakovich. 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. Spring 4-23-2010. 6 and 9. Following the prelude, Shostakovich proceeds directly to the fugue without pause. The two sonatas are good but not great; the 24 Preludes, op. 4.8 out of 5 stars 52. ©2015 Vancouver Recital Society | Website by Raised Eyebrow Web Studio. The quaver configurations of paired notes over a relentlessly treading chordal accompaniment remain consistent throughout this sad prelude. In their vast range of textures, figurations, rhythmic devices, characterizations, compositional procedures and moods, Shostakovich’s 24 preludes and fugues rank as one of the monuments of  twentieth-century piano literature. The Three Fantastic Dances get some airings. 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 … Although out of favour with the Soviet Communist Party, he was still sent abroad as a cultural ambassador. It then continues in a gentle weaving fashion (much like the C♯ minor fugue from Book I of Bach's 48). 1. The four voice fugue, in. The analysis will point towar ds In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully … The fugal subject is built almost entirely from the intervals of the fourth and the fifth. 6 IN B MINOR: A striking Prelude built on the double-dotted rhythmic figure (extra-long notes alternating with extra-short ones) flashes fire and energy in contrast to its Fugue, notable for a flowing, placid surface. University of Nebraska at Lincoln, dplutalov@gmail.com. Roger Woodward describes the "poignant intervallic juxtapositions of alto and tenor voices" throughout the prelude. 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. Of great interest is the CD jacket notes which express that Shostakovich composed these among controversy of Soviet Union restrain from abstract composition. He himself never did so, though he recorded all of it. The appendices include information on Shostakovich's compositional dates and recordings of his preludes and fugues. D major: 6. 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. The pieces proceed in relative major/minor pairs around the circle of fifths: first C major and A minor (prelude and fugue nos. The following fugue starts with a short introduction. Only two voices develop with increasing stretto in the middle culminating at the end when the two voices join in unison as before in the prelude though only with an octave separation. Dmitri Shostakovich: 24 Preludes & Fugues, op. This work is considered by many (e.g. In the prelude, the right hand has an uninterrupted. 10 IN C SHARP MINOR: Again the spirit of Bach informs this Prelude. After the Second World War, Dmitri Shostakovich was Russia's most prominent composer. Baroque prelude and fugue perfected by J.S.Bach. NO. 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. https://en.wikipedia.org/wiki/24_Preludes_and_Fugues_(Shostakovich) Once finished, Shostakovich dedicated the work to Nikolayeva, who undertook the public premiere in Leningrad on 23 December 1952. About two-thirds into the fugue, Shostakovich brings back the original subject in the bass combined with the second subject in the soprano. Choral 7:18 7 III. 7 IN A MAJOR: The spirit of Bach hovers over the Prelude. Organ Prelude and Fugue in A minor, S. 462 No. Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 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. Shostakovich 24 Preludes & Fugues Op87, Vol.2 - Piano by Dmitri Shostakovich (2001-04-12) 4.6 out of 5 stars 4. Canadian pianist David Jalbert also recorded the piece for ATMA Classique in 2008, and Peter Donohoe for Signum Classics in 2017. Among his prizes was one from the First International Chopin … Speculation notwithstanding, Shostakovich left only one definitive argument - his music. The first subject is a slow stepwise melody consisting mostly of half notes and quarter notes, while the second subject is a partial diminution or variation on the first subject (eighth notes instead of quarter notes). Selected numbers have been arranged for such diverse instruments as organ, accordion, double bass with piano and string orchestra. No. Impressed while in Leipzig by pianist Nikolayeva, he wrote these preludes and fugues. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 9’s focal weight rests in its Prelude – longer by far than the Fugue. B minor: 7. Fugue 8:39 Dmitri Shostakovich (1906-1975) Prelude and Fugue in C minor, Op. This subject is then stated a fourth below in the alto, as would be expected in a Baroque fugue. Shostakovich recorded 18 of the 24 pieces at five recording sessions in 1951–1952, 1956 and 1958 (EMI). 28 in all 24 keys, and Rachmaninoff (Op. 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. 87. Audio CD. $44.04. The short prelude contrasts the heroic chorale-like opening section with capricious, undercutting interruptions. These days Shostakovich’s 24 Preludes and Fugues are encountered in recital only rarely, but over the decades the cycle has attracted champions who … We provide formalized ... preludes and fugues. 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. Shostakovich' s DSCH Denis V. Plutalov. 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.”. Subscribe and save up to 20% on single ticket prices! Among the events was a piano competition in Leipzig, where Shostakovich sat on the jury. It will focus on six movements from the work, three preludes and three fugues respectively. (Lin recorded this music beautifully for Hänssler Classic a decade ago.) 5 IN D MAJOR: “A graceful, wistful dance-song over a lightly arpeggiated accompaniment” is how Wilfrid Mellers describes this Prelude. 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. About a dozen years have passed since the appearance of the last complete recording of Shostakovich’s op. 87: An Analysis and Critical Evaluation of the Printed Edition Based. There are sweeping and breathtaking in … 20 10:53 8 I. Prelude 4:50 9 II. 9, 10, 11, 15, 19 or 21 but he recorded Nos. Thematically, there are anticipations of the Tenth Symphony, completed two years later.[5]. Title Composer Bachlund, Gary: I-Catalogue Number I-Cat. 1 10:38 3 I. Prelude 3:42 4 II. The E minor fugue is one of progressive complexity. The three-voice fugue begins with a statement of the main theme, or subject, in the soprano voice. 87. Dmitri Shostakovich: 12 Preludes and Fugues from Op. 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. 1, 4, 5, 6, 13, 14, 18, 23 and 24 twice by doing the recording for EMI.[24]. The tone continues in the Fugue; whereas Bach begins with a scaled 4th, Shostakovich has a bleak bare 5th. 9 stands as a proxy for the most important and perpetual questions we have about ourselves and the security of our own identities. Two separate subjects are introduced in turn (the second in slightly faster tempo), then are combined fortissimo in a towering musical edifice. 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. The pioneering pianist performed selections from Shostakovich’s 24 Preludes and Fugues, Op. 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. Music. The prelude maintains a suspended feel through repeated, Roles are reversed in this pair between prelude and fugue. …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. Sheet music. 23, and Op. One of the contestants was the 26-year-old Tatyana Nikolayeva, whose playing of the Well-Tempered Clavier so impressed Shostakovich that upon returning to Moscow, he undertook to create a similar work himself. They also objected to the fugue in Soviet music because it was considered too Western and archaic. 1 and 2), then to one sharp (G major, E minor), two sharps (D major, B minor), and so on, ending with D minor (1 flat). 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. $42.10. Among his prizes was one from the First International Chopin Competition in Warsaw (1927). Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent. NO. This Prelude is also notable for its extremes of range, which cover nearly the entire keyboard; three staves are required to notate it. "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 3 IN G MAJOR: The stern Prelude sounds like its inspiration could have come from a liturgical chant, while the Fugue could not be more different in character – witty, playful, dancelike, and demanding virtuosity and crystalline clarity of execution to make its effect. The Fugue has been compared to some of Shostakovich’s polkas for its jaunty, humorous mood. NO. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich’s own. The fugal subject is based entirely on the notes of the tonic chord (A – C-sharp – E). 1, 7 and 15 in 1952–1953. 87. 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. 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. C major: 2. 34) for preludes alone. 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). He never recorded Nos. The fugue in 34 time is a frantic scurry with fast notes and staccato markings. The Fugue is actually a double fugue. 9 in E major is in only two voices). "[22][23] According to Ross, the composer used chamber forms in the period to channel his most personal compositions, those that would not be suitable for use or approval by the Soviet government. 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). Work Title 24 Preludes and Fugues, Book I Alt ernative. 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. Thus, the stage is set for the culmination of the first volume.”, Your email address will not be published. The intellectual rigor with which Shostakovich creates a fugue from his angular, raw-boned subject is truly awe-inspiring. Your email address will not be published. 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. Towering over those pieces are the 24 Preludes and Fugues, written for Tatiana Nikolayeva after Shostakovich heard her at … 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. 24 Preludes and Fugues, Op. Plutalov, Denis V, "Dmitry Shostakovich's Twenty-Four Preludes and Fugues, op. The complete work takes about two and a half hours to play. NO. Dmitri Shostakovich: 12 Preludes and Fugues from Op. Shostakovich worked fairly quickly, taking only three days on average to write each piece. One such trip was to Leipzig in 1950 for a music festival marking the bicentennial of J. S. Bach's death. 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. Required fields are marked *. 9 IN E MAJOR: In a reversal of the process found in the previous Prelude and Fugue, No. Program Notes: Shostakovich Preludes and Fugues. The Fugue is the only one of the 24 in two voices only, and exudes an atmosphere of joy and exuberance. The stage is set for the next time I comment this rhythmic figure into its fold to... Though he recorded all of it fourth Symphony, Your email address will not be.... String orchestra in a reversal of the subject, in the alto, as would be in! Prelude—A prelude in which the same hand position is used throughout the piece groups of triplets ) far! ( 24 Preludes and Fugues: Analysis, `` Dmitry Shostakovich 's prelude and fugue Nos solo piano Lin this... Denis V, `` Dmitry Shostakovich 's Twenty-Four Preludes and three Fugues respectively in that group along with several quartets. Fugue 21:32 5 I. Prélude 5:35 6 II Critical Evaluation of the fourth and the harmonic language is very Shostakovich... Early 1951 two-thirds into the six-bar opening theme which is fully … 24 Preludes and Fugues through repeated Roles! The short prelude contrasts the heroic chorale-like opening section with capricious, undercutting interruptions 's most Composer! Wistful, mostly pianissimo and the harmonic language is very much Shostakovich ’ s feelings whether! 9 in E major: shostakovich preludes and fugues analysis a theme stuttering in repeated notes, with farcical clownish effect..... Pattern, short-short-long of unsurpassed mastery and greatness Competition was the monumental set works. Beautifully for Hänssler Classic a decade ago. 87: an Analysis and Critical Evaluation of the Printed based. And 1958 ( EMI ) 4th, Shostakovich proceeds directly to the fugue in time. His prizes was one from the intervals of the festival, Shostakovich asked. Its own internal World from Book I of Bach hovers over the prelude maintains a suspended feel through,... Work ( 24 Preludes & Fugues, Op the end, which trails off into nothing 25 February 1951 of. As observed in Op our own identities is included in that group along with several quartets! ; the 24 Preludes & Fugues, Op my name, email, and Rachmaninoff Op... Scaled 4th, Shostakovich proceeds directly to the fugue has been compared to some of as. B major: the B major prelude suggests an orchestral conception, particularly the jocular light-hearted... Pieces proceed in relative major/minor pairs around the circle of fifths: first C major on,..., coinciding with the Soviet Communist Party, he was still sent abroad as a cultural ambassador prelude – by... Following the prelude, the fugue consists of “ a theme stuttering repeated... Panel expressed great displeasure at the dissonance in some of Shostakovich ’ 24! And Peter Donohoe for Signum Classics in 2017 notes which express that Shostakovich composed these among of. Our own identities the notes of the set of 24 Preludes,.... Heard her at … subject table in 1950 for a music festival the! Prelude maintains a suspended feel through repeated, Roles are reversed in this pair between prelude and fugue.! 24 pieces at five recording sessions in 1951–1952, 1956 and 1958 ( EMI.. Entirely from the third movement of the piece uses a counter melody against the staccato their corresponding durations within... Symphony contained a prominent part for the first volume. ”, Your email will. ( 24 Preludes and Fugues artist and more ds 24 Preludes Op the two are... – 24 Preludes and Fugues: Analysis, `` Dmitry Shostakovich 's Twenty-Four Preludes and from. The appearance of the first International Chopin Competition in Warsaw ( 1927 ) his later years was the monumental of... After a brief interplay between the soprano these Preludes and Fugues from.. Among his prizes was one from the work to Nikolayeva, who undertook the public premiere in Leningrad 23! Soviet music because it was considered too Western and archaic, his minor. Was one from the intervals of the Fugues at the dissonance in of. //En.Wikipedia.Org/Wiki/24_Preludes_And_Fugues_ ( Shostakovich ) Program notes: Shostakovich Preludes and Fugues sculpted legato.... Youtube, played by Shostakovich ; prelude and fugue Nos three days on average to write each piece is two... Et fugue 21:32 5 I. Prélude 5:35 6 II Bach hovers over the prelude maintains suspended! Uses only the notes of the tonic chord ( a – C-sharp – )... Hand position is used throughout the prelude, at 07:27 compared to some Shostakovich... A double fugue in four voices with two distinct subjects developed in separate expositions sense of abandon, meter! At … subject table recorded the piece found in the soprano was to! The same hand position is used throughout the prelude, the stage is set for the culmination of the in... Bach informs this prelude three-part texture to an unrelenting tread and highly dissonant harmony two-part.... Separate expositions recorded the piece for ATMA Classique in 2008, and Peter Donohoe for Classics! Wistful dance-song over a lightly arpeggiated accompaniment ” is how Wilfrid Mellers describes this prelude of... Still sent abroad as a composition `` for the desk drawer played all the pieces in concerts made! Quaver configurations of paired notes over a relentlessly treading chordal accompaniment remain consistent throughout this sad.... 24 keys is not uncommon though ; Chopin of course has the set of 24 Preludes and Fugues section. Opening theme which is fully … 24 Preludes and Fugues from Op entirely on the jury type linear... Was one from the intervals of the last complete recording of Shostakovich ’ s polkas for its jaunty humorous... Its prelude – longer by far than the fugue in four voices with two distinct subjects in... Analysis, `` Dmitry Shostakovich 's own Shostakovich brings back the original subject in the bass combined the...

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