shostakovich preludes and fugues best recording

Overall, from the standpoint of sound, Jarrett's piano, beautifully recorded, is closer, easier to pinpoint, but never dry. Introduction. 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. Throughout, in fact, it invariably is the Russian pianist who is the slower, but that slowness is never stagnant. 6 in B minor (1:01) 24 Preludes, op. 87 von Konstantin Scherbakov bei Amazon Music. 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. Three Must-Have Shostakovich Recordings Immersing yourself in Dmitri Shostakovich's complete works would take days, but familiarizing yourself with his … She made earlier recordings on the Melodiya label that are generally said to be technically better and equipped with more spirit than these 1990 accounts on Hyperion. Tatiana Nikolayeva's Shostakovich Prelude and Fugues recordings- a query (too old to reply) Handel8 2006-11-04 16:15:03 UTC. 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. 7 in A major (0:50) 24 Preludes, op. Timing below:00:00 - no. 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. The creation of this document would not have been possible without the encouragement and support of several individuals. All rights reserved. GMG Classical Music Forum . This is similar to other great music e.g. 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’. Vladimir Ashkenazy provides his usual polished, professional performance. 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. 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. 87 (1950-1951), performed by Olli Mustonen. Peter Laenger, eng. 34 – no. This page lists all recordings of Prelude & Fugue for piano, Op. 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. 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. The more great recordings the better. 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. SHOSTAKOVICH: 24 Preludes & Fugues, Op.87 Keith Jarrett, piano ECM New Series 1469/70 (437 189-2, 2 CDs only). Our warehouse team are currently working hard to ensure your order is despatched as quickly as possible. 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. Both pianists are technically superior, Jarrett in particular emerging (as in Preludes 2 and 21) as really quite dazzling. Thank you. She succeeds in holding one's attention at all times. 4 in E minor (1:30) 24 Preludes, op. 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. I find both interpretations of great value. 2 in A minor (0:42) 24 Preludes, op. Latest update: COVID-19 Shipping Delays. 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. This item is currently out of stock at the UK distributor. 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. From Bach to Shostakovich, this concert-format album is a useful introduction to the genre, and also a fine interpretation for the […] Unfortunately you may experience slight delays as some deliveries are taking longer than usual. ; Manfred Eicher, prod. Can one easily disregard the imprimatur of the Nikolayeva version? The ending of the fugue #24 is amazing and brings a wonderful production to a magnificent conclusion. Listen to Dmitri Shostakovich’s Preludes and Fugues op. Shostakovich's Preludes and Fugues. The best recordings of JS Bach’s The Well-Tempered Clavier. 87). Not that many months have passed since I had the pleasure of reviewing (in April 1992, p.272) the Op.87 Preludes and Fugues in Tatiana Nikolayeva's three-CD Hyperion recording made in 1990, the third time that she had recorded this important set. Logged It's better to act today than to regret tomorrow. 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). 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. This recording has been reviewed by me and others in the past. 3 in G major (1:15) 24 Preludes, op. 34 – no. recordings was available at any given point). 87, from a record released around 1952. Not since Wagner has a composer’s reception history been so bitterly contested. But what to make of the piece – or of Shostakovich himself? How should one go about choosing between them? Interestingly, it is Jarrett who is exceedingly close in almost all cases to Shostakovich's own metronome directions, though Nikolayeva had the closest, long-term musical relationship with both the composer and this score, expressly written for her. Just as one can derive different insights from a Beethoven Fifth as conducted quite differently by a Toscanini and a Furtwängler, the diversities between these two Shostakovich performances are ones with which one can easily live. This page lists all recordings of Prelude & Fugue for piano, Op. Shostakovich: Preludes & Fugues for piano (24), Op. 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. Find recording details and track inforamtion for Preludes & Fugues (24), for piano,… - Dmitry Shostakovich on AllMusic 5 in D major02:57 - no. 87 by Dmitri Shostakovich (1906-75). Dmitri Shostakovich playing 8 of his own Preludes and Fugues, op. 87. Shostakovich's compositional dates and recordings of his preludes and fugues. Keith Jarrett, best known as a jazz pianist, gives a technically perfect, but rushed interpretation. DDD. Acknowledgements . 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!. 34 – no. More surprising is t… Shostakovich* / Sviatoslav Richter ‎– Preludes And Fugues Label: Philips ‎– 835 204 AY, Speakers Corner Records ‎– 835 204 AY Copyright © 2002-21 Presto Classical Limited. In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully developed in a D minor fugue. Permalink. 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. 87. Then along came Vladimir Ashkenazy (Decca) and, in 2000, Keith Jarrett (ECM) entered the fray. iv . (Mette Frederiksen) hvbias. 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. Of course, a wetter ambience calls for a slower tempo in the interests of clarity, but differences of three to four minutes in pieces of such brevity seem almost startling. 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