I am wondering if anyone can sort out the 3 or more released recordings of the Shostakovich 24 Preludes and Fugues as performed by Tatiana Nikolayeva. Logged It's better to act today than to regret tomorrow. Unfortunately you may experience slight delays as some deliveries are taking longer than usual. This page lists all recordings of Preludes & Fugues for piano (24), Op. The best recordings of JS Bach’s The Well-Tempered Clavier. Permalink. 4 in E minor (1:30) 24 Preludes, op. The ending of the fugue #24 is amazing and brings a wonderful production to a magnificent conclusion. GMG Classical Music Forum . 1 in C major (1:11) 24 Preludes, op. 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. 87 (1950-1951), performed by Olli Mustonen. Three Must-Have Shostakovich Recordings Immersing yourself in Dmitri Shostakovich's complete works would take days, but familiarizing yourself with his … I find both interpretations of great value. All rights reserved. 87 No. Shostakovich's compositional dates and recordings of his preludes and fugues. 87. 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). Our warehouse team are currently working hard to ensure your order is despatched as quickly as possible. 87 von Konstantin Scherbakov bei Amazon Music. 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. iv . Listen to Dmitri Shostakovich’s Preludes and Fugues op. 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. 87. This is similar to other great music e.g. 3 in G major (1:15) 24 Preludes, op. Art of Fugue. 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. 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. Tatiana Nikolayeva is considered the foremost interpreter of these works, but these are probably not her best recordings of the Preludes and Fugues. Shostakovich's Preludes and Fugues. 5 in D major02:57 - no. The more great recordings the better. The recording is clear and atmospheric, and the playing has power, grandeur, character, intellectual clarity and unforced intensity. Tatiana Nikolayeva's Shostakovich Prelude and Fugues recordings- a query (too old to reply) Handel8 2006-11-04 16:15:03 UTC. She succeeds in holding one's attention at all times. I would like to thank my Committee, Dr. Anthony Bushard, Dr. Paul Barnes, for their advice and inspiration. Overall, Jarrett appears more analytical, Nikolayeva more freely expressive and expansive. 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. Latest update: COVID-19 Shipping Delays. Recorded on Feb. 5th , 1952 (Revelation) EMI version (1958) -- http://www.youtube.com/watch?v=0TcW-K3rXDE 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. Presto is committed to the health and well-being of our staff. Timing below:00:00 - no. In this case, the pianissimo maestoso theme transforms into the six-bar opening theme which is fully developed in a D minor fugue. 5 in D major (0:25) 24 Preludes, 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. I personally find this the best recording of the Shostakovich Preludes and Fugues around. 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. From Bach to Shostakovich, this concert-format album is a useful introduction to the genre, and also a fine interpretation for the […] (Mette Frederiksen) hvbias. Dmitri Shostakovich: 24 Preludes, op. It’s a sensational masterpiece and oft-recorded. Not since Wagner has a composer’s reception history been so bitterly contested. For many, the Preludes and Fugues are the richest, most personal and, often, the most beautiful of all of Shostakovich’s music. 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’. 87 No. Her Bach playing is much the same. The experience inspired Shostakovich to compose his own set of 24 preludes and fugues in all the major and minor keys (Op. 87 by Dmitri Shostakovich (1906-75). Shostakovich* / Sviatoslav Richter ‎– Preludes And Fugues Label: Philips ‎– 835 204 AY, Speakers Corner Records ‎– 835 204 AY The creation of this document would not have been possible without the encouragement and support of several individuals. Dmitri Shostakovich playing 8 of his own Preludes and Fugues, op. SHOSTAKOVICH: 24 Preludes & Fugues, Op.87 Keith Jarrett, piano ECM New Series 1469/70 (437 189-2, 2 CDs only). 34 – no. 1 in C major by Dmitri Shostakovich (1906-75). 34 – no. 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. How should one go about choosing between them? 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. You may order it now but please be aware that it may be six weeks or more before it can be despatched. 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. 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 … Overall, from the standpoint of sound, Jarrett's piano, beautifully recorded, is closer, easier to pinpoint, but never dry. I recall that the middle one she did is reputed to be the best of the three. 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. 34 – no. Full Member; Posts: 568; Re: Shostakovich's Preludes and Fugues « Reply #84 on: March 16, 2020, … 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. Peter Laenger, eng. Both pianists are technically superior, Jarrett in particular emerging (as in Preludes 2 and 21) as really quite dazzling. 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!. In spite of its obvious contrapuntal basis, it also contains all the usual Shostakovian earmarks: the sardonic, the playful, the moody and grim, the intensely introverted, and the virtuosically outgoing. 7 ‘Leningrad’ ? But what to make of the piece – or of Shostakovich himself? Find recording details and track inforamtion for Preludes & Fugues (24), for piano,… - Dmitry Shostakovich on AllMusic DDD. 2 in A minor (0:42) 24 Preludes, op. Shostakovich: Preludes & Fugues for piano (24), 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. 6 in B minor (1:01) 24 Preludes, 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. 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. Discover and compare alternative recordings. Entdecken Sie Shostakovich: 24 Preludes and Fugues, Op. Since then, Preludes and Fugues have been dropping like apples from a tree. 34 – no. There is even an archival recording of Shostakovich playing many of the Preludes and Fugues himself. This page lists all recordings of Prelude & Fugue for piano, Op. But, what are the very best recordings of Shostakovich’s Symphony No. 1 in C major by Dmitri Shostakovich (1906-75). 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. This page lists all recordings of Prelude & Fugue for piano, Op. 34 – no. Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and blog articles. Introduction. 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. 34 – no. recordings was available at any given point). So – here’s my short comment on two recordings of Shostakovich’s op.87. 87, from a record released around 1952. Celebrated international pianist Peter Donohoe begins a new series of Shostakovich releases on Signum Classics with a new recording of Dmitri Shostakovich’s 24 Preludes and Fugues, Op. More surprising is t… 87). Copyright © 2002-21 Presto Classical Limited. This item is currently out of stock at the UK distributor. 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. Throughout, in fact, it invariably is the Russian pianist who is the slower, but that slowness is never stagnant. 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. Both versions interpretively have a great deal to offer in many different but equally valid ways. Then along came Vladimir Ashkenazy (Decca) and, in 2000, Keith Jarrett (ECM) entered the fray. 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. I previously highly recommended this and still do. 24 Preludes and Fugues, Op. 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. 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? Thank you. 34 – no. 7 in A major (0:50) 24 Preludes, op. Acknowledgements . This recording has been reviewed by me and others in the past. It was the Bach playing of Tatiana Nikolayeva that inspired this music and the middle of her three recordings is the safest best. 87, Dmitri Shostakovich - 24 Preludes and Fugues for Piano, Op. Keith Jarrett, best known as a jazz pianist, gives a technically perfect, but rushed interpretation. 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