Shostakovich: 24 Preludes & Fugues, Op. 87
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Free Music Notes for Shostakovich: 24 Preludes & Fugues, Op. 87
Free Music Review: masterful performance of a masterful composition
Hit: 5 Stars
I had never heard anyone perform this music before I bought this disc. I've been very pleased. It is tonal, but complex. Ashkenazy brings out the full musical color and makes it shine. This version instantly became an old favorite for me. Free Music Review: Cerebral piano music of Shastakovich
Hit: 4 Stars
In the spirit of Bach "well-tempered clavier" (Books I and II), Shastakovich composed these 24 complex preludes and fugue cycles. They are distinctly modern 20th century piano pieces which are very demanding and difficult to play both technically and mentally. As a result, they are seldom performed, especially as a complete cycle. As a result, it is difficult to critique anyone who makes a heroic effort to play it in it's entirety.
The piece was dedicated to Tatiana Nicholayevna who performed it to Shastakovich's satisfaction and praise and set the benchmark for years to follow. Hers is definitely hard to beat having had the advantage of the composer instructing her to perfection.
Having said that, Ashkenazy's performance is quite serious. He gives it his full concentration and meets the challenges of every demand. What I like about it is the fact that his interpretation is, in a sense, his own. In all of the intensity of these pieces, he never looses his drive nor momentum. And within the seriousness, he manages to exude a sensitivity which is often the key to making all of the difference between a "good" performance and a "great" performance. I still think Tatiana Nicholayevna owns this piece. But Ashkenazy deserves applaud and praise for his excellent performance and fine interpretation of this cycle.
Free Music Review: Perspective from a choreographer
Hit: 5 Stars
I have the 24 Preludes and Fugues by Nikolayeva, Jarrett, and Ashkenazy. I have worked with this music before and am currently setting the Prelude and Fugue #12 on our dance company, BelCobraDance, with the prelude danced as a solo and the fugue danced by 3 or 4 dancers (at least!)
It always fascinates me how different pianists can have such a great variation in tempo for the same solo piano works. Perhaps this is especially true of romantic and neo-romantic works? The prelude certainly has the A-B-A structure, and the beautiful flow, typical of great romantic solo piano pieces.
Of the three, for this particular prelude, the Jarrett version is about 3 minutes, the Ashkenazy one about 4 minutes, and the Nikolayeva version close to 5 minutes. Like Goldilocks, I find the one in the middle (Ashkenazy's) just right. However, if I only had a three minute performance slot I could use Jarett's, though it would seem rushed for this beautiful and majestic passacaglia. Dancing the prelude #12 to Nikolayeva on the other hand would seem almost glacial, but I might try it sometime just for fun.
Interestingly enough the fugue of #12 varies relatively little in length between these 3 pianists, perhaps because it is a much more "modernist" piece, without the rubato of the prelude. They are wonderful together, however, and are a real voyage of discovery for this choreographer.
Free Music Review: Outstanding
Hit: 5 Stars
This is a wonderful set of pieces that deserve a wider audience. I suspect people are put off by Shostakovich's reputation as a difficult modern composer. Supposedly inspired by Bach's keyboard work, these works certainly reveal kinship with Bach's Preludes and Fugues but with a distinct 20th century slant. Shostakovich's own tonal voice is clear throughout. There is a great deal of lovely, sometimes powerful, and sometimes even playful music. Hearing the whole set played at this high technical level and with a consistent approach to interpretation is an excellent listening experience
As you can see from prior reviews, there is one of those typical music fan disagreements about performance quality. I find Ashkenazy's playing to be excellent. It is precise and not showy, letting the music speak for itself with clear intonation and regular tempi. Ashkenazy can certainly play more "expressively" as shown by his performance of the Romantic piano literature. Here, Ashkenazy uses a somewhat restrained approach but assuming Shostakovich was really aiming to emulate Bach, a legitimate and powerful one.
Free Music Review: Pianism as Natural as Breathing
Hit: 5 Stars
First, a caveat. I have never heard Tatiana Nikolaeva (the original dedicatee) play these pieces, nor Keith Jarrett or anyone else. As with practically any piece of classical music, there is value (aesthetic, if not always economic) in having more than one interpretation of a piece.However, based on this recording alone, I have to say that Ashkenazy's interpretation feels absolutely right. The musical flow on these recordings feels entirely organic, with the various preludes and fugues (which Shostakovich wanted played seriatim, rather than piecemeal) leading the listener through an expert re-evaluation of the value of the "well tempered clavier" in the 20th century.
Never showy, forced or exaggerated, Ashkenazy plays this music as naturally as breathing. This music simply feels timeless.