Customer Reviews

Shostakovich: 24 Preludes and Fugues, Op. 87

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Shostakovich's 24 Preludes & Fugues are the pinnacle of 20th century piano music as far as I am concerned. They cover a wide range of moods and reveal new facets every time I listen to them. They can be enjoyed for the pure pleasure of their counterpoint, but Shostakovich also buried much pain and suffering in these pieces. No existing complete set gets them completely right, and this version is no exception. That said, this is still a terrific recording. Scherbakov appears to have looked deeply into Shostakovich's harmonic thinking and reveals some amazing things. At every turn, one hears interesting progressions and sonorities through his care with balances and voice-leading.

This is especially true in second half of the set which in the past frequently seemed drier to me than the earlier pieces. Scherbakov reveals that they are merely subtler than the first twelve or so. Check out Preludes 21 and 22 for an idea of what I'm talking about. In the moto perpetuo of #21, things start out clear and simple but then the harmony spins widely of kilter and Scherbakov delights in the wayward movement. In the following Prelude, check out the really creepy sounds he elicits at the beginning.

Overall, this is a very subdued rendition of this cycle and therein lies my only criticism. Some of the "bigger" fugues need a bit more heft than Scherbakov gives them. Still, he is so wonderfully intimate in these pieces that it's hard to quibble, especially for the asking price.

If I was just being introduced to the music, I'd choose the Jarrett set for the incredible sense of wonder he brings to his cycle. But if that set entices you into the music, then this is the next set to get to reveal the richness in this music. Now, if we can only get a set with blazing intensity, I'll be completely happy.

PS At all costs avoid the Ashkenazy. It may look enticing, but it's incredibly stale and dull.

Dmitry Shostakovich (1906-1975) is best-known for his symphonies and for his difficult political life in the former Soviet Union. Between 1950-1951, while his work was under a performance ban, Shostakovich composed a work for solo piano, the "24 Preludes and Fugues" Op. 87, which is remarkable for its intimacy and devotion to the art of pure music. It is one of the great piano works of the twentieth century. The complete work is performed on this 2-CD collection by Konstantin Scherbakov, a young Russian pianist.

Shostakovich's work consists of a prelude and a following fugue in each major and minor key. It is modeled after Bach's two-volume "Well-Tempered Clavier" which consists of two volumes of preludes and fugues in each key. (Shostakovich was asked after completing this work whether he would compose another set, to parallel Bach's two sets. "Never!", he replied.) Chopin's 24 preludes is another model. I found Shostakovich's work closer in spirit to Chopin than to Bach.

Unlike Bach's collections, which proceed in order on the chromatic scale, (c major and minor, c-sharp major and minor,d major and minor, etc) Shostkovich's cycle follows the circle of fifths. Thus, the first prelude and fugue is in C major while the second is in the minor key with the same signature as C major -- A minor. The work then proceeds up by fifths -- to G major and its relative minor of E-minor througout the 24 major and minor keys.

In some instances, (such as nos. 3,6, and 10) the prelude and the fugue are written to contrast with each other. But most of the sets, I found, were complimentary in character with both the prelude and fugue expressing different aspects of the same emotional mood. Several of the fugues are based upon and develop the melodic material presented in the prelude. And some of the music does seem to be a deliberate recollection of Bach.

There is a great deal of variety within the set, with some pieces ironic, some humorous, some sad and quiet, and others virtuosic and showy. The final work in the set, no. 24, is appropriately, the most triumphal in the collection; the work marking the mid-point, no. 12, also reaches a climax. The prevailing tone of the collection, for me, is one of deep introspection. It is as if Shostakovich was not writing to please an audience or to adjust to the vagaries of the political censors but only for himself -- to capture in the quiet of his own study and heart what he wanted to say musically without pressure from anyone. Bach's volumes are the model for this type of attempt at "pure" or "abstract" music. Shostakovich's writing reflects his own character as a composer of the twentieth century. No listener will mistake Shostakovich's fugues for Bach's.

I thought Scherbakov's playing quiet, restrained, and thoughtful. It captures the character of this difficult work.

This work is tonal in character and more accessible than much contemporary music. Nevertheless, it will bear repeated listening. I approached the work by listening to it through, and then by listening separately to each half (i.e. dividing it into two sets of twelve). This CD is available at a budget price and will offer the adventurous listener the opportunity to explore a masterpiece of 20th century piano music.

An utterly sensitive and delicate performance. Mastery of intricate rhythms. Phrasing impeccable. Profound sense of the meaning of chords and chord changes. Innate sensibility as regards to the intentions of the composer. Total command of the instrument. Dynamics almost beyond belief.

Acoustics and recording exceptional.

First choice and first rate if you're into Shostakovich.

These are probably my favorite work by Shostakovich. Not being too big a fan of the more-celebrated symphonies, I believe that this work reveals much more of the man then most people think it does.

Shostakovich once said that his symphonies ultimately represented "a set of tombstones" to him. I mention this not, of course, to detract from those who praise those works. Shostakovich lived through the twentieth century as a Russian and a Soviet, so it's easy to see the root of all the angst and sadness he expressed through them. That, in short, is why they're still istened to even today, because of the level of emotion which was expressed with the aid of his musical genius. I can't help but view the symphonies as amazing in their own right.

The preludes and fugues, op. 87, couldn't be more different. They were written for solo piano, and are mostly subdued pieces where the symphonies are perfectly cacphonous. What I'd like to suggest, is that these pieces represent a kind of photo negative of the symphonies. Take a listen to a few of them. They sound so delicate - so full of innocence and youthful ardor! And yet so precise! One can scarcely believe they weren't written by a 20-year old prodigy. Where the symphonies drown you in a direct emotional assault, the preludes are like a light sprinkle of rain, often merely hinting at the emotions behind them. This of course is just what makes them such wonderful pieces to listen to, time and again. Each fugue behaves in much the same way that those of Bach did, with a well-defined subject and counter-subject, and yet so much arises out of this simple dynamic it is hard to put into words the effect they can have on a person.

I personally believe that Shostakovich was able to exorcise his demons through the symphonies. But what of his happiness? I believe if the man had experienced as much joy as sadness, we would be listening today to magnficent symphonies on a par with those of Beethoven. But unfortunately (or fortunately?) for us, he never felt exuberance on the same level he did melancholy. These preludes are a testament to the joy he must have wished he were capable of feeling. They hint at something that never was, but something that was always longed for. You can hear it in each piece: the misplaced ecstasy

I bought this a month ago on the basis of the reviews--the music was totally unfamiliar to me. I thought, well, I like Bach , and I like some (but not all!) Shostakovich, so it might be interesting to listen to his takeoff on Bach's Well Tempered Clavier. Also the price is low enough so that if it's not very good, I'm not out too much.

I'm now listening to it for maybe the 20th time, and I can't believe that after listening to classical music for 45 years I missed this work. It is wonderful. As played by Scherbakov, the preludes and fugues run a gamut of emotions, from somber to playful to bombastic to placid to frenetic--in no sense do they give a feeling of being technical exercises. Some of are technically formidable, and Scherbakov seems to play them flawlessly. And there are so many memorable musical moments throughout.

Listeners very familiar with Bach preludes and fugues should enjoy trying to find aural connections between these preludes and fugues and Bach.

The reviewers that call this work a pinnacle of 20th century piano literature are correct.

I can't compare this recording with the others available except that I recently heard several preludes and fugues from a recording by Shostakovich himself, and they seemed muddy by comparison with Scherbakov. The price of the Naxos recording is so reasonable that anyone with an interest in great music should own these CD's.

This disc is a revelation for me: I had no idea that Shostakovich wrote so wonderfully for solo piano. He wrote all of the work collected here early in his career (he wrote the impressive, joyous "Three Fantastic Dances" at the tender age of sixteen). Most of these pieces are lyrical and tonal and draw from a wide array of styles, from from Bach to Chopin to jazz. Yet they are original, clearly the work of a great musical mind. Generally affirmative, they are nonetheless personal and the work of--and for--a virtuoso. Fortunately, Scherbakov is well up to the demands, and the recording is, like many Naxos discs, excellent.

Forgive me if I dare to speak on behalf of the Old Master. But I think he would be pleased and honored. This is more than just an imitative tribute. The ghost of Bach haunts these pieces. To me, they are unlike anything else Shostakovich wrote. Here, we don't the find the dissonantly dramatic anguish of his private works, or the painfully forced optimism and conformity of his officially approved works. This is very elegant music. Graceful and unselfconscious. Scherbakov gives it the elegant interpetation i feel it deserves. The piano tone, the acoustics (recorded in a church) and engineering combine to give this recording a mellow sound. Also appropriate, in my opinion. Though Scherbakov can play with dash if need be, he keeps the pace even and graceful throughout. Those of you who want more drama and conflict from Shostakovich may be disappointed. Those who want a performance with more energy and dynamic range may want to try more historic recordings. Shostakovich wrote skillfully, but no melodies stand out, as they do in Bach's preludes and fugues. This elegant writing and performance suit my tastes perfectly. This recording will be a treasure in my collection.

i'm still digesting the amazing content of these CD's; this is my introduction shostakovich's preludes and fugues, and what an excellent introduction naxos has made!

the sound is clean and intimate; the playing, in my mind, full of tenderness, affection and in places... fun. and some of these- like fugue #7- just break your heart.

at the price getting this is almost essential.

Roger Woodward was the first pianist outside of the USSR to record the complete Preludes and Fugues of Shostakovich (RCA) and in some ways his fresh faced account from the 70's still stands up well (alas,STILL unavailable)

In the meantime,Scherbakov's thoughful and beautifully articulated set will do nicely.The introverted side to Shostakovich suits him particularly well:the opening prelude in C is marvellously sustained at quite a slow tempo.An oasis of calm.The Bb fugue feels like gentle wisps of colour but doesn't flow quite as naturally as Woodward.

For my tastes,the famous Dflat prelude and Fugue lacks the final sense of abandon (Woodward is marvellously unhinged here)and the part writing gets a bit muddled.Perhaps the resonant recording is partly to blame.

highlights:breathtakingly deft handling of the Aminor prelude.
innocent,exquisitely neat in the Amajor Prelude and Fugue,and for the ultimate raunchy swing Scherbakov is every bit as extrovert Woodward in the G#minor Fugue.

I am new to this collection, but am very happy with Scherbakov's performances. Other recordings may be better, but this set is satisfying and priced competitively.

Like Bach's two sets of preludes and fugues, there is a plan, but Shostakovich's set does not ascend through the chromatic scale, but is based on the cycle of fifths. [Major, relative minor, next major in the cycle, its relative minor, etc.]

There is great variety in the compositions and also in the interpretations in this recording.

The Naxos set is a great way to begin getting to know these works. When you later decide to purchase a copy of the sheet music, you may be horrified by the price! But having become attracted by what I have heard on this recording, I think I am going to be shelling out before too long.