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It is beautiful smiling music--like sunlight sparkling on clear blue water.
Keith Jarrett, known primarily as a jazz pianist, has exhibited a great deal of courage with his recording of classical "standards" such as this one.
What more is there to say that this is one of the great musical compositions of the 20th century as interpreted by an extraordinary musician?
Jarrett's unique genius is jolly evident whether playing classical or jazz; clean and subtle.Published 1 month ago by Michael Dorr Frann
The recording seems fine to me. However, try as I might, I am fundamentally unmoved by Shostakovich's music. Read morePublished 4 months ago by stats guy
If you don't have any recordings by Keith Jarrett, by all means, stop holding back. If one were to start with this recording, s/he would not be making a mistake (although, truth be... Read morePublished 7 months ago by 2215bee
This is a little known but absolutely fantastic piece. Should be played more. Jarrett brings his popular ear to his playing. Read morePublished 11 months ago by KPF
Love these guys who can cross over from one style to another, to me they are by far the best musicians. Read morePublished 12 months ago by peter karol zontak
I've had this album for many years and really like it. My favorite piece is #7 on the first cd. This music is very different from Shostakovich's symphonies, being much less... Read morePublished 12 months ago by Roger Berlind
Well, first there's the music.
From the peaceful opening prelude, echoing it's famous predecessor on Bach's Well-Tempered Clavier, to the mighty D minor fugue, which... Read more
As an ardent listener of Shostakovich's music- his symphonies, concertos, sonatas, string quartets, ballet (yes), and film scores- I found this recording to be disappointing. Read morePublished on February 10, 2012 by Bleu d'Auvergne
For me, the set of 24 preludes and fugues is Shostakovich's greatest composition. Jarrett's performance is poles apart from the generally favoured, more emotional performance of... Read morePublished on January 29, 2011 by Robert Faulkner