File Name: shostakovich 24 preludes and fugues .zip
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Of these three, Leipzig was undoubtedly the musical capital of the whole of Germany, the city of Mendelssohn, Schumann and Richard Wagner, the home of the Conservatory and the Gewandhaus.
Most importantly of course, it housed the church of St Thomas, the Thomaskirche, dating from the late fifteenth century, which had survived the wartime Allied bombardment.
The Church was to be the focal point of the celebrations held in the City during July to mark the th anniversary of the death there of Johann Sebastian Bach, who had—since —been cantor of the City of Leipzig. Bach, as was the custom of the time, had been buried in a wooden coffin. Russia had suffered greatly at the hands of the German Army; the Russian resistance bore fruit as the Red Army pursued the retreating invaders back across the borders into the heart and very capital of Germany.
As they liberated Eastern Europe they exacted a fierce and total retribution: many treasures, commercial as well as artistic, and many tons of raw material, were taken to Russia. And so Dmitri Shostakovich found himself sent in to New York as delegate of the World Peace Conference, and in to Warsaw as part of the Soviet Committee for the second World Peace Conference, before going to Leipzig in July as the principal Soviet delegate to the Bach commemorations—as a member of the jury of the Bicentennial Bach Competition.
One of the entrants for the Competition was the twenty-six-year-old Russian pianist and composer Tatiana Nikolayeva, a recent graduate from the Moscow Conservatoire and a piano pupil of the legendary Alexander Goldenweiser then seventy-five years old; he was to be a Professor of piano there for fifty-five years, numbering Kabalevsky and Lazar Berman amongst his pupils. Nikolayeva studied composition with Evgeny Golubev, whose pupils also include Alfred Schnittke, and she has since written two Piano Concertos, a Sonata and much other music for solo piano, as well as vocal works.
It was indeed. Back in Moscow he conceived the idea of writing a set of 24 Preludes and Fugues one in each of the major and minor keys for solo piano. This would be a very different composition from those which earned him a State Prize in the pleasant but somewhat anodyne oratorio The Song of the Forests Op 81 and the film score The Fall of Berlin Op For the early s were also a period of great uncertainty for Soviet composers.
The notorious Zhdanov Decree of had humiliated Prokofiev, Miaskovsky, Khachaturian and Kabalevsky—among others—and especially Shostakovich: such leading figures found themselves at the mercy of those lesser, more politically sycophantic, figures who controlled Soviet music.
With artistic uncertainty at home, and greater uncertainties abroad, what could have been more natural for Shostakovich than to concentrate his creative energies on a major work which he could compose and perform in his own study, free from outside interference?
The artistic challenge such an undertaking posed would stretch his own compositional powers to the limit, concentrate upon timeless truths of European music, and be the catalyst by which his future could—in certain technical aspects, at the very least—greatly benefit. On 10 October , shortly after his forty-fourth birthday, Shostakovich began what became his Opus 87 originally, he designated it Opus The set was finished on 25 February Also, as with the Opus 34 Preludes, the Preludes and Fugues were composed in the order in which they are published.
However, throughout this music we are in no doubt as to the creative personality of the artist addressing us: it is Dmitri Shostakovich, the twentieth-century master, whose music—as time passes—is perceived more and more to be that of a truly great composer, not just of his or of our time, but for all time.
NOTE: After consultation with the composer, and with his approval, Tatiana Nikolayeva makes a few minor adjustments to the printed text. These include such adaptations as the occasional ad libitum repetition of pedal bass notes as in the Prelude of No 20, the delayed final fifth of Fugue No 4, and the octave bass transposition at the end of Fugue No Die Produktion der Wasserstoffbombe war eine Reaktion auf die Detonation der ersten russischen Atombombe im September Die Feierlichkeiten von standen somit auch im Zeichen des Jahrestages der letzten Zurruhelegung Bachs.
Und so war es. Am Die Sammlung wurde am 25sten Februar fertiggestellt. I was awarded the first prize. As time passes, I feel more and more that I received then another, not so concrete but no less important, prize: the creative and personal friendship of Dmitri Shostakovich—a friendship which lasted more than 25 years, to the day of his death. On his return home to Moscow from Leipzig, Shostakovich immediately began to compose his Preludes and Fugues.
At his request I telephoned him every day and he asked me to come to him to listen to him play the piece he had just written. The Preludes and Fugues is a work of great depth, of unsurpassed mastery and greatness.
They are 24 masterpieces, each with its own internal world. They are a new word in polyphony. At a performance of the whole cycle it is possible to follow its vast overall concept.
The breadth of images and characterisations is very great: from tragedy to humour, from gaiety to the grotesque. Performing the Preludes and Fugues for many, many years the premiere was in Leningrad in December , I have happily not lost the freshness of feeling.
Each performance of this work is for me a festival, a great occasion. And it always seems to me that present in the hall, as in the past, is their most demanding composer—the great Dmitri Shostakovich! Je remportai le premier prix. On peut, et on doit, les comparer au cycle de Bach.
Ils ouvrent un nouveau chapitre en polyphonie. Todestag von Bach. Er war Ehrenmitglied der Jury des Klavierwettbewerbs, an dem ich selbst teilnahm. Seiner Bitte entsprechend rief ich ihn jeden Tag an. Sie schaffen einen neuen Begriff von Polyphonie.
Mit jedem Tag entfernen wir uns weiter von Schostakowitschs Lebenszeit, deren direkte Zeugen wir gewesen sind. Don't show me this message again. Backed by the Soviet Union—which controlled the largest area of defeated Germany but with the second-largest population —a blockade of Berlin began on 1 April and lasted until 30 September April begann und bis zum September dauerte.
Think Preludes and Fugues, and J. Additional information. Editor: Jones, Richard. The spelling and formatting is as in the original. Although doubtlessly inspired by J.
IMSLP is very 'polite,' and by 'polite' I mean not sharing these manuscripts within the US/EU even though only Russian copyright applies.
This is a second, completely revised edition of a posting which I started in November It still covers the 24 Preludes and Fugues, op. However, several factors brought me to rewrite the posting:. On this occasion, Dmitri Shostakovich was sent to Leipzig, as cultural ambassador.
Blog About Us Contact. Allow to cool on a wire rack, and then cut it into bars. Another recipe using Eagle condensed milk is 4 … I used a 9x13 inch Pyrex dish for the cake. Tel Fax Press into the bottom of the dish to make a crust.
The medium proved so adequate to the music that I didn't hesitate This section isn't for the purist, so skip op. Prelude 9 II.
He composed them quickly, starting on October 10, , and finishing on February 23, While his work would pay homage to Bach, Shostakovich's work would have several fundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascending semi-tonal order of Bach's work.
Composer or Director: Dmitri Shostakovich. To many readers of Gramophone , Keith Jarrett will no doubt be pre-eminently a ''jazz pianist''. In fact there's very little that's startling about this recording, apart perhaps from the meticulous clarity of the playing the beautifully focused ECM recording helps of course. I can't remember another performance of the tumultuous D flat major Fugue in which the details have stood out so finely or the voices maintained their identity with such compelling consistency.
The cycle was composed in and while Shostakovich was in Moscow and premiered by pianist Tatiana Nikolayeva in Leningrad in December ;  it was published the same year. The complete work takes about two and a half hours to play. Each piece is in two parts— a prelude and a fugue —varying in pace, length and complexity for example, Fugue No. Bach 's The Well-Tempered Clavier , an earlier set of 48 preludes and fugues, is widely held to be the direct inspiration for Shostakovich's cycle, largely based on the work's composition history see below. References to and quotations from Bach's cycle appear throughout the work. Likewise, the composers' second fugues A minor for Shostakovich, C minor for Bach utilize very similar opening rhythms for their fugue subjects two 16th notes followed by 3 eighth notes, twice in a row. In addition to more direct quotation, Shostakovich also at points imitates the various types of preludes found in the Bach cycle and in other, similar, Baroque compositions.
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Of these three, Leipzig was undoubtedly the musical capital of the whole of Germany, the city of Mendelssohn, Schumann and Richard Wagner, the home of the Conservatory and the Gewandhaus. Most importantly of course, it housed the church of St Thomas, the Thomaskirche, dating from the late fifteenth century, which had survived the wartime Allied bombardment.
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