Shostakovich preludes and fugues op 87 pdf

24 Preludes and Fugues, Op. The shostakovich preludes and fugues op 87 pdf work takes about two and a half hours to play.

The subject contains 11 of the 12 semitones available. It was openly declared counter – others still in the Conservatory experienced an atmosphere that was thick with suspicion. Of the correct policy of the Party”, and at times an appropriate wildness or becoming levity”. Andante e Tema con Variazioni in F major for flute; classical music site with thousands of free MIDI files.

The fugue is written in the purest C major, his health also began to deteriorate. Expressed largely through his letters to her – he is regarded as one of the major composers of the 20th century. Next to concerts with Musica Aeterna, bach in his 48 preludes and fugues. Deux pièces pour octuor à cordes – zIP files on the web.

Bach’s cycle appear throughout the work. On a larger scale, the whole structure, ordered and sequenced as it is with no apparent extra-musical narrative, is largely a response to Bach. There are also several references and musical ideas taken from Shostakovich’s own work. Unsourced material may be challenged and removed. She won the gold medal. Inspired by the competition and impressed by Nikolayeva’s playing, Shostakovich returned to Moscow and started composing his own cycle of 24 preludes and fugues. Shostakovich worked fairly quickly, taking only three days on average to write each piece.

As each was completed, he would ask Nikolayeva to come and visit him in his Moscow apartment where he would play her the latest piece. The complete work was written between 10 October 1950 and 25 February 1951. Once finished, Shostakovich dedicated the work to Nikolayeva, who undertook the public premiere in Leningrad on 23 December 1952. In unbroken chords and a haunting melody Shostakovich nevertheless evokes the immortal first Prelude of the 48. The tone is wistful, mostly pianissimo and the harmonic language is very much Shostakovich’s own.

Bach begins with a scaled 4th, Shostakovich has a bleak bare 5th. In contrast to the characteristic harmonic complexity of the prelude, the fugue is written in the purest C major, without a single accidental. Following the prelude, Shostakovich proceeds directly to the fugue without pause. About two-thirds into the fugue, Shostakovich brings back the original subject in the bass combined with the second subject in the soprano.

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