Preludes & Fugues (24), for piano, Op. 87: No. 1, in C major
Preludes & Fugues (24), for piano, Op. 87: No. 2, in A minor
Preludes & Fugues (24), for piano, Op. 87: No. 3, in G major
Preludes & Fugues (24), for piano, Op. 87: No. 4, in E minor
Preludes & Fugues (24), for piano, Op. 87: No. 5, in D major
Preludes & Fugues (24), for piano, Op. 87: No. 6, in B minor
Preludes & Fugues (24), for piano, Op. 87: No. 7, in A major
Preludes & Fugues (24), for piano, Op. 87: No. 8, in F sharp minor
Preludes & Fugues (24), for piano, Op. 87: No. 9, in E major
Preludes & Fugues (24), for piano, Op. 87: No. 10, in C sharp minor
Preludes & Fugues (24), for piano, Op. 87: No. 11, in B major
Preludes & Fugues (24), for piano, Op. 87: No. 12, in G sharp minor
Track Listings (12) - Disc #2
Preludes & Fugues (24), for piano, Op. 87: No. 13, in F sharp major
Preludes & Fugues (24), for piano, Op. 87: No. 14, in F sharp major
Preludes & Fugues (24), for piano, Op. 87: No. 15, in D flat major
Preludes & Fugues (24), for piano, Op. 87: No. 16, in B flat minor
Preludes & Fugues (24), for piano, Op. 87: No. 17, in A flat major
Preludes & Fugues (24), for piano, Op. 87: No. 18, in F minor
Preludes & Fugues (24), for piano, Op. 87: No. 19, in E flat major
Preludes & Fugues (24), for piano, Op. 87: No. 20, in C minor
Preludes & Fugues (24), for piano, Op. 87: No. 21, in B flat major
Preludes & Fugues (24), for piano, Op. 87: No. 22, in G minor
Preludes & Fugues (24), for piano, Op. 87: No. 23, in F major
Preludes & Fugues (24), for piano, Op. 87: No. 24, in D minor
Shostakovich composed his 24 Preludes and Fugues for the brilliant Russian pianist Tatiana Nikolayeva (whose own distinguished version is also on disc), but it's American Keith Jarrett who really nails these amazing, revel... more »atory works which together form one of the masterpieces of 20th-century piano music. This recording is a must for all lovers of piano music and of Bach, whose own works inspired them. --David Vernier« less
Shostakovich composed his 24 Preludes and Fugues for the brilliant Russian pianist Tatiana Nikolayeva (whose own distinguished version is also on disc), but it's American Keith Jarrett who really nails these amazing, revelatory works which together form one of the masterpieces of 20th-century piano music. This recording is a must for all lovers of piano music and of Bach, whose own works inspired them. --David Vernier
James Arey | New Orleans, Louisiana United States | 08/15/2001
(5 out of 5 stars)
"There's a 2-CD set of these 24 preludes and fugues by Ashkenazy. The Ashkenazy version sounds absolutely stolid next to these silvery readings by Jarrett. Now, there IS the issue of technique... Once could, quite easily, pick on some of Jarrett's voicings, or his broken chords vs. pure sonorities... But while Ashkenazy's performance is sturdy and craftsmanlike, Jarrett's is painterly and fluid. Listen to the first selection on CD number 2 - the bird-like Prelude in F-sharp Major, and the following fugue, a glorious, long-breathed song in five parts... there is such LIFE in Jarrett's hands here! Pick and choose your favorites from among the 24... program your CD player to play your favorites as a suite... Listen for the influences of Debussy, Prokofiev, and most of all, Bach... And thank producer Manfred Eicher for his crystalline sound. 5 stars"
Classically-inspired Shostakovich
James Arey | 08/12/1999
(4 out of 5 stars)
"Jarrett's traversal of this pinnacle of 2oth century piano music turns out to be very classically inspired--with clean lines and clear counterpoint. This offers many bounties, but also a few quibbles.Jarrett's approach works wonders with many of the major key pieces. The C Major fugue flows along serenely and the A Major fugue positively glows. In addition, the amazing Couperin-inspired Bb minor fugue--with its gracefully ornamented theme--sings sadly for its nearly 10-minute length.Unfortunately, when darker emotions surface, Jarrett seems to shy away from the implications. Worst of all, he almost completely misses the rage in the final D minor fugue which was clearly Shostakovich sending a covert message to the authorities that he was bowed but unbroken by their harassment. Comparing Jarrett to Nikolayeva or Petrushansky (whose set is also a worthy competitor), one finds the Russian "soul" that is missing with Jarrett. However, one has to put up with some clumsy pianism in these performances as well as some tempos that are too slow to carry the music. I haven't heard Shostakovich's own performances, but suspect that they're the most powerful of all but may be compromised by less than perfect sound. I have high hopes for Ashkenazy who is the first "name" pianist to approach the whole set--Richter having done a few of them in the 70s. My solution? Buy Jarrett and one of the Russians. This music is so wonderful that it can support more than one approach. Which set I choose to play depends completely on my mood. I'm not upset by any of them."
The best overall recorded performance of a classic work.
James Arey | 01/23/1999
(4 out of 5 stars)
"If you are a Shostakovich fan, as I am, then you probably already have at least one of Tatiana Nikoleava's versions of this masterpiece, as well as the various excerpts recorded by Shostakovich himself in the late 50's. You still want to add this one to your collection. If you are unfamiliar with the work, this is the recording to have. Jarrett not only is ideally suited for the more technically demanding parts of this work, his performance is the best available at capturing all of the different facets of these 48 separate pieces. The sound of the recording is very consistent, which unfortunately seems to be a drawback. The slightly reverberent and distant sounds works perfectly for the slower and more dramatic pieces, but the drier sound of the Nikoleava's recordings more clearly captures the razor-sharp fast passages, particularly in the fugues. If you are not familiar with this work at all, be advised that this not in any way a rehash of Bach's Well-Tempered Clavier. It was written in the fall of 1950 after Shostakovich was denounced by Stalin for the second time and banned from teaching or having his works performed. This is the pearl that emerged -- easily the major piano work of the 20th century. Unfortunately, there were no more piano works from Shostakovich, since he chose instead to concentrate on symphonies and string quartets for the rest of his life."
How a 20th Century Well Tempered Clavier Might Sound
James Arey | 01/12/1999
(5 out of 5 stars)
"The 20th Century is dominated by Russian composers beginning with Rachmaninoff moving through Stravinsky and ending with Shostakovich. While only one letter of the alphabet separates the first letter of their surnames the styles of these giants range from lush romanticism to an ascetic and angular modernity (that does not sacrifice tonality and melody). Shostakovich, inspired by a competition performance of Bach's Wohltempierte Klavier, has written a cycle of 24 Preludes and Fugues in praise of Bach that are a joy to listen to and savor. They are tonal, well-crafted intellectual pieces of music that are played with sensitivity and feeling by Mr. Jarrett. As Rachmaninoff's Preludes are to Chopin so are Shostakovich's Preludes to Bach. Played softly through a stereo system they provide a stimulating background music, played at concert sound levels they leave one with the desire that Dimitri Shostakovich should have been similarly inspired by Chopin so that we might have more of this type of 20th century piano music. The program notes provided with the disc are illuminating both as to Bach's composition and as to Shostakovich's Preludes. It is always appreciated when in addition to the listening pleasure of the recording itself, the recording company provides program notes that educate and inform."
Shostakovich's Preludes and Fugues: Fresh and Spontaneous an
Grady Harp | Los Angeles, CA United States | 06/19/2010
(5 out of 5 stars)
"Keith Jarrett is a fastidious musician, one who studies his craft as a pianist meticulously and with that preparation he seems to intuitively understand the composer's intentions. Shostakovich's 24 Preludes and Fugues, Opus 87 continues to gain acceptance on the performing stage despite the length of the work, especially when performers with the sensitivity and agility that Keith Jarrett perform them. This is notoriously challenging music not only for the treacherous territory and fingering of the fugues which have been rushed by other pianists as if trying to reach the next rest stop of the preludes, but also for making the 24 pieces work together as an entity. But with Jarrett the skill that he commands makes these fugues clever variations on the preludes.
For this listener the sheer magic of this recording is Jarrett's soulful playing of the preludes. Few other performers (including the infamous recording by Tatiana Nikolaeva dating back to 1987 and to this point being the gold standard for this opus) have found the 'Russian spirit' that Jarrett shares. Here is all the heart and passion of the most powerful movements of Shostakovich's symphonies condensed in these brief melodic explorations. What Jarrett accomplishes here is beyond praise: the listener must experience these airbourne moments alone, with only the sound of Jarrett's keyboard manipulation being present in the space.
This simply is one of the recordings that is destined to be regarded as the finest of the recreations of the genius of Dmitri Shostakovich. Grady Harp, June 10"
Track Listings (12) - Disc #1
