Shostakovich: 24 Preludes & Fugues Opus 87

The 24 Preludes and Fugues op. 87 are at the same time an homage to Bach (prelude no. 22) and a microcosm of Shostakovich’s language: works harking back to the past are here present alongside others that bear witness to a continuing concern for renewal. In the cycle, the composer passes through the entire spectrum of emotions.

Tracks

CD 1

Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegro
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato non troppo
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro molto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Andante
Preludes & Fugues (24), for piano, Op. 87: Fugue. Adagio
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegro poco moderato
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Andante
Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato non troppo
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegro
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato
Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro
Preludes & Fugues (24), for piano, Op. 87: Prelude. Andante
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro

CD 2

Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato con moto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Adagio
Preludes & Fugues (24), for piano, Op. 87: Prelude. Adagio
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro non troppo
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro molto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Andante
Preludes & Fugues (24), for piano, Op. 87: Fugue. Adagio
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato con moto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegretto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato con moto
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato
Preludes & Fugues (24), for piano, Op. 87: Prelude. Allegro
Preludes & Fugues (24), for piano, Op. 87: Fugue. Allegro non troppo
Preludes & Fugues (24), for piano, Op. 87: Prelude. Moderato non troppo
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato
Preludes & Fugues (24), for piano, Op. 87: Prelude. Adagio
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato con moto
Preludes & Fugues (24), for piano, Op. 87: Prelude. Andante
Preludes & Fugues (24), for piano, Op. 87: Fugue. Moderato

-When a pianist has to face a monumental work such as the “Préludes & Fugues” from Dmitri Shostakovich, one has to show patience and perseverance, since this two and a half hour composition has to be executed (somewhat) forcefully. The young Canadian pianist David Jalbert (who is only 29 years old) assumes this task with delicacy and concentration. Bach’s influence is noticeable in every note and still Jalbert succeeds in captivating the listener’s attention with an interpretation of Shostakovich that lives up to the expectations and that can hardly be surpassed in ibeauty and depth. If we do have to abstain from various extremes in Jalbert’s recording, it is because his playing is so impressively straightforward and simple that, as mentioned before, he gets along without expending to much effort and energy, but is always on the lookout for hidden beauty. Here we have a clear demonstration that less is often much more and that the interpreter has to step back behind the work itself, so as to unlock its skilful magnificence. And this is precisely the case here.
– PIZZICATO (Luxembourg)