Shostakovich: 24 Preludes & Fugues, Op. 87 (2000)

A Twentieth Century Piano Masterwork

Dmitry Shostakovich (1906-1975) is best-known for his symphonies and for his difficult political life in the former Soviet Union. Between 1950-1951, while his work was under a performance ban, Shostakovich composed a work for solo piano, the "24 Preludes and Fugues" Op. 87, which is remarkable for its intimacy and devotion to the art of pure music. It is one of the great piano works of the twentieth century. The complete work is performed on this 2-CD collection by Konstantin Scherbakov, a young Russian pianist.

Shostakovich's work consists of a prelude and a following fugue in each major and minor key. It is modeled after Bach's two-volume "Well-Tempered Clavier" which consists of two volumes of preludes and fugues in each key. (Shostakovich was asked after completing this work whether he would compose another set, to parallel Bach's two sets. "Never!", he replied.) Chopin's 24 preludes is another model. I found Shostakovich's work closer in spirit to Chopin than to Bach.
Unlike Bach's collections, which proceed in order on the chromatic scale, (c major and minor, c-sharp major and minor, d major and minor, etc) Shostkovich's cycle follows the circle of fifths. Thus, the first prelude and fugue is in C major while the second is in the minor key with the same signature as C major -- A minor. The work then proceeds up by fifths -- to G major and its relative minor of E-minor throughout the 24 major and minor keys.

In some instances, (such as nos. 3,6, and 10) the prelude and the fugue are written to contrast with each other. But most of the sets, I found, were complimentary in character with both the prelude and fugue expressing different aspects of the same emotional mood. Several of the fugues are based upon and develop the melodic material presented in the prelude. And some of the music does seem to be a deliberate recollection of Bach.

There is a great deal of variety within the set, with some pieces ironic, some humorous, some sad and quiet, and others virtuosic and showy. The final work in the set, no. 24, is appropriately, the most triumphal in the collection; the work marking the mid-point, no. 12, also reaches a climax. The prevailing tone of the collection, for me, is one of deep introspection. It is as if Shostakovich was not writing to please an audience or to adjust to the vagaries of the political censors but only for himself -- to capture in the quiet of his own study and heart what he wanted to say musically without pressure from anyone. Bach's volumes are the model for this type of attempt at "pure" or "abstract" music. Shostakovich's writing reflects his own character as a composer of the twentieth century. No listener will mistake Shostakovich's fugues for Bach's.

I thought Scherbakov's playing quiet, restrained, and thoughtful. It captures the character of this difficult work.

This work is tonal in character and more accessible than much contemporary music. Nevertheless, it will bear repeated listening. I approached the work by listening to it through, and then by listening separately to each half (i.e. dividing it into two sets of twelve). This CD is available at a budget price and will offer the adventurous listener the opportunity to explore a masterpiece of 20th century piano music.

Robin Friedman