There are various ways to approach Shostakovich's set of 24 Preludes and Fugues, Op. 87, written in 1950 and 1951 during the period after Shostakovich's second denunciation by the Soviet Communist Party's cultural apparatchiks. Russian pianists especially tend to add a lot of tension, implicitly grouping the pieces with the "desk drawer music" that the composer kept mostly hidden (in fact, the Preludes and Fugues were performed a few times, and were indeed criticized for being too "formalist"). Others have taken these ...
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There are various ways to approach Shostakovich's set of 24 Preludes and Fugues, Op. 87, written in 1950 and 1951 during the period after Shostakovich's second denunciation by the Soviet Communist Party's cultural apparatchiks. Russian pianists especially tend to add a lot of tension, implicitly grouping the pieces with the "desk drawer music" that the composer kept mostly hidden (in fact, the Preludes and Fugues were performed a few times, and were indeed criticized for being too "formalist"). Others have taken these deeply Bach-inspired pieces as straight neoclassicism, keeping the tempi and dynamics within strict boundaries. The veteran English pianist Peter Donohoe takes a different tack, meditative and a bit reverent. It's as though he understands the music as Shostakovich's testament to the value of the great Western tradition even as it was under attack and distortion in his home country. Time and time again you hear, in this reading, passages that sound like pure Shostakovich bumping up against...
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