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Izvornik
Dmitri Shostakovich. 24 Preludes And Fugues For Piano Op.87 Vol 1. Sheet Music. Piano Solo. PF. Dmitri Shostakovich.
Prijevod
Dmitrij Šostakovič. 24 preludija i fuge za klavir Op.87 Vol 1. Sheet Music. Piano Solo. PF. Dmitrij Šostakovič.
Izvornik
Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva, Shostakovich began his own series of 24 Preludes and Fugues, Op. 87, based on Bach's model. He composed them quickly, starting on October 10, 1950, and finishing on February 23, 1951. While his work would pay homage to Bach, Shostakovich's work would have several fundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascending semi-tonal order of Bach's work. Second, Shostakovich's pieces would be composed in order — that is, C major - A minor followed by G major - E minor followed by D major - B minor — and, more significantly, this order would have a sort of subliminal narrative sub-text, taking the music from the "innocent" tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally, Shostakovich's work, although conservative in its counterpoint and harmony — that is, there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal in language — is still clearly the work of a modernist composer. his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is a work which can not only stand comparison with Bach's Well-Tempered Klavier, it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century.
Prijevod
Samo vratio iz posjeta Leipzigu u ranu jesen 1950., gdje je čuo Bachov dobro ugođenog Klavier na dvjestagodišnji Bach natjecanju igrali ruski pijanist Tatiana Nikolaeva, Šostakovič započeo svoj niz od 24 preludija i fuge, op. 87, na temelju Bachove modelu. On ih je skladao brzo, s početkom 10. listopada 1950. godine, a završiti na 23 veljača 1951. Iako je njegov rad će odati počast Bacha, Šostakovič rad će imati nekoliko osnovnih razlika. Prvo, redoslijed pojedinih komada će biti organizirano oko kruga petine s preludij i fuga u relativnom maloljetnika nakon svakog velikog ključni komad nego u rastućem polu-tonski red Bachove rada. Drugo, Šostakovič je komada će biti sastavljen u cilju - to jest, C-duru - molu slijedi G-duru - E-molu slijedi D-duru - molu - i, još važnije, ovaj nalog će imati neku vrstu podsvjesnog narativne pod-tekst uzimajući glazbu iz "nevine" tonski svijet C-duru Preludij i fuga na duboke i uzvišene ozbiljnosti zaključnom d-molu Preludij i fuga. Konačno, Šostakovič rad, iako je konzervativna u kontrapunktu i sklada - koji je, postoje primjeri okretati ili reverzibilne teme ili kontrapunkta i djela su uglavnom prepoznatljivo tonski na jeziku - još uvijek je očito djelo modernog skladatelja. njegov kontrapunkt i harmonija može biti konzervativno, ali su emocionalni i duhovni svjetovi preludija i fuge se odjednom iskrena i ironičan. Rezultat je djelo koje ne samo da može stajati usporedbu s Bachove dobro ugođenog Klavier, to je i Šostakovič je remek-djelo za glasovir i jedan od kontrapunktskih remek-djela dvadesetog stoljeća.
