Album insights
Dimitri Shostakovich's worldwide reputation as one of the great masters of the 20th century rests primarily on his fifteen symphonies, fifteen string quartets, several concertos, and a handful of other works. However, for the Shostakovich specialist, the discovery of around forty additional compositions reveals varied facets of this unique composer when thoroughly explored.
Shostakovich's musical oeuvre, especially his solo piano compositions, showcases a series of paradoxes. Despite his virtuosity as a pianist, he composed relatively little for the piano, leading to the paradox of a composer with great technical skill in piano leaving behind only a modest collection for the instrument. His music for solo piano, particularly the 24 Preludes and Fugues forming his Op. 87 from 1950 to 1951, represents a culmination of his piano compositions.
Among Shostakovich's solo piano works, the 24 Preludes and Fugues Op. 87 mark a significant contribution, serving as his final statement on the piano as a medium. These compositions began around the time he approached his twelfth birthday in 1918.
Discovered among the papers of piano professor Alexandra Rozanova, three short pieces for solo piano were played by Shostakovich in the spring of 1917 while still a student at the Gnessin School of Music. Commencing his studies at the conservatory in 1919, Shostakovich composed eight Preludes for piano, only five of which were published before 1966.
The Three Fantastic Dances Op. 5 (1920) illustrate greater tonal freedom and sophistication compared to his earlier works, showcasing the composer's evolving experience despite his young age.
Shostakovich's 24 Preludes Op. 34, composed in the winter of 1932/3, demonstrate a distinct tonal structure with each piece meticulously dated, likely composed and published in sequence, forming cycles of tones and keys across both this and his Op. 87 series.
Shostakovich's Piano Sonata No. 2 in B minor Op. 61, completed in 1943, surprises with its structuring, with the longer final movement standing out in contrast to the usual placement of intense emotional content in the opening movements of his works.
The second sonata pays tribute to Leonid Nikolayev, reflecting depth in its mournful Largo movement, possibly serving as a lament for the late composer. The sonata's tonal structure in B minor provides a stable foundation throughout, with the final movement serving as an extensive exploration of variations on a haunting theme, showcasing Shostakovich's compositional virtuosity.