Shostakovich's Preludes and Fugues

Started by The Mad Hatter, June 07, 2007, 03:04:39 AM

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staxomega

Quote from: aukhawk on June 26, 2022, 08:17:36 AM
The Weichert is readily available both from Presto and Amazon, at very good prices for what is effectively a 4-disc set, but downloads only.  (But hey, this is the 21st century.)  The other piano music included is interesting I suppose, but only the 2nd Sonata really adds value.  So judge the price and value on the Preludes & Fugues alone - Amazon is very cheap but to have MP3s only of what is actually one of the best-recorded sets out there is rather a shame.

I agree with your general assessment of the Levit but personally I find the recorded sound problematic - as mentioned upthread - perhaps I'm just unlucky and something at the treble end sets off some resonance in my B&W speakers.  The Stevenson was recorded at a different location and sounds a bit better to me - but, like the other items included with the Weichert set, this is essentially a 'free' inclusion and I'm unlikely to listen to it much if at all - I already have 3 other recordings and I don't listen to those either!

I would expect an up-coming new recording of the P&F from Eugenio Catone sometime in the next 12 months - he has vols 1 & 2 of DSCH piano music already released.

Did you try Levit on headphones? I still have not progressed past p/f 8 from my previous post. Oddly I can listen to WTC on harpsichord or piano any time, any place but I have to really be in the mood to hear op. 87 which I find a bit vapid in comparison, though without the comparison a very fine set of pieces.

aukhawk

#221
Yes I have listened to a few tracks from Levit on decent planar headphones (HiFiMan 400i) but still find the sound - well 'clangorous' is the word, maybe that's a bit harsh it's not that bad, it's just that I expect better from a modern recording.  Maybe the resonance isn't so much in my speakers as in my head  :)  but I don't hear it at all from Weichert, or Bond, or Lin, or Nikolayeva/Hyperion - to name my favourites.

The composer's recordings are also available via a series of singles on the Naxos label, by the way.

MusicTurner

#222
Quote from: aukhawk on June 27, 2022, 04:13:35 AM
(...)

The composer's recordings are also available via a series of singles on the Naxos label, by the way.

True,
one with nos. 2-5, 12, 14, 16,
one with nos.6, 8, 20, 22, 24,
a third including 6, 7, 8 plus concerti etc.,
so more missing, it seems.

Karl Henning

Landed today. Looking forward to wading in ... but mildly disappointed at the plastic clam-shell.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

aukhawk

Quote from: MusicTurner on June 27, 2022, 10:46:55 AM
True,
one with nos. 2-5, 12, 14, 16,
one with nos.6, 8, 20, 22, 24,
a third including 6, 7, 8 plus concerti etc.,
so more missing, it seems.

Having mentioned these Naxos releases, I should add that for thirteen of these (but sadly Nos. 2, 3, 7 are not included) the sound on the excellent Shostakovich Plays Shostakovich collection is much to be preferred to the Naxos versions.


Shostakovich Plays Shostakovich

milk


aukhawk

I'm not familiar with Minnaar's other recordings but, listening quickly to a few selected tracks (7-10,13,14) via Spotify -

There is a general lightness of touch, in Fugue No.7 the gossamer-like textures are most beautifully rendered.
There is rubato, almost Chopin-esque.  Prelude No.8 is anything but metronomic.  I prefer a more severe approach in this piece myself.
In the slow Fugues (No.8, No.10) he shows a tendency to not hang about.  No sense of trying to wring the last ounce of 'feeling' from the music.
In the central, pivotal, introspective Fugue No.13 again he seems to underplay his hand - most enjoyable, but not entirely satisfying.
Prelude 14 - not my favourite piece with its hammered ostinato that often descends into banging - this is the best I've ever heard it played, the characteristic light touch pays dividends here and there is much more colourful chromaticism than I usually hear in this music.

That's as far as I got.  Overall - especially with the rubato - I was reminded of Nikolayeva's final recording (without actually making any detailed comparison you understand) - though she has more of a magisterial touch, Minnaar by comparison sounds a little tentative at times.  Nocturnal.  Anyway, I certainly look forward to listening to more of this.

milk

Quote from: aukhawk on September 27, 2022, 01:14:49 AM
I'm not familiar with Minnaar's other recordings but, listening quickly to a few selected tracks (7-10,13,14) via Spotify -

There is a general lightness of touch, in Fugue No.7 the gossamer-like textures are most beautifully rendered.
There is rubato, almost Chopin-esque.  Prelude No.8 is anything but metronomic.  I prefer a more severe approach in this piece myself.
In the slow Fugues (No.8, No.10) he shows a tendency to not hang about.  No sense of trying to wring the last ounce of 'feeling' from the music.
In the central, pivotal, introspective Fugue No.13 again he seems to underplay his hand - most enjoyable, but not entirely satisfying.
Prelude 14 - not my favourite piece with its hammered ostinato that often descends into banging - this is the best I've ever heard it played, the characteristic light touch pays dividends here and there is much more colourful chromaticism than I usually hear in this music.

That's as far as I got.  Overall - especially with the rubato - I was reminded of Nikolayeva's final recording (without actually making any detailed comparison you understand) - though she has more of a magisterial touch, Minnaar by comparison sounds a little tentative at times.  Nocturnal.  Anyway, I certainly look forward to listening to more of this.
Thanks for your thoughts on this.

aukhawk

#228
Listening some more, it's not so much that his touch is light - but it's unusually even - he plays with very little dynamic. The overall effect is of reserve, an unwillingness to commit. A bit stiff upper lip, which as a Brit I quite like of course.

milk

Quote from: aukhawk on September 28, 2022, 07:18:12 AM
Listening some more, it's not so much that his touch is light - but it's unusually even - he plays with very little dynamic. The overall effect is of reserve, an unwillingness to commit. A bit stiff upper lip, which as a Brit I quite like of course.
I love this music. However, I'm ignorant and lazy when it comes to understanding romanticism, modernism, and what came after. I come to this work through Bach, in a way, so a lack of dynamics isn't a minus for me maybe. Though I should form a better appreciation for how composers for piano envisioned dynamics as an aspect of composition. I wonder how this music, especially certain fugues, would sound on the harpsichord.

aukhawk

Yes that is it - he does sound rather like a Bach pianist trying to channel the harpsichord sound - legato playing and even dynamic.  Not unusual in Bach WTC recordings, but a bit unexpected in Shostakovich.  I haven't heard his Goldbergs (not my favourite music) but they might be really sleep-inducing!

milk

Quote from: aukhawk on September 30, 2022, 03:01:02 AM
Yes that is it - he does sound rather like a Bach pianist trying to channel the harpsichord sound - legato playing and even dynamic.  Not unusual in Bach WTC recordings, but a bit unexpected in Shostakovich.  I haven't heard his Goldbergs (not my favourite music) but they might be really sleep-inducing!
I tried to listen a bit but it didn't catch me. Although I've heard a million GB recordings so it might just mean I need to come back to it.

Mandryka

I saw Richter play a couple of these pieces in Alderburgh. It was memorable because of the ambience, darkened room with the pianist playing by candle light. Anyway, there's a new Richter recording from around the time I saw him and it brought the memory flooding back. A friend of mine, a composer who sees himself as modern, loved the Richter because, he used to say, he made them sound like forward looking music.

Here's the recording in case anyone's interested -- turn the lights off, close the curtains, stick a candle in a wine bottle

https://open.spotify.com/album/3XR8yCeLROyEUicVypQYX8
Wovon man nicht sprechen kann, darüber muss man schweigen

Leo K.

I've been listening to this amazing work for the first time last night. First listening to the Melnikov account (all 24) and today the Scherbakov (the first 12). Both accounts are extremely satisfying and I'm only at the tip of the iceburg so not sure what to listen for yet.

Mirror Image

Quote from: Leo K. on October 10, 2022, 07:27:10 AM
I've been listening to this amazing work for the first time last night. First listening to the Melnikov account (all 24) and today the Scherbakov (the first 12). Both accounts are extremely satisfying and I'm only at the tip of the iceburg so not sure what to listen for yet.

Yes, the Melnikov recording is top-drawer and is my reference for this masterpiece.

Karl Henning

Quote from: Leo K. on October 10, 2022, 07:27:10 AM
I've been listening to this amazing work for the first time last night. First listening to the Melnikov account (all 24) and today the Scherbakov (the first 12). Both accounts are extremely satisfying and I'm only at the tip of the iceburg so not sure what to listen for yet.


Nice!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

aukhawk

Just reviving/revisiting this topic to say how much I have been enjoying the recording by Hannes Minnaar since it was released about 6 months ago.  Although there are two or three other recordings I would not want to be without, Minnaar is clearly my first go-to at the present.  His soft-centered approach - legato playing, generally middling tempi, even dynamic, pellucid piano tone very well recorded - won't suit everybody.  Those who wish to hear something of the ascerbic side of Shostakovich won't find it here.  But I like it just fine - previously one of my favourites was Kori Bond (not much liked by Madiel upthread), and Minnaar inhabits much the same space but better in every way, particularly in his luxurious piano tone so well captured.

I've also listened to or at least sampled a few other new-to-me recordings in the last 6 months - Konstantin Scherbakov, seems very good, worthy of consideration in the top rank, rather close or dry recording - David Jalbert, inclined to quicker tempi, didn't really grab my attention much - Roger Woodward, an older recording this but still OK for sound, and consistently very speedy, sometimes outdone only by the composer himself (who seemed to like 'fast' when playing the piano).  I liked Woodward enough to seek out some of his other recordings and found much to enjoy, from Bach to Takemitsu.

However my other main standbys and recommendations alongside Minnaar remain Tatiana Nikolayeva (either II (Melodiya/Alto) or III (Hyperion)) for her authoritative take - though note these are very much 'her' readings and often radically different from the composer's own on record - remarkable when you consider how closely asssociated they were during the time this music was composed.  And Jenny Lin for her contrasted approach to Minnaar or Nikolayeva, hard, fast and articulate, and possibly the best piano recording of them all.  Also for a straight down the middle version, very good in every way, Caroline Weichert gets a mention from me, but possibly, I don't know, maybe bland to a fault - I must admit that although I do admire this version, personally I'm always going to gravitate to one of Minnaar, Nikolayeva or Lin.


Minnaar

   
Nikolayeva (Alto, and Hyperion)


Lin

Madiel

I am yet to try Minnaar. I really have to be in a very specific mood to properly engage with the opus, and have enough "spare" hours. I don't much like listening to bits and pieces. A pause between 12 and 13 is enough.

As well as Minnaar, I still need to listen to Nikolayeva II properly, and Jalbert. I'm pretty sure that's it.

Kori Bond's problem is that the two halves are so different. Recorded a couple of years apart. If it was all like the second half I'd like it a lot better!
I am now working on a discography of the works of Vagn Holmboe. Please visit and also contribute!

aukhawk

The latest iteration of Nikolayeva II on Alto is proclaimed as 'NEWLY REMASTERED' (their caps not mine) but I can't hear any difference.  After all, if remastering did anything, it would just shine a brighter light on the deficiencies of the original recording - but I don't even hear that.
The choice betweeen II or III is largely one of taste in piano recording style - too dry (II) or too wet (III) - her view of the music doesn't change much, though there are some who say she was audibly 'past it' in III - I don't hear that personally.  Nik II incidentally is one of those few recordings which track the Preludes and Fugues combined making a total of 24 tracks not 48.  The others which do this are Jarrett, Woodward and the various bits recorded by DSCH himself (I have found 16 of the 24, scattered around).

Quote from: Madiel on March 16, 2023, 04:48:55 AMI am yet to try Minnaar. I really have to be in a very specific mood to properly engage with the opus, and have enough "spare" hours. I don't much like listening to bits and pieces. A pause between 12 and 13 is enough.

Yes, well, full disclosure, I do have a 'short' playlist of my favourite pieces which I turn to more often than not, consisting of 8 of the 24 P&Fs and running about 43 minutes (Minnaar timings) - and a longer 'luxury' list when I have the time, totalling 32 of the 48 tracks, basically just excluding those few I really don't enjoy much.  Same with any other big collections (Bach, Chopin, Debussy etc).

Madiel

There were a couple of P&Fs I thought I didn't enjoy so much when all I knew was Nikolayeva. Turns out the primary issue was Nikolayeva...
I am now working on a discography of the works of Vagn Holmboe. Please visit and also contribute!