Shostakovich's Preludes and Fugues: Contexts, Style, PerformanceThis is the first book-length study of Shostakovich’s Twenty-Four Preludes and Fugues for piano, Opus 87. Mark Mazullo explains the cultural context in which Shostakovich composed, relates the cycle to piano works (by Bach, Hindemith, and others), and offers individual commentaries on each of the Preludes and Fugues. |
Contents
Contexts Style Performance Part II The Preludes and Fugues | 51 |
Contexts Style Performance Part III The Living Work of Art | 237 |
Contexts Style Performance Notes | 261 |
Contexts Style Performance Select Discography | 271 |
Contexts Style Performance Credits | 273 |
| 277 | |
Common terms and phrases
artistic B-flat Bach Bach's bass beginning in measure C-sharp Minor cadence chromatic slip codetta composer composer's context contrapuntal contrast countersubject cycle of Preludes cycle’s D Minor D-flat Major Dmitri Dmitri Shostakovich dominant dramatic E major E-flat eighth notes element emotional episode expressive F-sharp figure final Fugue in F-sharp fugue subject fugue's G Major G Minor gesture harmonic head motive instance interpretive J. S. Bach kovich legato listeners ludes and Fugues major chord Major Fugue marked melody Minor Prelude move movement narrative octave opening Opus 87 passage pedal performance perhaps phrase pianissimo pianist piano piece pitch play prelude's Preludes and Fugues rhythmic ritenuto Russian scale degree score second half seems semitone sense Shosta Shostako Shostakovich Shostakovich's music sixteenth notes Sonata Soviet stretto String Quartet strong structure subdominant subject entrance submediant subphrase Symphony Tatyana Nikolayeva tempo tenuto texture theme third tonal tone tonic Well-Tempered Clavier