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Originalno

Dmitri Schostakovitsch. 24 Preludes And Fugues Op.87. Piano. - Book 2. Sheet Music. Piano Solo. PF. Dmitri Shostakovich.

Prevod

Dmitri Schostakovitsch. 24 preludijev In fugues Op.87. Načrt. - Book 2. Sheet Music. Piano Solo. PF. Dmitrij Šostakovič.

Originalno

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. Volume 2 comprises numbers 13-24.

Prevod

Pravkar nazaj s potovanja v Leipzigu v zgodnji jeseni leta 1950, ko je slišal Bachove dobro kaljenega Klavier na Bicentennial Bach tekmovanju, ki ga je ruski pianist Tatiana Nikolaeva igral, Šostakovič je začel svojo serijo 24 preludijev in fuge, op. 87, ki temelji na Bachovega modelu. On jih hitro sestavljena, ki se začne 10. oktobra 1950, in konča na 23. februar 1951. Medtem ko naj bi njegovo delo poklonit Bacha, bi delo Šostakovič je na voljo več temeljnih razlik. Najprej bi se vrstni red posameznih kosov je organiziran okoli kroga petine z Preludij in fuga v relativni mladoletnika po vsaki večji ključnega kosa namesto na naraščajoče semi-tonsko red dela Bachovega. Drugič, kosi Šostakovič je sestavljen z namenom - to pomeni, C velik - majhen sledi G-duru - E-molu, ki mu sledi D-duru - molu - in, še bolj pomembno pa je to da bi imeli neke vrste subliminalnih pripovedne nadaljnjega besedila ob glasbi iz "nedolžne" tonske svet velikega Preludij in fuga C do globokega in vzvišenega resnosti sklepnem D manjšega Preludij in fuga. Končno, Šostakovič je delo, čeprav konzervativno kontrapunkt in harmonijo - ki je, ne obstajajo primeri obrnljivih ali reverzibilnih teme ali kontrapunkta in kose so večinoma prepoznavni tonska v jeziku - je še vedno jasno delo modernističnem skladatelja. njegov kontrapunkt in harmonijo lahko konzervativno, ampak čustvene in duhovne svetovi preludiji in fuge je hkrati iskren in ironično. Rezultat je delo, ki ne more samo stati primerjava z Bachovega Dobro kaljenega Klavier, je tako Šostakovič mojstrovina za klavir in eden kontrapunktični mojstrovine dvajsetega stoletja. Volume 2 comprises numbers 13-24.