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原文

Dmitri Shostakovich. 24 Preludes And Fugues For Piano Op.87 Vol 1. Sheet Music. Piano Solo. PF. Dmitri Shostakovich.

译文

德米特里·肖斯塔科维奇. 24首前奏曲与赋格钢琴Op.87第1卷. 乐谱. 钢琴独奏. PF. 德米特里·肖斯塔科维奇.

原文

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.

译文

从前往莱比锡于1950年的初秋，他听到巴赫的好脾气的全键盘在二百周年纪念巴赫大赛的俄罗斯钢琴家尼古拉耶娃塔蒂亚娜只打了回来，肖斯塔科维奇开始了自己的一系列的24首前奏曲与赋格，作品。 87，根据巴赫的模型. 他由他们迅速，开始在1950年10月10日和2月23日结束，1951年. 虽然他的工作将祭奠巴赫，肖斯塔科维奇的作品将有几个根本的区别. 首先，各个部分的顺序将五分之二左右，在相对较小的一个前奏和赋格在每次重大关键部分的圆圈，而不是在巴赫的作品上升半色调顺序组织. 其次，肖斯塔科维奇的作品会按顺序组成 - 也就是说，C大调 - A小调其次是G大调 - E小调其次是D大调 - B小调 - ，更显著，此订单将有某种潜意识的叙事子文，以乐从C大调前奏曲与赋格的“无辜”的色调世界的结论D小调前奏曲与赋格的深刻而崇高的严重性. 最后，肖斯塔科维奇的作品，虽然保守，其对位法与和谐 - 那就是，也有可逆或可逆的主题或对位和个没有例子是大部分语言可辨别的音调 - 依然清晰现代派作曲家的作品. 他对位的和谐可能是保守的，但首前奏曲与赋格曲的情感和精神世界是一次真诚的讽刺. 其结果是一个工作，不能只站在巴赫的好脾气的全键盘相比，它既是肖斯塔科维奇的杰作钢琴和二十世纪的对位杰作之一.