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Here's a Shostakovich Preludes and Fugues cycle to be reckoned with. It starts none too promisingly, with (by the highest standards) a rhythmically stiff, tonally lumpy C-major prelude and some... — Gramophone Classical Music Guide, 2010
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Grammy Awards
42nd Awards (1999)
Best Classical Instrumental Solo Recording
Contents
Vladimir Ashkenazy (piano) Recorded: 1998-04 Recording Venue: The Colosseum, Watford Show 45 remaining tracks for Shostakovich: Preludes & Fugues for piano (24), Op. 87 Hide 45 tracks for Shostakovich: Preludes & Fugues for piano (24), Op. 87
2010
Here's a Shostakovich Preludes and Fugues cycle to be reckoned with. It starts none too promisingly, with (by the highest standards) a rhythmically stiff, tonally lumpy C-major prelude and some overpedalling in the fugue. However, the neo-Baroque figuration of the A minor prelude and its spiky fugue, on the other hand, presents his true credentials. On form and well prepared, as here, Ashkenazy remains a formidably fluent pianist, and the clarity and energy he brings to the faster, denser pieces is surpassed only by Richter (Philips). The sound itself is quite 'pingy', with a generous ambience behind it. That serves to heighten the impact of the more demonstrative pieces, but makes it difficult for Ashkenazy to sustain the atmosphere of the more meditative ones. Or maybe he simply doesn't feel the music that way. In the final D minor Fugue (No 24), where you can almost hear Shostakovich's 10th Symphony being born, Ashkenazy fails to build the texture as mightily as the early stages lead you to expect. Nikolaieva surpasses him here, and ingeneral she reveals both subtler and grander perspectives, especially in her tauter, more drily recorded 1987 Melodiya set. Even so the balance-sheet for Ashkenazy comes out comfortably in the black. For consistency of pianism, straightforward integrity of interpretation and high quality of recording, his set can be warmly recommended.
