自己读书、散步、心烦时听的最多的一张CD，相对于巴赫的理性、深沉，肖斯塔科维奇的前奏曲和赋格更能让我动容和难以释怀萦绕耳畔。

推荐hyperion出品的：Tatiana Nikolayeva (piano)3CDs   

GRAMOPHONE AWARD WINNER
PRIX MAURICE FLEURET, FRANCE
CLASSIC CD TOP 100 CDs OF ALL TIME

'The record that has given me greater pleasure than any other this year' (The Sunday Times)

'A performing document of inestimable importance ... Hyperion should be congratulated for masterminding this important issue' (CDReview)

'The recording is clear and atmospheric, and the playing has power, grandeur, character, intellectual clarity and unforced intensity' (Gramophone)

'This magnificent set courageously undertaken by Hyperion, a timely document of an interpretation fashioned from Nikolayeva's collaboration with the composer at the time of composition' (BBC Music Magazine Top 1000 CDs Guide)

'Performances which are at once gripping through their pianistic brilliancs and illuminating through their unflinching perception. Amazing' (Classic CD)

'Where this work is concerned, as in her playing of much else, she has rightly been called his High Priestess' (Piano)

[雕刻时光 编辑于 2010-03-19 13:48]

为啥我听到爵士组曲里的圆舞曲会潸然泪下

这里可以免费试听，并有CD册页PDF:

http://www.hyperion-records.co.uk/al.asp?al=CDA66441/3&f=24%20Preludes%20and%20Fugues%20op.%2087

以下文字均转自古典燃情

肖斯塔科维奇：24首前奏曲与赋格
SHOSTAKOVICH: 24 Preludes and Fugues

前奏曲与赋格，是巴洛克时代键盘乐的代表性形式，巴赫据24调创作了48首前奏曲与赋格，被称之键盘乐的“旧约圣经”，肖斯塔科维奇这套作品，OP.87，作于1948年遭批判后的 1950-1951年，有“新约圣经”之称。1950年7月，肖斯塔科维奇赴莱比锡担任巴赫200年纪念音乐会的评审员，他因追忆巴赫《平均律钢琴曲集》之伟大而开始创作，其中不仅模仿了巴赫时代的形式，也糅进了俄罗斯民族音乐风格。24曲分别为：
1.C大调，前奏曲为中板，主题为萨拉班德舞曲节奏，和声式主题表现后，加上感情性的旋律要素，二段体。赋格也为中板，四声部组成的主题取材于肖斯塔科维奇《森林之歌》中第一曲《当战争结束的时候》（源于民歌《黄莺歌唱幸福》）。以全音阶，取呈示、发展、再现部形式。
2.A小调，前奏曲为快板，以分散和弦构成的主题发展。赋格为小快板，三声部，主题呈示后为应答，发展部对位主题应用，展开现代乐念。
3.G大调，前奏曲为不过度的中板，以3个八度音奏英雄叙事歌式主题，接着是俄罗斯声乐中“绕口令”音型，两个素材交合，有穆索尔斯基《图画展览会》中《基辅之门》的味道。赋格部分是与它形成对比的很快的快板，三声部，有吉格舞曲节奏感。
4.E小调，前奏曲为坎蒂莱纳（催眠曲）风格，行板。赋格为慢板，四声部、发展部加快速度，再现部展开有力对位。
5.D大调，前奏曲为小快板，小步舞曲风格，其中运用了肖斯塔科维奇自己《钢琴五重奏》中第三乐章主题素材。赋格也为小快板，三声部，巴赫式构成。
6.B小调，前奏曲为小快板，尾奏变为中板。赋格由两个对比因素组成，四声部、再现部两者重叠，有两重赋格趣味。
7.A大调，前奏曲为稍中板的快板，库朗舞曲风格。赋格为小快板，主题为少先队号角特征，来自《森林之歌》中结尾的《赞歌》。
8.升F小调，前奏曲为小快板，二声部。赋格为三声部，行板，有悲歌风格。
9.E大调，前奏曲为不太快的中板，俄罗斯民歌※※圣歌的对话形式。赋格为快板，二声部，主题有谐谑风格。
10.降C小调，前奏曲为快板，创意曲形式。赋格为中板四声部。
11.B大调，前奏曲为快板，创意曲式。赋格也为快板，三声部，主题有谐谑风格，回旋曲形式。
12.升G小调，前奏曲为行板，巴沙加牙舞曲形式，八度音程的主题有9段变奏。赋格为快板，四声部。
13.升F 大调，前奏曲为活跃的中板，快速音型与延长音型交替。赋格为慢板，五声部，巴洛克形式，体现对位技巧。
14.降E小调，前奏曲为慢板，这一首是全曲中的精华，其中有暗示钟声音型，充满悲剧意味。赋格为不太快的快板，三声部，主题为俄罗斯民歌《少女的叹息》，合唱式与应答构造。
15.降D大调，前奏曲为小快板，圆舞曲形式，以节奏音型始，几个旋律重复展开。赋格为很快的快板，四声部，主题受十二音技法影响，最后有降D大调华彩表现。
16.降B小调，前奏曲为行板，巴沙加牙舞曲形式，有4段变奏。赋格为慢板，主题源于俄罗斯民间拨奏乐器古斯(Gusli)的音乐。
17.降G大调，前奏曲为小快板，分散和弦装饰的歌调。赋格为小快板，四声部，主题也含民歌风格。
18.降F小调，前奏曲为中板，主题近似玛祖卡舞曲。赋格为活跃的中板，主题具俄罗斯风格，四声部。
19.降E大调，前奏曲为快板，以东正教合唱式和声进行。赋格为活拨的中板，三声部。20.C小调，前奏曲为慢板，合唱式的部分旋律取自《鲁斯兰》中的《首领之歌》，有芦笛式的寂寞感。赋格为中板，四声部。
21.降B大调，前奏曲为快板，音型装饰型练习曲形式。赋格为不太快的快板，三声部。22.G小调，前奏曲为不太快的中板，练习曲式，和声构成。赋格为中板，四声部，以俄罗斯民歌为主题。
23.F大调，前奏曲为慢板，歌谣形式。赋格为活跃的中板，三声部，充分对位化表达。24.D小调，前奏曲为行板，抒情曲。最后的赋格拥有两个主题，先以叙事歌旋律为主题，中板，四声部。速度加快后，绕口令式主题出现，四声部发展，两个主题和声重叠，形成二重赋格的高潮而结束。

这套作品的版本可选：1.尼古拉耶娃演奏版，尼古拉耶娃有1987年在Melodipa录音，经BMG重制后，CD编号74321 19849-2（3张）与在HYPE录音，CD编号CDA 66441/3（3张），两套唱片，《企鹅》都先后评为三星带花。尼古拉耶娃被认为是演奏这套作品的权威，两套相比，Melodiya版演奏更好，但录音效果明显不如HYPE版。2.里赫特只演奏了第四、十二、十四、十五、十七、二十三号，收于Philips，CD编号438 627（＋斯克里亚宾、普罗科菲耶夫的作品）。3.肖斯塔科维奇自己有第一、四、五、二十三、二十四1958年录音版，收于EMI，CD编号CDC 7 54606-2（肖斯塔科维奇※※录音，＋2首钢琴协奏曲、《3首幻想舞曲》），《企鹅》评介三星保留一星。

当然，杰出的演绎还有：
Dmitri Shostakovich
24 Preludes and Fugues op. 87

Keith Jarrett piano（2CD)它让我领略了Keith Jarrett的另一面，感觉比尼古拉耶娃的速度稍快且张力十足。

背景：

In time for Dmitri Shostakovich’s 100th birthday on September 25, ECM reissues Keith Jarrett’s recording of the 24 Preludes and Fugues for piano. Originally recorded in 1991 it counts amongst the most significant of Jarrett’s interpretations of music from the ‘classical’ tradition.

As the pianist said at the time, “When I first saw these pieces in a music shop, I knew I wanted to play them. I recognised the language. But when I started playing them, they were so close to me that I knew I had to record them.” He began including Shostakovich pieces in his recitals in 1985, alongside works by Beethoven, Scarlatti and Bach, and his Shostakovich recording followed his acclaimed account of the two books of The Well-Tempered Clavier.

There was a musical-historical logic to the choice, as well: it had been a performance of Bach’s “48” at a piano competition in Lepizig in 1950 that inspired Shostakovich to write his own cycle of preludes and fugues.

“It didn’t feel like I was playing someone else’s music,“ said Jarrett of his first encounter with the op. 87. “[The pieces] are coming from some strange quirky place that I’m familiar with. They’re not ‘pianistic’ in the traditional way...”

In the CD booklet Hans-Klaus Jungheinrich writes that “Shostakovich tried to escape the distressing historicity of the artist delinquent in his socialist-realist function by espousing the hermetic artistic realm of Bach’s counterpoint – where he could forget his painful role of the voluntary/involuntary state composer. (...) Shostakovich’s cycle offers itself as the only remake of Bach’s Well-Tempered Clavier that can be taken seriously.”

Jarrett believed that any programmatic intention that Shostakovich brought to the work dissolved in the sheer pleasure of creation and performance, the composer being also a considerable pianist. “These preludes and fugues are almost like x-rays of thought”, Jarrett told Gramophone. “I think in some of them the music just took him over. Sometimes from a studied beginning it all starts to blossom.” This is emphatically true of, for example, No 15 in D-Flat Major, whose fugue has a freely associative development which Wilfred Mellers describes as “scarily crazy as Bedlam” in its metrical dislocation. Yet its jagged trajectory will not seem unfamiliar to those who have experienced the thornier episodes of Jarrett’s Radiance for instance, or the newly released album The Carnegie Hall Concert (a New York recording of solo improvisations from September 26, 2005, missing Shostakovich’s 99th birthday by mere hours...)

As for the overall merits of Shostakovich’s Opus 87, Professor Mellers has summed them up well in the liner notes: “If there is a single work among his large output that assures us that Shostakovich is among the great composers nurtured by our bruised and battered century, this collection of Preludes and Fugues is it. One might go so far as to say that it places him among the supreme composers in any phase of Europe’s history. Listen and you will hear.”

Cap box includes a 44-page booklet with texts by Wilfried Mellers in English and Hans-Klaus Jungheinrich in German, English and French.

另，Keith Jarrett演绎的巴赫、莫扎特也是要好好听一下的：[雕刻时光 编辑于 2010-03-19 14:00]