Dmitry Shostakovich Tatiana Nikolayeva - Shostakovich Preludes Fugues Nos 1724 (16 tracks) +Album Reviews

Search - Dmitry Shostakovich, Tatiana Nikolayeva :: Shostakovich: Preludes & Fugues Nos. 17-24

Dmitry Shostakovich, Tatiana Nikolayeva
Shostakovich: Preludes & Fugues Nos. 17-24
Genre: Classical

Track Listings (16) - Disc #1
1. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 17 in A flat
2. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 17 in A flat
3. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 18 in F minor
4. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 18 in F minor
5. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 19 in E flat
6. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 19 in E flat
7. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 20 in E minor
8. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 20 in E minor
9. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 21 in B flat
10. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 21 in B flat
11. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 22 in G minor
12. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 22 in G minor
13. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 23 in F
14. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 23 in F
15. Preludes & Fugues (24), for piano, Op. 87: Prelude No. 24 in D minor
16. Preludes & Fugues (24), for piano, Op. 87: Fugue No. 24 in D minor

CD Details

All Artists: Dmitry Shostakovich, Tatiana Nikolayeva
Title: Shostakovich: Preludes & Fugues Nos. 17-24
Members Wishing: 0
Total Copies: 0
Label: Moscow Studio
Original Release Date: 1/1/2005
Re-Release Date: 3/8/2005
Genre: Classical
Styles: Chamber Music, Historical Periods, Classical (c.1770-1830)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 723721076757

CD Reviews

The Definitive Tatiana Nikolaeva recording

millionrainbows | 06/27/2009

(5 out of 5 stars)

"Up to now, I have owned 2 versions of these Shotakovich Preludes & Fugues: Tatiana Nikolaeva's 1990 Hyperion set, later released on Musical Heritage, and Keith Jarrett's ECM release. The Hyperion set was way too ambient; it sounded as if I were in the back of a large, empty concert hall (which it probably was). The Jarrett set had much more direct sound, and this made it sound "crisper" and better, especially in the fast, fleet parts.

Now I have the best of both worlds: this Tatiana Nikolaeva recording of 1987, on Moscow Studio Archives. Fantastic! I wish I'd known earlier how superior this recording is! Don't even bother with the Hyperion, ptuui!

The sound is more direct, closer-miked, and is "barely stereo", that is, not a pronounced stereo effect, but very subtle, and enough to be perceptible in rear surrounds, but just barely. And the performance is definitive: these were written for her. Bravo!!"