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    The document discusses Dmitri Shostakovich's Opus 87, a set of 24 Preludes and Fugues composed in 1950-1951. It provides biographical information about Shostakovich and discusses the fugue form. It analyzes some of Shostakovich's fugues from the collection, noting how he took a traditional form and infused it with his own modern style while still maintaining the basic structure of a fugue. Shostakovich disregarded traditional key relationships and tolerated dissonance more than Baroque composers like Bach, but his fugues were not atonal. The document examines Fugue 13 in particular, which features five voices with entries in thirds.

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    The document discusses Dmitri Shostakovich's Opus 87, a set of 24 Preludes and Fugues composed in 1950-1951. It provides biographical information about Shostakovich and discusses the fugue form. It analyzes some of Shostakovich's fugues from the collection, noting how he took a traditional form and infused it with his own modern style while still maintaining the basic structure of a fugue. Shostakovich disregarded traditional key relationships and tolerated dissonance more than Baroque composers like Bach, but his fugues were not atonal. The document examines Fugue 13 in particular, which features five voices with entries in thirds.

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    42 views14 pages

    Honors SP 19 Powerpoint

    Uploaded by

    cjbaum
    The document discusses Dmitri Shostakovich's Opus 87, a set of 24 Preludes and Fugues composed in 1950-1951. It provides biographical information about Shostakovich and discusses the fugue form. It analyzes some of Shostakovich's fugues from the collection, noting how he took a traditional form and infused it with his own modern style while still maintaining the basic structure of a fugue. Shostakovich disregarded traditional key relationships and tolerated dissonance more than Baroque composers like Bach, but his fugues were not atonal. The document examines Fugue 13 in particular, which features five voices with entries in thirds.

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    of 14

    A RIGID

    ANACHRONISM:
    WHAT SHOSTAKOVICH DID TO THE FUGUE

    Curtis J. Baum
    MY HONORS COMPONENT

    • Fall 2018
    • Piano Literature with Dr. Richard Lange
    • Piano music of Dmitri Shostakovich
    • Read Shostakovich: A Life by Laurel E. Fay
    • Write program notes for Shostakovich’s piano trios (opus 8 and opus 67)
    • Analyze selected fugues from opus 87 – 24 Preludes and Fugues
    WHAT SHOSTAKOVICH DID TO THE FUGUE

    • Dmitri Dmitriyevich Shostakovich (1906–1975)


    • The Fugue
    • Opus 87: 24 Preludes and Fugues
    SHOSTAKOVICH:
    LIFE
    • Born September 25th, 1906 in St.
    Petersburg
    • Entered the Petrograd Conservatory at age
    13
    • “Muddle instead of Music” Pravda
    headline, January 1936
    • 7th “Leningrad” symphony, 1941
    • Zhdanovshchina denunciation, 1948
    • Death, 1975
    SHOSTAKOVICH:
    INFLUENCES
    • Classical – J.S. Bach, Beethoven, Russian Classics
    • Popular – movie theatre, jazz, dance music
    • Modernist, 20th century influences
    • Film, dramatic arts
    • Composers – Prokofiev, Stravinsky, Schönberg
    • Soviet Realism vs. “Formalism”
    • “Works for the desk drawer”
    THE FUGUE
    “THE SUPREME FORM OF MUSICAL LOGIC”

    • Uses Counterpoint, not melody and harmony


    • Introduces and develops a short melodic idea [subject] by successive
    imitation [answer, countersubject]
    • Fragments and modulation
    • Exposition – Development – Coda [stretto]
    THE FUGUE:
    METHODS OF ELABORATION

    • Canon
    • Augmentation & Diminution
    • Inversion
    • Retrograde
    • Double fugue
    J.S. BACH (1685-1750)
    THE WELL TEMPERED CLAVIER

    • 2 books of 24 prelude-and-fugue
    pairs (one in every major and
    minor key)
    • Fugues with two to five voices
    • The height of fugal writing
    • A standard textbook for
    musicians
    SHOSTAKOVICH’S 24 PRELUDES
    AND FUGUES, OPUS 87

    • Composed 1950-51
    • 1750-1950 J.S. Bach
    bicentennial
    • First International Bach
    Competition in Leipzig
    • Dedicated to Tatyana
    Nikolayeva
    SHOSTAKOVICH’S 24
    PRELUDES AND FUGUES,
    OPUS 87

    • “Very original material that has


    been poured into a set mold”1
    • I have performed pairs 1 and 2
    • I analyzed fugues 1, 2,13, and
    24

    1
    Mark Mazullo, Shostakovich’s Preludes and Fugues, Contexts, Style, Performance, 33.
    SHOSTAKOVICH’S 24
    PRELUDES AND FUGUES,
    OPUS 87

    • Fugue 1: entrances of the subject on


    all 7 white keys
    • Fugue 2: canon starting an eighth-
    note apart
    • Fugue 13: five voices! Entries
    together in thirds
    • Fugue 24: double fugue! Huge
    ending
    ANALYSIS OF
    FUGUE NO. 13
    • Consistent fugue structure – subjects,
    countersubjects, entrances, episodes,
    SHOSTAKOVICH’ stretto
    S 24 PRELUDES • Disregard for key relationships, tolerance
    AND FUGUES,
    of dissonance
    OPUS 87
    • But not random or atonal like other 20th C.
    music
    • A modern answer to J.S. Bach
    QUESTIONS?

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