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DMITRI SHOSTAKOVICH Live Moscow 1951 – 1963 DMITRI SHOSTAKOVICH 24 Preludes and Fugues for Piano, Op

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DMITRI SHOSTAKOVICH Live Moscow 1951 – 1963 DMITRI SHOSTAKOVICH 24 Preludes and Fugues for Piano, Op SVIATOSLAV RICHTER EMIL GILELS TATJANA NIKOLAYEVA DMITRI SHOSTAKOVICH live Moscow 1951 – 1963 DMITRI SHOSTAKOVICH 24 Preludes and Fugues for Piano, Op. 87 1 DMITRI SHOSTAKOVICH 1906 – 1975 CD 2 Preludes and Fugues Nos. 11 – 20 BONUS CD 1 Tatjana Nikolayeva rec. Studio Moscow 1962 Sviatoslav Richter plays in Prague Studio December 3 – 4, 1956 Preludes and Fugues Nos. 1 – 10 BONUS 1. Prelude and Fugue No. 11 in B major 3'28 11. Prelude and Fugue No. 7 in A major 3'01 Emil Gilels, Studio Moscow 1955 Sviatoslav Richter plays live in Warsaw Sviatoslav Richter plays live in Teatr Muzyczny „Roma” November 24, 1954 1. Prelude and Fugue No. 1 in C major 7'05 Moscow March 14, 1963 Total time CD 2: 78'55 Four Preludes and Fugues – 2. Prelude and Fugue No. 12 in G sharp minor* 8'53 Sviatoslav Richter plays live in Moscow Suite of Sviatoslav Richter unpublished * November 9, 1956 11. Prelude and Fugue No. 4 in E minor* 7'56 Tatjana Nikolayeva rec. Studio Moscow 1962 2. Prelude and Fugue No. 2 in A minor 2'15 12. Prelude and Fugue No.7 in A major* 3'07 3. Prelude and Fugue No. 13 in F sharp major 9'36 3. Prelude and Fugue No. 3 in G major 3'33 13. Prelude and Fugue No.17 in A flat major* 5'22 Sviatoslav Richter plays live in Kiev June 9, 1963 Sviatoslav Richter plays live in 14. Prelude and Fugue No.12 in G sharp minor* 7'41 4. Prelude and Fugue No. 14 in E flat minor 8'54 Moscow March 14, 1963 Total time CD 1: 78'50 4. Prelude and Fugue No. 4 in E minor* 8'17 Sviatoslav Richter plays live in unpublished * Moscow March 14, 1963 Emil Gilels, Studio Moscow 1955 5. Prelude and Fugue No. 15 in D flat major * 4'44 5. Prelude and Fugue No. 5 in D major 3'14 Tatjana Nikolayeva rec. Studio Moscow 1962 Sviatoslav Richter plays live in Moscow November 11, 1956 6. Prelude and Fugue No. 16 in B flat minor 12'52 6. Prelude and Fugue No. 6 in B minor 8'09 Sviatoslav Richter plays live in 7. Prelude and Fugue No. 7 in A major 3'05 Moscow March 14, 1963 Sviatoslav Richter plays live in Kiev June 9, 1963 7. Prelude and Fugue No. 17 in A flat major* 5'33 8. Prelude and Fugue No. 8 in F sharp minor 8'48 Sviatoslav Richter plays live in Moscow November 9, 1956 Tatjana Nikolayeva rec. Studio Moscow 1962 8. Prelude and Fugue No. 18 in F minor 7'11 9. Prelude and Fugue No. 9 in E major 3'52 10. Prelude and Fugue No. 10 in C sharp minor 6'17 Tatjana Nikolayeva rec. Studio Moscow 1962 9. Prelude and Fugue No. 19 in E flat major 8'15 10. Prelude and Fugue No. 20 in C minor 6'21 2 3 CD 3 CD 4 CD 5 Preludes and Fugues Nos. 21 – 24 BONUS: Shostakovich plays Shostakovich BONUS: Shostakovich plays Shostakovich Tatjana Nikolayeva rec. Studio Moscow 1962 Preludes and Fugues for Piano, Op. 87 Preludes and Fugues for Piano, Op. 87 1. Prelude and Fugue No. 21 in B flat major 4'00 1. Prelude and Fugue No. 1 in C major * 4'46 1. Prelude and Fugue No. 16 in B flat minor * 11'46 2. Prelude and Fugue No. 22 in G minor 7'56 2. Prelude and Fugue No. 2 in A minor** 2'00 2. Prelude and Fugue No. 17 in A flat major**** 5'03 3. Prelude and Fugue No. 3 in G major* 3'00 3. Prelude and Fugue No. 18 in F minor**** 5'15 Sviatoslav Richter plays live in 4. Prelude and Fugue No. 4 in E minor ** 8'20 4. Prelude and Fugue No. 20 in C minor ** 10'38 Moscow March 14, 1963 5. Prelude and Fugue No. 5 in D major* 2'55 5. Prelude and Fugue No. 22 in G minor *** 6'54 3. Prelude and Fugue No. 23 in F major * 5'23 6. Prelude and Fugue No. 6 in B minor*** 5'09 6. Prelude and Fugue No. 23 in F major * 6'11 7. Prelude and Fugue No.7 in A major *** 3'06 7. Prelude and Fugue No. 24 in D minor ** 11'34 Emil Gilels, Studio Moscow 1955 8. Prelude and Fugue No. 8 in F sharp minor *** 8'23 Total time CD 5: 57'26 4. Prelude and Fugue No. 24 in D minor 10'59 9. Prelude and Fugue No. 12 in G sharp minor** 7'36 10. Prelude and Fugue No.13 in F sharp major ** 7'46 BONUS December 6, 1951* Studio Moscow 11. Prelude and Fugue No.14 in E flat minor*** 7'43 February 5, 1952** Studio Moscow Sviatoslav Richter plays in Paris Studio July 1963 February 14, 1952*** Studio Moscow Total time CD 4: 60'50 Six Preludes and Fugues – 1956**** Studio Moscow Suite of Sviatoslav Richter December 6, 1951* Studio Moscow Dmitri Shostakovich (piano) 5. Prelude and Fugue No. 4 in E minor 8'21 February 5, 1952** Studio Moscow 6. Prelude and Fugue No. 12 in G sharp minor 8'18 February 14, 1952*** Studio Moscow 7. Prelude and Fugue No. 23 in F major 5'33 Dmitri Shostakovich (piano) 8. Prelude and Fugue No. 14 in E flat minor 9'46 9. Prelude and Fugue No. 17 in A flat major 5'47 10. Prelude and Fugue No. 15 in D flat major 4'55 Total time CD 3: 71'04 unpublished * 4 5 Svjatoslav Richter plays Shostakovich von Johann Sebastian Bach (1685 – 1750) kennen. drohte dem Komponisten unmissverständlich: „Die- depressiven, tragischen oder (an)klagenden Mo- Svjatoslav Richter (1915 – 1997) zählt zu den größten Der Junge improvisierte zu einigen Stücken daraus ses Spiel kann böse enden“. Sowjet-Diktator Josef mente. Als Dmitri Schostakowitsch am 9. August Pianisten des 20. Jahrhunderts. und schrieb die Noten auf. Die Revolution und der Stalin hatte am 26. Januar Schostakowitschs Oper 1975 starb, begann sein Ruhm „im Westen“ gerade folgende Bürgerkrieg brachten auch die Studien des „Lady Macbeth von Mzensk“ im Bolschoi-Theater erst zu erblühen. In der Sowjetunion aber galt er da Die Profil Edition Günter Hänssler veröffentlicht introvertierten Eleven durcheinander, 1919 wech- besucht und seine Erwartungen an leicht verdau- schon als einer der „Großen“ des Landes. Unter den sukzessive Einspielungen des großen sowjetschen selte er ans St. Petersburger Konservatorium, wo liche HeldInnengesänge waren wohl enttäuscht zahlreichen Kränzen auf seinem Grab war auch einer Musikers, die er in seiner „Sturm und Drang“ Zeit er Klavier bei Leonid Nikolayev und Komposition worden. Andere Kulturschaffende waren während des sowjetischen Geheimdienstes KGB. zwischen 1945 und 1963 aufgenommen hat. Die bei Maximilian Steinberg, dem Schwiegersohn von der „Großen Säuberungen“ schon wegen geringerer meisten davon blieben im Westen während des Mit „reiner“ Klaviermusik ist Schostakowitschs um- Nikolai Rimsky-Korsakov (1844 – 1908) studierte. Ab Vergehen ermordet oder deportiert worden – von „Kalten Krieges“ zwischen Ost und West weitge- fangreiches Oeuvre erstaunlich karg bestückt. Peter 1921 nahm Konservatoriums-Direktor Alexander da an litt Schostakowitsch unter Schlafstörungen hend unbekannt, da Richter bis 1960 nur hinter Hollfelders „Großes Handbuch der Klaviermusik“ Glasunow (1865 – 1936) den jungen Schostako- und Depressionen. dem „Eisernen Vorhang“, also in der Sowjetunion zählt lediglich zwei Sonaten auf, dazu kürzere Werke witsch unter seine Fittiche. Sein Einfluss ist deut- und ihren Vasallenstaaten auftreten durfte. Die Dabei konnte man ihm beim bösesten Willen keine wie frühe Präludien (8 für op.2, 5 o. op., 24 op.34), 10 lich hörbar in den „Drei Fantastischen Tänzen“ für Profil Edition Günter Hänssler hat bereits CD- anti-patriotische Gesinnung vorwerfen: Neben etli- Aphorismen, die erwähnten 3 Phantastische Tänze, Klavier, die Dmitri Schostakowitsch 1922 schrieb. Boxen mit Richter-Interpretationen von Werken chen Huldigungsmusiken an Vaterland, Revolution 6 Kinderstücke und 7 Puppentänze. Insofern darf Seine Fähigkeiten als Pianist überzeugten auch von Ludwig van Beethoven (PH 16030), Franz Schu- und Regime schrieb Schostakowitsch mit seiner sein großer Zyklus der „24 Präludien und Fugen“ die große russische Pianistin und Klavierpädago- bert (PH 17005), Robert Schumann und Johannes Siebten Symphonie die wohl ergreifendste Klage op. 87 als Kernwerk, als klaviermusikalisches Ver- gin Maria Judina (1899 – 1970). 1922 starb der Vater, Brahms (PH 17967), Franz Liszt und Frédéric Chopin über die barbarische Belagerung von Leningrad mächtnis des Komponisten gelten. Und natürlich als Schostakowitsch steuerte ab 1924 mit Klavierimpro- (PH 18041) sowie Sergej Rachmaninov und Sergej durch den faschistischen Aggressor Deutschland Hommage an Großmeister Johann Sebastian Bach. visationen zu Stummfilmen ein wenig zum kargen Prokofiev (PH 19052) veröffentlicht. Die vorliegende zwischen 1941 und 1944. „Ich widme meine Sieben- Denn die Tradition von „Präludien und Fugen“ Familieneinkommen bei. 1926 vollendete er seine Ausgabe widmet sich auf 5 CDs dem großen sow- te Sinfonie unserem Kampf gegen den Faschismus, quer durch alle Tonarten des europäischen Dur/ erste Symphonie, die am 12. Mai in Leningrad ihre jetischen Komponisten Dmitri Schostakowitsch, unserem unabwendbaren Sieg über den Feind, Moll-Systems geht natürlich auf den deutschen Premiere erlebte. Auch ein Jahr später in Moskau auch er wie die oben aufgeführten Tonsetzer ein und Leningrad, meiner Heimatstadt ...“ – signierte Barock-Komponisten und seine beiden Bände des wurde sie zu einem kleinen Erfolg. überragender Pianist. er unmissverständlich. „Wohltemperierten Klaviers“ zurück. „Temperatur“ Es folgte eine Pianisten – und dann sehr viel do- Doch selbst nach Stalins Tod 1953 musste Schosta- war in der Barockzeit ein Synonym für die Stim- Dmitri Schostakowitsch minanter eine Komponisten-Karriere, die in dem kowitsch sich immer wieder gegen tumbe „For- mung eines (Tasten)Instrumentes – und erst die Dmitri Dmitrejewitsch Schostakowitsch – ande- unvorstellbaren Terror-Regime des Stalinismus unter malismus“-Vorwürfe der roten Kultur-Banausen „wohltemperierte“ Stimmung, wohl von Andreas re Übertragungen aus dem Kyrillischen: Dmitry ungeheuren Spannungen litt und den sensiblen wehren, auf Entspannungs-Phasen folgten immer Werckmeister 1681 eingeführt und durchaus zu Shostakovich, Dmitry Schostakovitsch – wurde am Tonsetzer beinahe in den seelischen Ruin trieb.
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