- Audio CD (17 May 1999)
- Number of Discs: 2
- Format: CD
- Label: Decca (UMO)
- ASIN: B00000J9FL
- Other Editions: MP3 Download
- Average Customer Review: 4.6 out of 5 stars See all reviews (5 customer reviews)
- Amazon Bestsellers Rank: 56,014 in Music (See Top 100 in Music)
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Customer Reviews
Most Helpful Customer Reviews
16 of 17 people found the following review helpful
Format:Audio CD
Since he turned his attention from piano playing to conducting, Ashkenazy has stayed away from the recording studio for some time, but in the last years he seems to be picking up his old career again. A good decision, as he never equalled his keyboard success with his baton. He finally set to recording the complete Shostakovich Preludes and Fugues, a huge undertaking, as he says himself in the liner notes: "You have to devote so much time and energy and concentration!" That he eventually took the effort is something that deserves only applauds, as this is an absolutely superior recording of this 20th century masterwork. Compared to Ashkenazy's earlier recordings (those of the Rachmaninov Preludes, for example) he hasn't lost anything of his old musical feeling and sensitivity. What is gone a little is the energy and risk-taking he used to expose. But then, this set of Preludes and Fugues doesn't ask for so much virtuosity as it does for musicality. Because of that, Ashkenazy's approach does full right to the work. Even more so than the famous Nikolayeva (that is, in her 1990 Hyperion recordings; I don't know her 1987 set), as the famous dedicatee of this work plays much too slowly and heavy for my taste.
If anything distincts Ashkenazy's recordings so much, it's the vitality and relaxedness he plays with. His approach is quite 'clean': he doesn't impart much romanticism or overwrought feelings, and this is something I admire greatly: Ashkenazy makes everything sound very direct and intimate. And above all: everything is so 'naturally good' (an ability he has always had). He focuses rather on the work's musical side than its emotionality, and does this very successfully. These preludes and fugues are mainly a great thematic and musical traversal, as another reviewer rightfully commented, after the example of Bach, and hearing Ashkenazy makes me wish he would record some Bach too (the WTC maybe?). Most of his preludes sing beautifully, while the voicing in the fugues is very clear and architectural. I've heard comments that he is just too clean at everything, or that he sounds bored; this is definitely not the case. I'd rather say that he often reaches some kind of a transcendence in which his own person doesn't count much anymore. Many fugues in particular have very meditative qualities and it's absolutely wonderful to hear how much Ashkenazy unifies his mind with the music at those places. I have to say that Richter does this even better in the few preludes and fugues that he recorded, but Ashkenazy is a very close second after all.
Most of the 48 works on these discs are simply immensely enjoyable to listen, just because of Ashkenazy's greatly clear and communicative approach. When comparing Ashkenazy and Nikolayeva, I noticed something interesting: the latter usually plays slower and less interesting, but even when Ashkenazy plays slower than Nikolayeva he sounds far more expressive. Additionally, he's often much more at ease. The truly wonderful B flat minor fugue is a good example: he takes more than seven minutes for this piece, but has you hanging to the speakers every single second. I've always thought he has some natural talent for playing anything beautifully and easily and that's surely the case here too. On the other hand: in the more lively pieces, like the A flat major, B major or G major fugues, he gives much fresher and more vital accounts than Nikolayeva who's just too heavy for the faster works. His light touch is generally wonderful, though on a few occasions I'd like some more dynamic differences: in the concluding D minor fugue the end is a bit too understated for me, for example. On the whole, Ashkenazy seems to fully get the clue of all of these pieces and performs them masterfully.
Overall, a great set that makes more obvious than ever how good this music really is. This is a set that just can't make me stop listening. Ashkenazy's lucidity and transcendence is really wonderful for almost every of these 48 pieces and sets the absolute standard for this work so far. Only Sviatoslav Richter surpassed it at times but unfortunately he didn't record all 24 Preludes and Fugues. This one is fully worth its place on my shelves aside Richter's Well-Tempered Clavier. I hope Shostakovich' Preludes and Fugues will get more attention among other pianists in the coming time, though they will have a very hard job in beating these interpretations.
2 of 2 people found the following review helpful
Format:Audio CD
Not many big-name pianists have tackled Shostakovich's Preludes and Fugues so it's great to have a complete recording by someone of Ashkenazy's stature. It's largely a success and one of the best recordings of the cycle, but not quite the best in my opinion. First, the good: Ashkenazy's technique is excellent and clarifies the textures brilliantly, something that can't be said of the Nikolayeva recordings on Regis and Hyperion. The sound is great, much better than the tubby, harsh sound of some of Ashkenazy's 1980s recordings.
On top of that, Ashkenazy, more than any other pianist, manages the transitions from the Preludes to their corresponding Fugues seamlessly. However, I can't shake off the impression that he's just a little bit bland at times. Certainly he doesn't match Scherbakov's intensity in some of the bigger pieces, and the last Prelude and Fugue is more climactic in Scherbakov's recording. Overall, I would recommend Scherbakov as the best complete cycle just by a whisker over Ashkenazy, mainly for the greater cumulative effect of the cycle as a whole. However, even though Ashkenazy lets the tension drop at times, this is still a great recording.
There can't be a single recording that sweeps the board in a work as huge and diverse as this, which is why I have Scherbakov, Ashkenazy, Jarrett and Nikolayeva. Of these, I'd say they're all worth a listen, but beware of Nikolayeva's ultra-slow tempos and ropey technique. (get her 1962 recording if you can) Jarrett is absolutely fantastic in some pieces and I couldn't be without his lightness and feathery touch in Nos. 5 and 7 or the improvisatory quality he brings to No. 16. But when all's said and done, it's Scherbakov and Ashkenazy who are the most consistently satisfying across all 24 pieces.
On top of that, Ashkenazy, more than any other pianist, manages the transitions from the Preludes to their corresponding Fugues seamlessly. However, I can't shake off the impression that he's just a little bit bland at times. Certainly he doesn't match Scherbakov's intensity in some of the bigger pieces, and the last Prelude and Fugue is more climactic in Scherbakov's recording. Overall, I would recommend Scherbakov as the best complete cycle just by a whisker over Ashkenazy, mainly for the greater cumulative effect of the cycle as a whole. However, even though Ashkenazy lets the tension drop at times, this is still a great recording.
There can't be a single recording that sweeps the board in a work as huge and diverse as this, which is why I have Scherbakov, Ashkenazy, Jarrett and Nikolayeva. Of these, I'd say they're all worth a listen, but beware of Nikolayeva's ultra-slow tempos and ropey technique. (get her 1962 recording if you can) Jarrett is absolutely fantastic in some pieces and I couldn't be without his lightness and feathery touch in Nos. 5 and 7 or the improvisatory quality he brings to No. 16. But when all's said and done, it's Scherbakov and Ashkenazy who are the most consistently satisfying across all 24 pieces.
Format:Audio CD
With this collection Ashkenazy has expanded his repetoire even further, the only description can be that of a pianistic Chameleon. After a long abscence fromt the recording studio his same dynamicism and brilliant musical understanding still remain. I have to disagree with another reviewer's remarks that he had lost some of his dynamicism, he his playing a style that befits this 20th century parody of Bach's Well-Tempered Klavier. Although Shostakovich modelled this set on the work of Bach, we are left in no doubt by typiaclly Vivacious melodies and contemplative harmonies that the composer has taken the form of Prelude and Fugue and made it his own without betraying the traditions of the composer he revered so much, Bach
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Most Recent Customer Reviews
Really nice music, and well played
Recordings of this set are rare but I listed to two others before choosing this. (One of the others was Nikoleyeva). They just sound right as played by Ashkenazy. Read more
Published on 16 Feb 2007 by jacaranda
Homage to the master
Shostakovich has returned to the roots of his chosen genre by creating a 20th century version of Bach's Well-Tempered Clavier. Read more
Published on 30 Dec 2002 by Matt Westwood
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