TWENTY-FOUR PRELUDES AND FUGUES BY D.D. SHOSTAKOVICH IN ASPECT EVOLUTIONS OF AUTHOR’S STYLE
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УДК 78.03.470+571
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Information about authors: Liu Zhe, Postgraduate, Department of Musical Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation; Baotou, China). E-mail: galkax@mail.ru
Annotation: The article is devoted to the study of the role of the cycle 24 Preludes and Fugues, Op. 87 by Dmitri Shostakovich in the composer’s heritage and in the world musical culture. As a material the theoretical works of outstanding Russian musicologists (S. Skrebkov, K. Ajemov, L. Mazel, V. Bobrovsky, A. Dolzhansky, V. Zaderatsky, M. Etinger, I. Kuznetsov and others), researchers of the 2000s (I. Vasiruk, G. Ovsyankina, S. Nadler, M. Buleva, M. Chernaya) and the analysis of the notation text of the cycle Op. 87. The work demonstrated the dynamics study of 24 Preludes and Fugues of Shostakovich from the 1950s, up to the 2000s. On the basis of theoretical, stylistic, intertextual and semantic analysis, it is proved that Opus 87 became a generalization of all Shostakovich’s style achievements. It concentrated and originally developed all the traditions that fed the composer’s work throughout his life. In this work, Shostakovich enters into a dialogue with the huge layer of musical culture that is close to him. D. Shostakovich’s cycle became a creative impulse for creating the whole series of polyphonic cycles by Russian composers in the second half of the 20th century: 24 Preludes and Fugues by R. Shchedrin, 12 Preludes and Fugues by K. Karaev, 34 Preludes and Fugues by V. Bibik, 24 Preludes and Fugues for Guitar by I. Rehin, 24 Preludes and Fugues by S. Slonimsky and others. He was the translator of the brilliant ideas of J.S. Bach in a new era.
Keywords: polyphony, melodic types, musical images, texture, creative traditions, genres, intertextual relations, musical semantics
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Liu Zhe, Postgraduate, Department of Musical Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation; Baotou, China). E-mail: galkax@mail.ru
Annotation: The article is devoted to the study of the role of the cycle 24 Preludes and Fugues, Op. 87 by Dmitri Shostakovich in the composer’s heritage and in the world musical culture. As a material the theoretical works of outstanding Russian musicologists (S. Skrebkov, K. Ajemov, L. Mazel, V. Bobrovsky, A. Dolzhansky, V. Zaderatsky, M. Etinger, I. Kuznetsov and others), researchers of the 2000s (I. Vasiruk, G. Ovsyankina, S. Nadler, M. Buleva, M. Chernaya) and the analysis of the notation text of the cycle Op. 87. The work demonstrated the dynamics study of 24 Preludes and Fugues of Shostakovich from the 1950s, up to the 2000s. On the basis of theoretical, stylistic, intertextual and semantic analysis, it is proved that Opus 87 became a generalization of all Shostakovich’s style achievements. It concentrated and originally developed all the traditions that fed the composer’s work throughout his life. In this work, Shostakovich enters into a dialogue with the huge layer of musical culture that is close to him. D. Shostakovich’s cycle became a creative impulse for creating the whole series of polyphonic cycles by Russian composers in the second half of the 20th century: 24 Preludes and Fugues by R. Shchedrin, 12 Preludes and Fugues by K. Karaev, 34 Preludes and Fugues by V. Bibik, 24 Preludes and Fugues for Guitar by I. Rehin, 24 Preludes and Fugues by S. Slonimsky and others. He was the translator of the brilliant ideas of J.S. Bach in a new era.
Keywords: polyphony, melodic types, musical images, texture, creative traditions, genres, intertextual relations, musical semantics
