The piano works of Dmitri Shostakovich (1906–1975) are among the most treasured musical compositions of the 20th century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich's piano solos.
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Five Preludes composed 1919–21; no recording by Shostakovich
Existing information on the Five Preludes is scarce. Although first published in 1966 (Muzgiz no. 3184), these preludes are among Shostakovich’s earliest creations. They originally belonged to the still unpublished set of Eight Preludes, op. 2, composed between the autumn of 1919 and the spring of 1920, each carrying a dedication to a friend or relative.1
Among Shostakovich’s fellow composition students were two gifted musicians, Georgiy Klements and Pavel Feldt.2 When the three young composers decided to combine their talents to create a cycle of twenty-four preludes for piano, Shostakovich contributed five selections from his op. 2 (the preludes in A minor, G major, E minor, and F minor and one of the two in D-flat major). The project was eventually aborted.3 However, Shostakovich’s five contributions were published in 1966 (the year of his sixtieth birthday) under the title Five Preludes.
Though clearly the work of an immature composer, the Five Preludes exhibit features that would become trademarks of his mature piano style: a transparent and laconic texture (nos. 1, 2, 4, 5), counterpoint (nos. 1, 2, 3, 5), ostinato (nos. 1, 2, 3), and high registers (no. 1). They are short, attractive pieces of average difficulty. No. 3 is the most demanding; nos. 1 and 5 are the easiest.
Prelude in A Minor, no. 1
dedicated to the composer’s sister Maria Shostakovich
Allegro moderato e’scherzando
three-part form with coda
section A: mm. 1–8
section B: mm. 9–14
section A: mm. 15–24
coda: mm. 25–30
The elegance and transparency of this prelude are reminiscent of Grieg’s piano miniatures (for example, the “Elves’ Dance,” op. 12, no. 6), many of which were in the repertoire of the young Shostakovich. The predominantly high register—A below middle C being the lowest note—gives the prelude something of a puppet dance or music-box flavor, notwithstanding the gentle contrapuntal touch and occasional harmonic piquancy, for example, the last sixteenth note in m. 11.
The tempo must not be overly fast (the marking is allegro moderato), but fast enough to bring out the “e’scherzando” character of the music. A speed within the range of
= 68–75 will accommodate both elements of Shostakovich’s tempo marking. Avoid the temptation to accelerate, particularly going into downbeats.
Give the main melody (LH, mm. 1–8) a clearly articulated crisp staccato within the p–mp range. Observe the accents, but do not allow them to interrupt the flow; this eight-measure phrase should evolve in a single breath. Maintain an even pp dynamic for the right-hand ostinato, and avoid making accents together with the left hand. Play these repeated thirds sempre staccatissimo with a loose wrist, never allowing your fingers to leave the keys. In mm. 9–12, the melody shifts to the right hand. Students who find m. 12 difficult should practice the broken octaves alone to perfect the forearm rotation and then add the thirds.
In mm. 13–14, following the prelude’s climax, pay close attention to the details of the articulation, including the teasing syncopated accents in the right-hand chords on the second and last sixteenth notes of mm. 13–14. The presence of the right-hand contrapuntal lines in mm. 15–16 and 21–22 makes the shaping of the left-hand melody through mm. 15–22 problematic. In these measures, where the right hand plays both the upper voice and the accompanying thirds, try to keep the thirds as soft as possible to allow room for both leading melodies. In order to balance the voices, use the arm weight to support the weaker fingers of the right-hand upper voice and only the fingers’ weight to play the thirds. The right-hand theme must ring out clearly, whether it is above (mm. 21–22), within (m. 23, fourth eighth note), or below (m. 24) the accompanying thirds. The pp at m. 25 must appear suddenly (the use of una corda is possible). Throughout the prelude, the damper pedal should be used only sparingly to emphasize accents.
Prelude in G Major, no. 2
dedicated to the composer’s sister Maria Shostakovich
Andante
three-part form
section A: mm. 1–9 (beat 1)
section B: mm. 9–15
section A: mm. 15–21
One of the formative influences on Shostakovich’s piano style was the repertoire of symphonic transcriptions that he played as a youth. This prelude is an early example of this influence. It is a colorful tone picture in G Mixolydian, yet the unstoppable bass tremolo that underpins the work has an orchestral quality about it. Similar “orchestral” tremolos can be found in the later piano works, such as the Preludes in G Major, no. 3, and E-flat Minor, no. 14, of op. 34 (1933), the Prelude in E-flat Minor, op. 87, no. 14 (1950), and the Concertino for Two Pianos, op. 94 (1953).
A flowing tempo in the range of
= 50–60 is suitable. In the first ten measures, the musical fabric consists of three layers: the leading melody on top, the interior ostinato chords (which form their own melody), and the tremolo tonic pedal in the bass. In m. 11, Shostakovich adds a fourth layer, the A pedal above the bass tremolo. It is worthwhile to practice different combinations of two layers before putting them all together. Passages in which the left hand plays two layers require special attention and must be practiced separately. The relentless tremolo—think in two groups of three sixteenth notes per quarter—must be soft and its rhythm even.
This task is further complicated by the leaps between the solid upper chords and the first note of the tremolo. Although the m.g. (main gauche, LH) instruction for the interior chords does not appear until the second beat of m. 9, it is advisable that the left hand take over the chords from the third beat of m. 8. (In this case, the left-hand tremolo would have to be performed without its first sixteenth note, just as it is three beats later.) Another possibility is to roll the wide chords with the right hand.
Observe the pdolcissimo indication (m. 1), but in order to unite the B–A–E–B motive into a smooth line, make a slight crescendo toward the E followed by a diminuendo to the last B. From the second beat of m. 3, where the soprano takes the lead, the melodic line must be smooth, with no accents on the notes played simultaneously with the interior chords. Shape a gradual crescendo from m. 8, avoiding a premature climax. The culmination of the prelude is reached at the second beat of m. 14, which requires strongly accented bell-like chords. In preparation for the recapitulation, the f should subside from beat 4 of m. 14 to accommodate the diminuendo and p on the second beat of m. 15.
The damper pedal is indispensable throughout. In mm. 1–10, change the pedal according to the interior chords. From m. 11, however, the pedal can be held for longer stretches to support the intensifying dynamics and harmonic density. For example, in mm. 11–12, the pedal can be changed on beats 1–2 and then held through beat 4.
Aim for an enchanting pianissimo tone color through mm. 18–19, and allow m. 19 to sound on one pedal with partial changes on beats 3–4. Use a single pedal through m. 20 as well. In m. 21, ensure that the bass G is included in the long pedaled chord. The una corda pedal can be applied from the second beat of m. 18 to the end of the piece.
Prelude in E Minor, no. 3
Allegro moderato
three-part form
section A: mm. 1–18
section B: mm. 18–29
section A: mm. 29–43
This robust, heroic prelude emanates resolute power and romantic passion. It resembles piano works by Alexander Scriabin and Anatoliy Liadov yet demonstrates the strong inclination to polyphonic textures so typical of Shostakovich’s later piano compositions.4
This allegro moderato marking suggests a lively yet not rushed tempo (about
= 200). The articulation is predominantly staccato, spiced with numerous dramatic accents. It is vital to sustain the rhythmic energy from beginning to end. Resist the temptation to introduce excessive rubato or lengthening of beats that might shift the
meter toward
.
The two-measure principal motive (for example, from the opening upbeat to the third eighth note of m. 2) consists of two groups of five eighth notes. Perform this motive...
