When
Soviet composer Dmitri Shostakovich composed this set in the early 50's
for pianist Taitian Nikolaeva, fugues weren't particularly "in,"
apparently frowned upon by authorities concerned with the degree of
"formality" in orchestral works. Nikolaeva recorded a particularly
dense, diffuse version of the set, arguably a demonstration of her own
declining technique rather than a livelier version more closely intended
by Shotakovich. In 1992, Shostakovich's "Op. 87" registered more
prominently in the eyes and ears of listeners when jazz pianist Keith
Jarrett -- pursuing a notably similar career as contemporary pianist
Vladimir Ashkenazy with a bit more distinction (or at least commercial
notice) -- zipped through the set in 2:15:20. Some dissenters complained
that Jarrett's treatment was whimsically light, so perhaps in some
sense Ashkenazy's version may be a kind of response to Jarrett. Whatever
the case, Ashkenazy could surely summon a touch more passion out of
some of the more ponderous, meditative moments in this marathon of
otherwise utterly transportive magic. He comes across as detached,
almost indifferent, uninvolved in the sweetly diatonic No. 1,
robotically remembering to hit the notes on time without any ambient
responsibility or ear for rhythm. No. 18 in F minor, similarly, could be
a heart-wrencher, a record to play at the wake of a dearly departed,
but here's he's little more than garden-variety, although momentarily
playful. But Ashkenazy's very good with the contrasting textures of
Prelude of No. 19 in E-flat Major. His speedy lines and breezy passes
over the keys in the Prelude of No. 2 in A minor combine to give it a
high-rise, big-city-on-the water sense of strangeness and ease. Crystal
notes in the memory-soaked No. 4 in E Minor accents its slightly
bittersweet underpinnings, and it is this atmosphere that prevails above
all in this intriguing modern recording. Becky Byrkit
Piano, Performer – Vladimir Ashkenazy
https://it.d-ld.net/32f4702115
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