Shostakovich's Music for Piano Solo: Interpretation and Performance

music.

1Early Works

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 They originally belonged to the still unpublished set of Eight Preludes, op. 2, composed between the autumn of 1919 and the spring of 1920, each carrying a dedication to a friend or relative.¹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= 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).

= 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 p dolcissimo 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 .

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 as a single undivided unit by building a crescendo toward the dynamic high point on the first beat of m. 2. Shape a similar but brighter crescendo from the fourth eighth note of m. 4 to the first beat of m. 6. The third crescendo, rising through m. 9 to the first f in m. 10, should be even stronger.

To avoid heaviness through mm. 1–10, keep the left hand a little softer than the right hand. Note that all the accent markings through mm. 1–12 are in the right hand only.⁵ Reduce the volume from the fourth beat of m. 11 in order to build the most powerful crescendo of the first section toward the f on the second eighth note of m. 18. This culmination is enhanced by accents in both hands through mm. 14–17. Use the damper pedal often, yet judiciously. Example 1.1 illustrates one possible pedaling pattern for mm. 1–11.

The middle section (mm. 18–29) opens with a short canon characterized by playful accents. A softer volume and drier (less pedaled) sonority will bring the necessary contrast. Begin the crescendo e molto from m. 22 toward the accented triple Bs in m. 25. From the fourth beat of m. 25, change the pedal with each harmony and give the top left-hand voice a piercing tone. (The wide left-hand chords on the first beat of mm. 26–27 can be quickly rolled.) Shape a spectacular crescendo-accelerando through m. 28 toward the third beat of m. 29. Make sure that the pedal changes on the first two beats of m. 29 are clean and that one pedal is held through the second and third beats of the measure, so that the B prolonged by the fermata receives the necessary harmonic support.

The main theme reappears in the left hand (from the fourth beat of m. 29) and then in the right hand (from the fourth beat of m. 30). Although a bright volume should be maintained throughout mm. 29–36, a sudden piano in m. 37 is effective at the beginning of the final crescendo. Continue the dynamic swelling through mm. 41–42 toward the triumphant fff ending. The awkward finger crossing in m. 41 can be eliminated with a simple rearrangement of the notes, as illustrated in example 1.2.

Prelude in D-flat Major, no. 4

dedicated to Natasha Kubé

Moderato

three-part form with codetta

section A: Moderato, mm. 1–8

section B: Andante amoroso, mm. 8–10

section A: Moderato, mm. 10–17

codetta: Andante cantabile, m. 18

Example 1.1. Prelude in E Minor, no. 3, mm. 1–11, pedaling.

Example 1.2. Prelude in E Minor, no. 3, mm. 40–41, fingering and text distribution.

Despite its naive gestures and melodic patchwork, this brief prelude is quite remarkable for its psychological diversity, rhythmic flexibility, and harmonic freshness.⁶ Harmonically unstable, the opening theme (mm. 1–8) sets the stage, rather like an orchestral introduction to an operatic aria. Indeed, what follows is an attempt at a romantic aria (andante amoroso= 66–72) that will allow an unrushed execution of the thirty-second-note figures. The andante amoroso = 40).⁷

For a warmer tone quality, use sporadic touches of the damper pedal through the first five measures, but change the pedal with each harmony through mm. 6–8. Use the una corda pedal as marked in mm. 1–2 and 4–7 to create a subtle contrast. A delicate rubato is natural in this section. Shape a long line from m. 3 toward m. 8, though one that incorporates the diminuendo and ritenuto in m. 5.

The color of the harp-like D-flat chord on the first beat of m. 8 must be a strong contrast to the preceding measures. Use a combination of a ppp dynamic with the damper pedal. Give the tenuto soprano melody in mm. 8–9 a warm and full sound, and shape it to create an expressive crescendo toward the upper C on the third eighth note of m. 9. Make sure that the tied half-note chord that anchors the recitative is heard not only through m. 9 but also through the fermata in m. 10.

The dynamic swelling indicated by the crescendo hairpin in m. 12 must be neither missed nor exaggerated. Note that, unlike m. 2, there is no fermata over the rest at the end of the measure. In m. 15, apply the damper pedal through the first three beats, including the fermata. (Although this measure is marked pp, there is no need for the una corda pedal.) Welcome the return of the aria in m. 18 with a lush cantabile tone, and take care not to force the sound; this final gesture is marked mf, not f. Use one pedal for the entire measure, shaping a nice diminuendo with no ritenuto.

Prelude in F Minor, no. 5

dedicated to Natasha Kubé

Andantino

three-part form

section A: mm. 1–8

section B: mm. 9–16

section A: mm. 17–24

The folk-like theme of this prelude would become one of Shostakovich’s favorite melodies. He used it in 1951 in the sixth movement (The Ninth of January) of his Ten Poems on Texts by Revolutionary Poets, op. 88, and again in 1957 in the second movement (also entitled The Ninth of January) of the Symphony No. 11. Despite its seeming simplicity, this exquisite prelude represents an early example of Shostakovich’s harmonic and contrapuntal craft, foreshadowing his later masterpieces, the Twenty-Four Preludes, op. 34, and the Twenty-Four Preludes and Fugues, op. 87.

Example 1.3. Prelude in F Minor, no. 5, mm. 17–20, fingering and text distribution.

. = 40–50. Since the texture is rich in contrapuntal imitation, it is initially best to practice the two upper (RH) voices and the two lower (LH) voices separately. Choose fingering that allows as much legato as possible. Example 1.3 illustrates one possible fingering and text distribution between the hands in mm. 17–20.

Although the soprano is the leading voice through mm. 1–8, make sure that the delightful imitations in m. 3 (alto and tenor), m. 6 (alto), and m. 7 (bass) sound clearly. Sustain through the entire phrase, with no conspicuous caesura after the second and fourth measures. The accented Gs in m. 4 and B-flats in m. 6 require a deep and eloquent—not harsh—tone. In m. 8, shape a seamless diminuendo, and take care to maintain an even legato in the E–F tenor motive (play it with the right hand). Allow time to separate the end of m. 8 from the beginning of m. 9.

Note the canonic imitations in mm. 9–10 (alto and soprano), m. 11 (beat 4) to m. 13 (bass and tenor), and m. 16 (tenor). These imitations, marked tenuto, must be set in relief. The dramatic intensity must grow through mm. 9–12, along with an incessant crescendo. At the central culmination (m. 13), the volume should reach mezzo forte, and the soprano accents on the first and fourth beats should be observed. After the volume subsides through mm. 14–15, the dynamic indications in m. 16—poco cresc. and dim.—apply mainly to the tenor.

The beginning of the last section, mm. 17–20, is similar to the opening, mm. 1–4. In mm. 17–18, however, the lower register and the tenuto markings in the upper voices suggest a denser tone color, which will also facilitate a more effective diminuendo through mm. 21–24. The prelude ends with a low tonic pedal sustained through these measures. Hold one pedal in mm. 21–23, and give slightly more weight to the top voices played by each hand. (The una corda pedal can also be applied through these measures.) Listen carefully for the fading sound of the low F while shaping a gradual diminuendo in the upper layers. Begin to slow the tempo at m. 22, and release the damper pedal on the first beat of m. 24. Allow the bass F to be heard alone, ending the prelude on this faint and shadowy sound.

Three Fantastic Dances, op. 5 composed 1920–22; recorded 26 May 1947 (Prague) and 30 May 1958 (Paris)

In 1919, the thirteen-year-old Shostakovich was accepted to the piano and composition departments at the St. Petersburg Conservatory.⁸ Dedicated to his good friend Josef Shvarts, a fellow student in Leonid Nikolayev’s piano course, the Three Fantastic Dances were among the first products of Shostakovich’s conservatory years.⁹ The first dance was completed on 4 December 1920, and the other two were finished in 1922.¹⁰ Shostakovich successfully performed the dances a number of times in St. Petersburg, but the official premiere in Moscow, on 20 March 1925, was reportedly a fiasco. Initially, the work was declined for publication, but in February 1926, the dances were accepted by Muzgiz and released that same year, becoming Shostakovich’s first published work.

Both the autograph and the first edition lack metronome and pedal markings. We do not know what role, if any, Shostakovich had in the preparation of later editions; they certainly appear to have been made without reference to the composer’s own recordings. At present there is no urtext. The most reliable edition is in vol. 39 of the Collected Works (1983), edited by Tatiana Nikolayeva. The autograph was not available for the present research; all references regarding the autograph are taken from a secondary source, namely, Nikolayeva’s comments in the Collected Works score.¹¹

The Three Fantastic Dances possess a distinctive style. According to Eric Roseberry, one notes the composer’s skill as a miniaturist—the epigrammatic resourcefulness and economy, the cunning harmonic twists, the exploitation of piano sonority within a small time scale. . . . [They] are among Shostakovich’s most popular pieces and still retain their aphoristic charm and capricious fragrance.¹² All three dances offer excellent teaching material for the intermediate student.

Fantastic Dance in C Major, op. 5, no. 1

Allegretto

three-part form with coda

section A: mm. 1–8

section B: mm. 8–20

section A: mm. 21–28

coda: mm. 29–32

This scherzo-like dance is a ballet scene full of capricious rhythms, unusual harmonic progressions, and eccentric gestures. In some senses, there appears to be a debt to Scriabin—certain rhythmic and harmonic formulas, even the Scriabin chord.¹³ Yet, as Eric Roseberry writes, the puckish world of [this dance] is far removed from the languor and sensuousness of Scriabin, whose aesthetic remained wholly repugnant to Shostakovich.¹⁴

Example 1.4. Fantastic Dance in C Major, op. 5, no. 1, mm. 9–11, pedaling.

= 160 in 1958) suggest a much quicker tempo than those indicated in the various published editions.= 140–150. The recordings also demonstrate the theatrical boldness of his contrasts in dynamics, articulation, and pedaling. For example, mm. 1–2, 5–6, and 21–22 are played senza pedale, in contrast to the lavish onepedal-per-measure pattern in mm. 3, 7, and 23. There is a similar contrast between m. 13, played senza pedale, and m. 14, where the pedal is released on the eighth rest of beat 3. Interestingly, in mm. 9 and 11, the pedal is depressed on beat 4 and released during the first eighth note of the next measure (see example 1.4).

The opening measure should be as crisp and rhythmically precise as possible—note the initial p leggiero marking—with the rests absolutely clear. Follow the indicated hairpins that shape mm. 1–2 into one motive. Although a gliding legato is needed for the right hand of m. 3 (with each group fingered 1–2–3–5), every note must be audible. Use non legato articulation in mm. 9 and 11 and other similar spots; in the autograph, the right-hand eighth notes in m. 9 have staccato dots. In mm. 10 and 12, the thirty-second notes must be rhythmically accurate and the rests unpedaled and clear. Give the Scriabin chord on the last beat of mm. 10 and 12 expressive emphasis and ample time.

The buildup toward the climax (mm. 13–19) must be relentless and intense. Play mm. 13 and 15 non legato, and do not use the pedal to join the chords—these measures certainly have a dry sound in both of Shostakovich’s recordings. (In the autograph in m. 13, there is a p marking and a crescendo hairpin, and in m. 15 there is a mp marking and a crescendo hairpin.) To secure speedy and clean leaps in mm. 14 and 16–18, it is useful to practice the right hand in solid chords. Lean your body toward the right side of the keyboard for the ascending passages in mm. 17–18 and especially for the octaves in m. 19—marked ff in the autograph. Note that m. 19 is senza pedale in both of Shostakovich’s recordings. Similarly, m. 29 should be played pp with no damper pedal, although the una corda pedal may be used if necessary. Make the final measures not only spooky but also witty and humorous; avoid the temptation to add a ritenuto in m. 32.

Fantastic Dance in G Major, op. 5, no. 2

Andantino

three-part form

section A: mm. 1–16

section B: mm. 17–40

section A: mm. 41–56

While the slower episodes of this waltz have a distant echo of Ravel’s Valses nobles et sentimentales, the grotesque and impulsive più mosso sections, with their piquant dissonances and chromatic lines (mm. 20–23), point in a different direction. (In the autograph, m. 21 is marked allegretto, and m. 33 is marked più mosso.)

= 125 (1958)—are again significantly faster than those in the published editions.¹⁶ His idiosyncratic rubato—capricious and liberal, yet inseparable from the swaying waltz rhythm—gives these performances a unique character. For example, in the first phrase, mm. 1–4 are relatively steady, but Shostakovich moves the tempo slightly forward through mm. 5–6 and then relaxes the pace through mm. 7–8.

Notice the 2+2+4 structure of mm. 1–8. In performance, observe the diminuendo hairpins in mm. 2 and 4–6 while simultaneously shaping this languorous theme into a single continuous line. (In the autograph, there is a crescendo hairpin on the first two beats and a diminuendo hairpin on the third beat in the right hand of mm. 6, 7, 15, and 16.) Build the inner tension toward m. 6 and then release it gradually through mm. 7–8. The same shaping, with a perhaps more intensified dynamic, will serve for mm. 9–16. The fluid legato required for the right-hand melody in mm. 1–16 can be achieved by involving the whole arm. This section also requires lush pedaling. Change the pedal on the first beat of each measure, except for mm. 8 and 16, where the pedal should be changed on the first and last beats of the measure.

The espr. marking in mm. 17–18 signals a more intense tone color, as the mood becomes slightly more animated. In contrast, mm. 19–20 are marked grazioso and require a softer volume, with a light staccato in the right hand. (In the autograph, there is a mf poco meno indication in m. 17 and a p indication . Reinforce the più mosso markings at mm. 21 and 29 with a sudden forte, and increase the tempo immediately.¹⁷ Although mm. 20 and 28 are somewhat similar, note the ritenuto at the end of m. 28. Shift to a faster tempo in m. 33,¹⁸ but save the highest volume for the central climax—marked forte—at m. 37. (In the autograph, m. 33 is marked f and m. 37 ff.)

Example 1.5. Fantastic Dance in G Major, op. 5, no. 2, mm. 37–41, fingering and pedaling.

The leaps in mm. 37–40 can present a technical challenge. To perform this segment with ease and confidence, think of the first beat of each measure as a new beginning, disconnecting it mentally from the previous beat, and play the first chord from above. (Note that the fermata between m. 40 and m. 41 should be senza pedale, such as is heard in both of Shostakovich’s recordings. In the autograph, m. 41 is marked mp.) Example 1.5 demonstrates fingering and pedaling for mm. 37–41 by Boris Milich.¹⁹

The recapitulation (m. 41) is a harmonically enriched version of the first section. Despite the constantly softening sound of the last section, the bass octaves should have a full and deep tone, especially on the first beat of mm. 48–56. Decrease the speed considerably through the last measures, and hold the pedal through the final measure, avoiding an abrupt pedal release.

Fantastic Dance in C Major, op. 5, no. 3

Allegretto

three-part form with coda

section A: mm. 1–12

section B: mm. 13–30

section A: mm. 31–40

coda: mm. 41–42

The polka is a popular genre in Russian music. It can be found in the piano works of Glinka, Tchaikovsky, Rachmaninov, and Stravinsky. This dance is a polka-gallop with a touch of irony and comic gestures, including a short quotation (at m. 17, RH) from Chopin’s Étude in A Minor, op. 10, no. 2. Samuel Aster describes this polka as pure prankish Shostakovich with its perky rhythms and abrupt changes of harmony and register. In fact, the dance is written in C major but the A theme begins in A flat major, showing the composer’s penchant for borrowing chords and modal relationships.²⁰

= 108. In mm. 1–4 and 5–8, make a slight crescendo toward the accented right-hand Fs (on the second beat of mm. 2 and 6), followed by an equally slight diminuendo through mm. 3–4 and 7–8. For the fast left-hand octaves in mm. 3–4 and 7–8, let the forearm drop on the first sixteenth note of the group; play the rest of the sixteenths staccato. No conspicuous caesura is needed between mm. 4 and 5. Nikolayeva draws our attention to the echo dynamics—p in m. 9 and pp in m. 11—and the hairpins in m. 10 indicated in the autograph.²¹ Absent from the published scores, these dynamic details can be included in performance. Short rhythmic pedals are sufficient for mm. 1–12, where boldness of rhythm and clarity of articulation are essential.²²

Example 1.6. Fantastic Dance in C Major, op. 5, no. 3, mm. 13–14, right-hand fingering.

The right-hand chromatic thirds in mm. 13–16 will be easier to play if you keep your fingers as close as possible to the black keys. (In the autograph, m. 13 is marked p.) For fingering in mm. 13–14, try the variant suggested by Boris Milich (see . In mm. 17–20, make the two lower right-hand notes (fingers 1 and 2) as short as possible—like staccato sixteenths. (In the autograph, m. 17 is marked p, and in mm. 17–20, all the right-hand notes, including the chords, are beamed in groups of four sixteenth notes.)

In mm. 13 and 15, hold the pedal through the first three eighth notes and release it on the last eighth note of the measure. (In mm. 14 and 16, the top A of the wide chord on