Composer: Dmitry Shostakovich
Performer: Hannes Minnaar
Number of Discs: 2
Format: FLAC (tracks)
Label: Challenge
Release: 2022
Size: 1.11 GB
Recovery: +3%
Scan: yes
24 Preludes and Fugues, Op. 87
CD 01
01. Prelude No. 1 in C Major
02. Fugue No. 1 in C Major
03. Prelude No. 2 in A Minor
04. Fugue No. 2 in A Minor
05. Prelude No. 3 in G Major
06. Fugue No. 3 in G Major
07. Prelude No. 4 in E Minor
08. Fugue No. 4 in E Minor
09. Prelude No. 5 in D Major
10. Fugue No. 5 in D Major
11. Prelude No. 6 in B Minor
12. Fugue No. 6 in B Minor
13. Prelude No. 7 in A Major
14. Fugue No. 7 in A Major
15. Prelude No. 8 in F Sharp Minor
16. Fugue No. 8 in F Sharp Minor
17. Prelude No. 9 in E Major
18. Fugue No. 9 in E Major
19. Prelude No. 10 in C Sharp Minor
20. Fugue No. 10 in C Sharp Minor
21. Prelude No. 11 in B Major
22. Fugue No. 11 in B Major
23. Prelude No. 12 in G Sharp Minor
24. Fugue No. 12 in G Sharp Minor
25. Prelude No. 13 in F Sharp Major
26. Fugue No. 13 in F Sharp Major
CD 02
01. Prelude No. 14 in E Flat Minor
02. Fugue No. 14 in E Flat Minor
03. Prelude No. 15 in D Flat Major
04. Fugue No. 15 in D Flat Major
05. Prelude No. 16 in B Flat Minor
06. Fugue No. 16 in B Flat Minor
07. Prelude No. 17 in A Flat Major
08. Fugue No. 17 in A Flat Major
09. Prelude No. 18 in F Minor
10. Fugue No. 18 in F Minor
11. Prelude No. 19 in E Flat Major
12. Fugue No. 19 in E Flat Major
13. Prelude No. 20 in C Minor
14. Fugue No. 20 in C Minor
15. Prelude No. 21 in B Flat Major
16. Fugue No. 21 in B Flat Major
17. Prelude No. 22 in G Minor
18. Fugue No. 22 in G Minor
19. Prelude No. 23 in F Major
20. Fugue No. 23 in F Major
21. Prelude No. 24 in D Minor
22. Fugue No. 24 in D Minor
After Bach’s Goldberg Variations, which won him worldwide honours (including a “Diapason d’Or”), Hannes Minnaar challenges and confronts what has become a “classic” of the 20th century repertoire: Shostakovich’s Preludes and Fugues, composed in 1951. Here again, the qualities of his pianism, for which he is recognised as one of the leading musicians of our time, come under the spotlight: the diversity of touch and the suppleness between tension and tranquillity to characterise every Prelude and Fugue, the precision of tone, the lack of any affectation, a natural finesse in phrasing and articulation, and a familiarity with the score going hand in hand with a freshness that conjures a sense of improvisation. Here we encounter a new landmark in the crowded field of interpretations of this wonderful music.