Jenny Lin - Shostakovich: 24 Preludes & Fugues, Op. 87 (2009)

Tracklist

01. 24 Preludes & Fugues, Op. 87: Prelude No. 1 in C Major
02. 24 Preludes & Fugues, Op. 87: Fugue No. 1 in C Major
03. 24 Preludes & Fugues, Op. 87: Prelude No. 2 in A Minor
04. 24 Preludes & Fugues, Op. 87: Fugue No. 2 in A Minor
05. 24 Preludes & Fugues, Op. 87: Prelude No. 3 in G Major
06. 24 Preludes & Fugues, Op. 87: Fugue No. 3 in G Major
07. 24 Preludes & Fugues, Op. 87: Prelude No. 4 in E Minor
08. 24 Preludes & Fugues, Op. 87: Fugue No. 4 in E Minor
09. 24 Preludes & Fugues, Op. 87: Prelude No. 5 in D Major
10. 24 Preludes & Fugues, Op. 87: Fugue No. 5 in D Major
11. 24 Preludes & Fugues, Op. 87: Prelude No. 6 in B Minor
12. 24 Preludes & Fugues, Op. 87: Fugue No. 6 in B Minor
13. 24 Preludes & Fugues, Op. 87: Prelude No. 7 in A Major
14. 24 Preludes & Fugues, Op. 87: Fugue No. 7 in A Major
15. 24 Preludes & Fugues, Op. 87: Prelude No. 8 in F-Sharp Minor
16. 24 Preludes & Fugues, Op. 87: Fugue No. 8 in F-Sharp Minor
17. 24 Preludes & Fugues, Op. 87: Prelude No. 9 in E Major
18. 24 Preludes & Fugues, Op. 87: Fugue No. 9 in E Major
19. 24 Preludes & Fugues, Op. 87: Prelude No. 10 in C-Sharp Minor
20. 24 Preludes & Fugues, Op. 87: Fugue No. 10 in C-Sharp Minor
21. 24 Preludes & Fugues, Op. 87: Prelude No. 11 in B Major
22. 24 Preludes & Fugues, Op. 87: Fugue No. 11 in B Major
23. 24 Preludes & Fugues, Op. 87: Prelude No. 12 in G-Sharp Minor
24. 24 Preludes & Fugues, Op. 87: Fugue No. 12 in G-Sharp Minor
25. 24 Preludes & Fugues, Op. 87: Prelude No. 13 in F-Sharp Major
26. 24 Preludes & Fugues, Op. 87: Fugue No. 13 in F-Sharp Major
27. 24 Preludes & Fugues, Op. 87: Prelude No. 14 in E-Flat Minor
28. 24 Preludes & Fugues, Op. 87: Fugue No. 14 in E-Flat Minor
01. 24 Preludes & Fugues, Op. 87: Prelude No. 15 in D-Flat Major
02. 24 Preludes & Fugues, Op. 87: Fugue No. 15 in D-Flat Major
03. 24 Preludes & Fugues, Op. 87: Prelude No. 16 in B-Flat Minor
04. 24 Preludes & Fugues, Op. 87: Fugue No. 16 in B-Flat Major
05. 24 Preludes & Fugues, Op. 87: Prelude No. 17 in A-Flat Major
06. 24 Preludes & Fugues, Op. 87: Fugue No. 17 in A-Flat Major
07. 24 Preludes & Fugues, Op. 87: Prelude No. 18 in F Minor
08. 24 Preludes & Fugues, Op. 87: Fugue No. 18 in F Minor
09. 24 Preludes & Fugues, Op. 87: Prelude No. 19 in E-Flat Major
10. 24 Preludes & Fugues, Op. 87: Fugue No. 19 in E-Flat Major
11. 24 Preludes & Fugues, Op. 87: Prelude No. 20 in C Minor
12. 24 Preludes & Fugues, Op. 87: Fugue No. 20 in C Minor
13. 24 Preludes & Fugues, Op. 87: Prelude No. 21 in B-Flat Major
14. 24 Preludes & Fugues, Op. 87: Fugue No. 21 in B-Flat Major
15. 24 Preludes & Fugues, Op. 87: Prelude No. 22 in G Minor
16. 24 Preludes & Fugues, Op. 87: Fugue No. 22 in G Minor
17. 24 Preludes & Fugues, Op. 87: Prelude No. 23 in F Major
18. 24 Preludes & Fugues, Op. 87: Fugue No. 23 in F Major
19. 24 Preludes & Fugues, Op. 87: Prelude No. 24 in D Minor
20. 24 Preludes & Fugues, Op. 87: Fugue No. 24 in D Minor

Dmitry Shostakovich's set of 24 Preludes and Fugues for piano Op. 87 is a hard row to hoe; it requires endurance, patience, and discipline and not a small amount of good old-fashioned muscle. Although the aspect of stamina is a significant one in performing this long and arduous cycle, even in the studio environment, Shostakovich's preludes and fugues are generally not considered the domain of younger pianists, as there is a depth of expression that maturity affords such essentially didactic literature: the big names associated with this cycle include its dedicatee, Tatiana Nikolayeva, who recorded it more than once, the last time when she was nearing 70, and the mature Keith Jarrett, Vladimir Ashkenazy, and so forth. Jenny Lin is a young pianist and an interesting choice for this cycle -- deliberately composed within rather stringent, self-imposed requirements -- in that she is noted for the wide range of material she covers. Hänssler Classic's Dmitry Shostakovich: 24 Preludes and Fugues for piano, Op. 87, is only the second album Lin has done devoted to a single composer; the others are themed compilations of a variety of composers, and this kind of collection has heretofore characterized, if not wholly defined, Jenny Lin's work and its popularity. For Lin and Shostakovich both, this is a victory -- the playing is warm, sensible, and disciplined -- Hänssler's recording is straightforward and direct; every contrapuntal line within Shostakovich's sometimes busy textures are clear. Fans of Lin's recordings like The Eleventh Finger on Koch might find Shostakovich's middle period music a mite conservative, but devotees of Shostakovich should be pleasantly surprised. While these virtuoso pieces are not often used in teaching, those who are studying Shostakovich's preludes and fugues for a recital or what not will find a friend in Lin's well-considered, no-nonsense playing of them, and yes, her youthful stamina, endurance, and muscle are helpful in this music rather than a hindrance.

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