Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva Shostakovich began his own series of 24 Preludes and Fugues Op. 87 based on Bach's model. He composed them quickly starting on October 10 1950 and finishing on February 23 1951. While his work would pay homage to Bach Shostakovich's work would have several fundamental differences. First the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascending semi-tonalorder of Bach's work. Second Shostakovich's pieces would be composed in order — that is C major - A minor followed by G major - E minor followed by D major - B minor — and more significantly this order would have a sort of subliminal narrative sub-text taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally Shostakovich's work although conservative in its counterpoint and harmony — that is there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal in language — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is a work which can not only stand comparison with Bach's Well-Tempered Klavier it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century.

Music for the Film-Dmitri Shostakovich's score for the 1964 Russian film-adaptation of Shakespeare's Hamlet. When Grigori Kozintsev's Hamlet was released in 1964 it gained critical acclaim from audiences in the UK and US despite the fact that Shakespeare's work was not heard in its original language. This praise was at least in part due to Shostakovich's impressive score. As one New York Times reviewer described: 'The lack of this aural stimulation - of Shakespeare's eloquent words - is recompensed in some measure by a splendid and stirring musical score by Dmitri Shostakovich. This has great dignity and depth and at times anappropriate wildness or becoming levity'.  This miniature score from the Shostakovich Complete Edition includes commentary by Koichi Owa in English and Japanese.

The Scherzo is the 2nd movement from Shostakovich’s 10th Symphony; a short brutally fierce movement which is constantly loud and uses some of Shostakovich’s most violent musical language. This arangement for brass band is a wonderful way to celebrate the centenary of Shostakovich’s birth.

Shostakovich’s fifteenth symphony differs substantially in many ways from his other late symphonies. The eleventh (1957) subtitled The Year 1905 and the twelfth (1960) subtitled The Year 1917 are both programmatic symphonies relating to political and historical events within the year of which they are subtitled. The next two symphonies are sung texts with vocal and/or choral parts: thirteenth (1962) and fourteenth (1969) symphonies.With the Symphony No.15 In A Op.141 Shostakovich’s last foray in the genre the composer returned to a purely instrumental and non-programmatic composition which inhabits a purely emotional andintellectual plane quite removed from the world of politics and history.Available here is the pocket or study score of Shostakovich’s last symphony the Symphony No.15 in A Op.141. This is an excellent Sikorski edition score and is ideal for study and perusal purposes.

Shostakovich's Piano Concerto No.2 accurately and beautifully arranged for 2 Pianos. Composed in 1957 the premiere was given on 10th May in the Great Hall of Moscow Conservatoire conducted by Nikolai Ansonov. The piece is dedicated to and was first played by Dmitri's son Maxim Shostakovich.    This is an abridged version for two Pianos. 

Festive Overture was composed in 1954 to commemorate the 37th birthday of the October Revolution of 1917. With this overture Shostakovich shows his brighter side in contrast to his melancholy 10th symphony written in the previous year. The premiere of this piece took place on November 6 1954 at the Bolshoi Theatre in Moscow. Shostakovich makes great use of different themes which he alternates and intermingles in a masterly way. This skilful transcription by Tohru Takahashi retains all the grandeur of the original.

Symphonic Etudes. Par SHCHEDRIN RODION. Many of Rodion Shchedrin’s compositions are distinguished by deeply Slavonic feeling and thrilling virtuoso displays. Even though Shchedrin has won recognition all over the world for his work, he remains an essentially Russian composer who has not broken off his ties to Russian musical folk traditions and poetry. It is thus not surprising to learn of his profound admiration for his compatriot Shostakovich (Shchedrin writes: “He is like a God to me.”) The “dialogues” in this one-movement orchestral piece give expression to this admiration; they describe and offer a musical commentary on the character of Shostakovich’s music and of the man himself. / Études et exercices / Répertoire / Orchestre

These three piano miniatures composed in 1920 present an early Shostakovich and his interpretation of different traditional dance styles from a contemporary perspective. There is much of Shostakovich's familiar lively rhythms and unusual harmonies in these youthful pieces as well as his fascination with folk forms and melodies which would characterise many of his later works.

Dmitri Shostakovich is regarded by musicians and audiences alike as one of the most important and powerful composers of the 20th century. His music reflects his own personal journey through some of the most turbulent and tragic times of modern history. ‘Katerina Ismailova’ is the alternative name of Shostakovich’s opera Lady Macbeth of the Mtsensk District op.29. As op.114 the work is a revision of the original opera with two new entr’actes a major revision to Act 1 Scene 3 and smaller changes elsewhere. This opera in 4 Acts is accompanied by a libretto by Aleksandr Preis based on ashort story by Nikolai Leskov.

für 2 Violinen und Klavier - for 2 Violins and Piano-2 Violins Piano. Shostakovich D.