Kapell plays Shostakovich Prelude No. 10 in C sharp minor

Prelude No. 10 in C sharp minor from 24 Preludes, Op. 34

Composer: Dmitri Shostakovich (1906-1975)
Performer: William Kapell (1922-1953) (piano)

Hard as this may be to believe, Dmitri Shostakovich was a very romantic man. His courtship of his wife in the late 1920s and early 1930s was extremely romantic and extremely tempestuous: they met, fell in love, broke up, got back together, broke up again, and got back together again for years before finally marrying in the late autumn of 1932. Stimulated by love, Romanticism sprang up full blown in several of his works of this period: in the Six Japanese Romances with its despairing songs with titles like "Love," "Before Suicide," and "Love without Hope," and in the opera Lady Macbeth of the Mtsensk District, whose heroine Shostakovich loved so deeply that he transformed her from a murderess to a profoundly sympathetic character.

The first work Shostakovich undertook after his marriage was the set of 24 Preludes, Op. 34, begun two weeks after the completion of Lady Macbeth. Although the preludes cover an enormous gamut of emotions, the tenth in C sharp minor is clearly about romantic love. With a melody that recalls Katerina's desolate aria from Act III of Lady Macbeth and the despairing song "For the First and Last Time" from the Japanese Romances, the meaning by association is apparent. But even without these clues, the C sharp minor Prelude's tenderly yearning melody -- especially embellished by delicate trills like a caress at its return -- makes the meaning of the song obvious. And the final bars with their last cadential C sharps separated by the enormous distance of six octaves, make the prelude's ineffable and unassuageable longing -- in a word, its romantic love -- perfectly clear.

Source: All Music Guide

Category:

Music

Tags:

• William
• Kapell
• Dmitri
• Shostakovich
• Prelude

[tHEnOOSEsWING]

I have always found that there is an undercurrent(directional) of visual imagery and quintessential symbolism evoking in all Shostakovich's works, particularly in his large orchestral works, and even in this prelude there are corners where he seems intent in creating a scene within a scene. William Kapell is able to provide the dynamics of scale for this piece. Thank you.

[imusiciki]

I absolutely agree with you Paul. I must say this is one those odd pieces you wouldn't really expect from Shostakovich:)

[megansspark]

loved this, and the background was good to know

[imusiciki]

Thank you megansspark!

[pjioayncoe]

Thank you for sharing a piece of romance by Shostakovich. Tenderness is one word I don't unsually associate with him, but this shows it!

[imusiciki]

Your welcome pjioayncoe, yes the piece is quite romantic in nature:)

[smudgepots]

For me, everything Kapell touched reeks of class: self-effacing pianism, effortless virtuosity but never exhibitionistic, always in the service of the music and the composer. Unsentimental, but the more expressive for that.

He was a divine artist and, like so many, taken from us early. Nevertheless, to listen to his playing is both a privilege and an honour. That an artist respects his public to such an extent that he transcends their every expectation is truly amazing. It doesn't happen often.

[augustbuckne717]

Your video is popular on Prague

[articlescholar]

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[bbiguy]

This man was unbelievable, look at his records.

37 shows in 14 weeks.

Died by plane crash, why do all instumental virtuoso's die around 50 ?

[Neishapour]

Таких песен нынче больше не пишут, к сожалению.

[FiDiTanzer528]

This is so lovely. Wonderfully played by Kapell too. About your comment that this piece is something you would not expect from Shostakovich, I have learned to expect almost anything from this composer. Thank you for all that you share of his great work.

[rododoro15]

Awesome music!

[macciboma]

Beautiful. Thank you. Walter.