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    RODION SHCHEDRIN'S TWENTY-FOUR PRELUDES AND FUGUES: HISTORIC, ANALYTIC, PERFORMANCE, AND PEDAGOGIC PERSPECTIVES

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    Genre
    Thesis/Dissertation
    Date
    2010
    Author
    Resnianski, Igor
    Advisor
    Brinkman, Alexander Russell
    Committee member
    Wedeen, Harvey D.
    Abramovic, Charles
    Folio, Cynthia
    Department
    Music Performance
    Subject
    Music
    Music Analysis
    Pedagogy
    Performance
    Prelude and Fugue
    Rodion Shchedrin
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/2231
    
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    DOI
    http://dx.doi.org/10.34944/dspace/2213
    Abstract
    The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle.
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