Tatiana Nikolayeva plays Shostakovich Fugue in A major Op87 VIDEO Book I

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🎹🎶 LIKE and SUBSCRIBE for more videos ! / @thepianoexperience • 🎹🎶 SUBSCRIBE to my PATREON ! → / thepianoexperience • Tatiana Nikolayeva plays Dmitri Shostakovich Fugues in A major Op.87 (VIDEO - Preludes and Fugues, Op.87, Book I) (21 December 1992). This piece has Perfect Harmony. • TATIANA NIKOLAYEVA (1924 - 1993) • Tatyana Nikolayeva’s mother was a professional pianist who had studied with Alexander Goldenweiser, with whom Tatyana also studied from the age of thirteen, continuing her lessons with him when she went to the Moscow Conservatory. While studying there, Nikolayeva won first prize in a competition held in Moscow to commemorate the death of Alexander Scriabin thirty years before. Three years after graduating from Goldenweiser’s class, Nikolayeva graduated also from the composition class of Evgeny Golubev; and whilst still at the Conservatory she won second prize at the first International People’s Competition in Prague. • Keeping track of Nikolayeva on compact disc is very difficult as she recorded for many labels and many of her Melodya recordings made in Russia have been licensed to various European and American labels. Nikolayeva first appeared on compact disc in the early days of digital recording. In the early 1980s she recorded two recitals of Bach and Das wohltemperierte Klavier complete in Japan. These were released on the JVC label, (and later Mezhdunarodna Kniga) as was a 1977 recording of the two- and three-part inventions of Bach. Many Soviet recordings have been licensed to European companies including Harmonia Mundi, who issued Haydn’s Piano Concerto in D major and Mozart’s Piano Concerto in E flat K. 482. Nikolayeva recorded many works two or three times including the Shostakovich Preludes and Fugues Op. 87 and Das wohltemperierte Klavier of Bach. • The French label Vogue has reissued some fascinating Nikolayeva repertoire in its Archives Sovietiques Series including Richard Strauss’s Concerto for piano left hand Op. 73 (Parergon), Stravinsky’s Capriccio for piano and orchestra, and a 1950 performance of Tchaikovsky’s Concert Fantasy for piano and orchestra in G major Op. 56 conducted by Kyrill Kondrashin. Most interesting of the Vogue releases is a coupling of a live performance of Liszt’s Piano Sonata in B minor from 1967 and Henri Dutilleux’s Piano Sonata recorded live in 1978. • During her visits to London in the 1990s Nikolayeva recorded for the Hyperion label some of her core repertoire: Bach’s ‘Goldberg’ Variations BWV 988 and a masterly performance of Die Kunst der Fuge BWV 1080, Shostakovich’s Preludes and Fugues Op. 87, Piano Sonata No. 2 Op. 61, Twenty-four Preludes Op. 34 and his three Fantastic Dances Op. 5. She also recorded the complete Shostakovich preludes and fugues for BBC television in Scotland. Her previous recording of the Shostakovich preludes and fugues, made for Melodya three years earlier in 1987, was available on compact disc and is in some ways preferable as the Hyperion recording is extremely reverberant. Many other Russian recordings have appeared on compact disc on the Melodya label or have been licensed to other labels, such as the complete Beethoven piano sonatas which were recorded in concert at the Moscow Conservatory in 1983 and issued in Britain by Olympia in 1994 (and again by Scribendum in 2004). • Over five days in May 1991 whilst in Switzerland, Nikolayeva recorded three discs for the Relief label: one of Schumann, one of Tchaikovsky (including the Piano Sonata in G major Op. 37), and one of works by Borodin, Liadov and Prokofiev. • Nikolayeva appeared as volume fifteen of BMG’s Russian Piano School Series where she plays Schumann’s Drei Romanzen Op. 28 recorded in 1983, Prokofiev’s Piano Sonata No. 8 in B flat Op. 84 and her own transcription of Prokofiev’s Peter and the Wolf, both recorded in the mid-1960s. • A disc on the Novalis label of two Beethoven sonatas claims to be her last recording. It was made in August 1993 in Blumenstein, Switzerland, the location where her recordings for Relief were made. Fortunately however, recordings of Nikolayeva continue to be released. Recently a recital from the Salzburg Festival of 1987 was issued, and the Scribendum label has licensed her Melodya recordings of the complete Das wohltemperierte Klavier from the early 1970s, complete French Suites from 1984 and English Suites Nos 1 and 4 from 1965. • Nikolayeva was one of the great pianists of the twentieth century. She had a wonderfully warm tone reminiscent of Shura Cherkassky, but this was coupled with a piercing intelligence and a delightful generosity of spirit. The greatest Bach player of her generation, an undisputed authority on the music of Shostakovich and a musician of the highest capabilities, Nikolayeva will be fondly remembered through her public appearances and many recordings.

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