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    Shostakovich 24 Preludes Op. 34 For Viola And Piano (Sikorski)

    Shostakovich 24 Preludes Op. 34 For Viola And Piano (Sikorski)

    $184.00

    Twenty-four keys and twenty-four sharply contrasting musical personalities make Shostakovich’s 24 Preludes, Op. 34 a remarkable journey for the serious violist. Arranged for viola and piano by Lera Auerbach and published by Sikorski, the complete cycle ranges from biting wit and rhythmic energy to introspection and melancholy, demanding technical versatility, tonal imagination, and mature musicianship.

    Key Features:

    • Complete 24 Preludes, Op. 34 by Dmitri Shostakovich

    • Arranged for viola and piano by Lera Auerbach

    • Published by Sikorski

    • Advanced twentieth-century repertoire for conservatory study and recital performance

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    Shostakovich 24 Preludes Op. 34 For Viola And Piano (Sikorski)

    Twenty-four miniature worlds unfold in Dmitri Shostakovich’s 24 Preludes, Op. 34, presented here for viola and piano in an arrangement by Lera Auerbach and published by Hans Sikorski Musikverlag. Originally conceived by Shostakovich as a cycle for solo piano in 1932–33, the collection travels systematically through all twenty-four major and minor keys, with each prelude establishing its own sharply defined musical personality. In Auerbach’s arrangement, the viola becomes a compelling new voice for Shostakovich’s extraordinary range of expression—from biting wit and restless energy to lyricism, introspection, irony, and melancholy.
    For the serious violist, this collection offers far more than a sequence of short character pieces. The constantly changing musical language demands exceptional versatility in articulation, tonal colour, rhythmic precision, phrasing, dynamics, and characterisation. A performer must be capable of changing emotional and technical direction almost instantly while still understanding the larger architecture connecting the complete cycle. The piano remains an essential musical partner, transforming the original keyboard writing into a sophisticated chamber dialogue. Published by Sikorski, Auerbach’s arrangement provides advanced violists with a substantial twentieth-century work suitable for conservatory study, professional recitals, competitions, and ambitious concert programming.
    The 24 Preludes:
    • No. 1 – C major: Moderato
    • No. 2 – A minor: Allegretto
    • No. 3 – G major: Andante
    • No. 4 – E minor: Moderato
    • No. 5 – D major: Allegro vivace
    • No. 6 – B minor: Allegretto
    • No. 7 – A major: Andante
    • No. 8 – F-sharp minor: Allegretto
    • No. 9 – E major: Presto
    • No. 10 – C-sharp minor: Moderato non troppo
    • No. 11 – B major: Allegretto
    • No. 12 – G-sharp minor: Allegro non troppo
    • No. 13 – F-sharp major: Moderato
    • No. 14 – E-flat minor: Adagio
    • No. 15 – D-flat major: Allegretto
    • No. 16 – B-flat minor: Andantino
    • No. 17 – A-flat major: Largo
    • No. 18 – F minor: Allegretto
    • No. 19 – E-flat major: Andantino
    • No. 20 – C minor: Allegretto furioso
    • No. 21 – B-flat major: Allegretto poco moderato
    • No. 22 – G minor: Adagio
    • No. 23 – F major: Moderato
    • No. 24 – D minor: Allegretto
    Key Features:
    • Music by Dmitri Shostakovich
    • Arranged for viola and piano by Lera Auerbach
    • Published by Hans Sikorski Musikverlag
    • Complete 24 Preludes, Op. 34
    • For viola and piano
    • Based on Shostakovich’s original solo piano cycle
    • Traverses all 24 major and minor keys
    • Twenty-four contrasting miniature character pieces
    • Substantial twentieth-century repertoire for serious violists
    • Ideal for advanced conservatory study, competitions, and recital performance
    Musical Benefits:
    • Demands exceptional versatility of tone, articulation, and character
    • Develops rhythmic precision and rapid stylistic adaptability
    • Refines advanced ensemble communication between viola and piano
    • Challenges the performer to connect individual miniatures into a convincing larger cycle
    • Provides serious exposure to Shostakovich’s distinctive twentieth-century musical language

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