Understanding Shostakovich’s preludes and fugues, Op. 87: A Pedagogical Perspective

Yue Wang

doi:10.6918/IJOSSER.202606_9(6).0023

Authors

Yue Wang

DOI:

https://doi.org/10.6918/IJOSSER.202606_9(6).0023

Keywords:

Shostakovich; Twenty-Four Preludes and Fugues; Op. 87; piano pedagogy; Soviet music; national style; Jewish musical elements; counterpoint; Bach; performance interpretation.

Abstract

This article examines Dmitri Shostakovich’s Twenty-Four Preludes and Fugues, Op. 87, from a pedagogical perspective. Although the cycle is closely connected with Bach’s Well-Tempered Clavier, it also reflects Shostakovich’s own historical position, national identity, and personal expression. The article first places Op. 87 within the cultural and political context of Soviet music, especially the tension between public expectation and individual voice. It then discusses Russian and Jewish musical elements in the cycle and considers how these elements shape musical character. Finally, the article examines the relationship between tradition and innovation, showing how Shostakovich combines Baroque contrapuntal models with twentieth-century harmonic, rhythmic, and structural ideas. By connecting historical understanding with practical interpretation, this study argues that Op. 87 can help students develop both analytical awareness and expressive performance skills.

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