Franz Liszt, who transcribed one of Bach's organ works on this album, had a great interest in fugues, with fugal sections appearing in 14 of his works.
Compositional Technique
The 'Cross' motive appears in the Fugue by Bach, Shostakovich's Prelude and Fugue, and Franck's Prelude, creating a thematic connection across the works.
Critical Reception
Some of the works on this album faced initial criticism: Bach's compositions were neglected, Shostakovich was accused of formalism, and Saint-Saëns criticized Franck's work as 'awkwardly written'.
Composer's Artistic Vision
Pianist Natalia Andreeva's interpretation of these Preludes and Fugues emphasizes a religious aspect, which she also found in the music of Galina Ustvolskaya, a Russian composer whose complete piano works Andreeva previously recorded.
Compositional Technique
Bach's Fugue in C sharp minor, BWV849, is unusual for having five voices and a five-note subject, which Timothy A. Smith suggests is a mathematical symbol for religious belief.
Recording & Production
This album was recorded in the former Melodiya recording studio in St. Petersburg, Russia, which is located at the St. Catherine Lutheran Church.
Interpretation
Pianist Natalia Andreeva emphasizes bell-like effects in her interpretation of all the piano works on this album.
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Franck: Piano Works
Franck: Prélude, fugue et variations, Prélude, aria et finale & Prélude, choral et fugue
