The Fusion Of Traditional And Modern-Analysis Of Kapustin’s《Twenty-four Preludes And Fugues》

Nikolai Kapustin’s solo piano music Op.82《Twenty-four Preludes and Fugues》synthesizes classical form and jazz texture. He uses the language of jazz improvisation,but does not improvise. Instead, a jazz vernacular is presented in a contrapuntally denseframework of thematic organization, development,and restatement. Kapustin’s output isenormous, consisting of over120opus numbers for nearly all instrumentalcombinations in the codified Baroque, Classical, and Romanticforms including concertos, sonatas,, and etudes. No matter how vivid theincorporation of jazz may be, whether it be blues licks, symphonic stride, or propellingbebop syncopations, the level of workmanship and compositional technique are veryqualities.This document concludes with analyses of solo piano work，Op.82《Twenty-fourPreludes and Fugues》，Kapustin’s musical background and education，posits whetherKapustin’s music is classical or jazz, investigates, and establishes his place in thehistory of jazz in Russia.