Eugenio Catone continues the development of Shostakovich's complete piano works bypresenting the third volume. Few piano cycles of the 20th century can boast an impact and a resonancecomparable to those of Dmitri Shostakovich's 24 Preludes and Fugues Op. 87. This work,which holds a special place both in the composer's output and in the history of the genre itself,represents a significant return to writing for his instrument, seventeen years after Piano Concertono.1 Op. 35 (1933), in a context deeply changed both on a personal level and in relation to theevolution of his musical language. Shostakovich held Op. 87 in special consideration: he recordedseveral numbers on multiple occasions and devoted himself to transcribing each Prelude andFugue for several performers, with the aim of recording the entire work with a home recorder,thus making it's polyphonic architecture as clear as possible.