A low, unpretentious cello solo raises the curtain; out of the piano's occasional comments grows a little tune whose steady chordal accompaniment is soon taken over by the cello's striking pizzicato chords. Gone are the more abrasively dissonant techniques often so thrillingly prominent in his works and the harmony, rhythm and accompaniment are uncluttered and direct in utterance. Purchase Work Title Grande Cello Sonata Alt ernative. The Sonata appears timeless so much does the classicism of its construction and the Romantic inspiration make it the sister of those by Rachmaninov, Miaskovsky or Shostakovich as well as of Beethoven's Sonata in A major. Period Piece Style Instrumentation cello, piano External Links Announcement of publication in Reviewed in.
Prokofiev once said that he was no good at writing melodies. . If you continue to see this message, your security software is interfering with your browser. True Classical sonata-allegro form meets stunning, voluptuous melody in the opening movement. Prokofiev was instantly inspired to write his own sonata for Rostropovich, and in that same year he produced the C major Sonata.
The 1934 D minor Shostakovich sonata is among the most affecting performances I have heard since Rostropovich died. Looking at the music of his youth we might be forced to agree; but the G major second theme of the Andante grave proves beyond any doubt what can be learned through a lifetime of work -- it is rich, full, and exceedingly flexible. There are contrasts of these passages and themes, the more delicate, almost Messiaen-like nature of simple melodies and textures against the more acerbic elements that one might expect of mid-century Russian music. Cookies allow us to personalize content and ads, to provide social media-related features and analyze our traffic. To view the first page of Prokofiev - Cello sonata op.
The work was premiered on March 1, 1950 in the Small Hall of the Moscow Conservatory with Rostropovich as soloist and with Sviatoslav Richter at the piano. In this instant of profound lyricism are found the ingredients used by the most inimitable Prokofiev: large intervals, double stopping, tight, whimsical chromatic ascents, refined, slightly acid modulations. The composer had heard Rostropovich play his long-neglected Cello Concerto Op 58 in 1947 and was so amazed by the performance that he resolved to re-write the work for the cellist. This was a particularly crucial moment for Prokofiev. As early as the 1930s, artists such as Dmitri Shostakovich faced official denunciation from Stalin, voiced through his official press outlet Pravda. So soon after the Zhdanov decree, it was a decision that ultimately could impact the fate of any new works he would thereafter compose. These three works make sense together but are hardly a commercial proposition.
Some people even claim that it was these constraints and limitations that forced Shostakovich to find more creative, and maybe intense, ways to express himself, as with the fifth symphony. The composer of the Sonata for cello and piano might seem a tame composer compared to, say, the composer of 1914's Scythian Suite; but he is really just a composer who has learned subtler, more patient, and, ultimately, clearer ways to fully speak his mind. Yet, the work faced serious obstacles before it would ever be heard by any public audience. Relationships composer: Russian composer 1949 part of: Recordings Date Title Attributes Artist Length performance 1950-03-01 , 7:11 1950-03-01 , 7:15 1951-12-16 live 6:43 1966-02-21 , 7:54 1979-07-17 — 1979-07-19 , 8:02 1988-05 , 7:47 1992-07-12 , 8:08 1992-09 , 8:09 1995-05 , 7:16 2002-08-28 — 2002-09-01 , 7:57 2003-04 live , 7:39 2012-01-30 — 2012-02-01 , 8:08 2012-11-24 — 2012-11-26 , 8:31 2013-09-03 — 2013-09-06 , 7:18 2014-12-03 — 2014-12-08 , 7:53 2016-03 — 2016-04 , 7:30 2016-10 , 7:18 , 8:09 live , 8:50 , 7:48 , 7:39 , 7:59 , 8:21 , 8:02 live , 7:01 , 8:21 , 7:23 , 7:46 , 7:49 , 7:50 —???? Extra Information Date of composition from. By 1949, when he composed the sonata, was in the last half-decade of his life; together, the Sonata, the Seventh Symphony 1951-1952 , and the Sinfonia Concertante for cello and orchestra 1952 make a remarkable final threesome of instrumental pieces. The Zhdanov Doctrine, formulated in 1946 by the Central Committee secretary Andrei Zhdanov, brought the full might and censorship of the Communist regime against its own artists two years later.
In the finale, makes little effort to hide the fact that he was steeped in the music of and during his youth. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. The following variations recapitulate these two melodic ideas. The composer of the Sonata for cello and piano might seem a tame composer compared to, say, the composer of 1914's Scythian Suite; but he is really just a composer who has learned subtler, more patient, and, ultimately, clearer ways to fully speak his mind. At the same time, Prokofiev wrote the symphonic suite Winter Bonfire, Op. Clear, well balanced recording helps to make this a first rate issue, with illuminating notes filling in the background behind each work' Gramophone 'Jamie Walton is a conviction cellist, playing the music he feels is most timely rather than what the industry demands. We also share information on the use of our site with our social media partners, advertising and analytics, which can combine them with other information you have provided to them or collected in your use of their services.