《普罗科菲耶夫&肖斯塔科维奇：大提琴奏鸣曲》

专辑介绍：suddenly just as one is enjoying the themes.

pyrotechniques, comes back to the first theme. The end comes almost too

It leads into the middle section (or bridge) which, after some breathtaking

minor tonality (as in the first movement). The theme is crisp, light and gay.

primarily B minor.The last movement (Allegretto) immediately establishes the D

Shostakovich's writing. The tonality is

pages of

tragic in its deep feeling. It certainly contains some of the most beautiful

A minor.The third movement (Largo) is sombre and intensely moving, almost

The movement develops typical “scherzo" elements and ends, as it began, in

cello introduces accented eighth notes against the waltz theme in the piano part.

second movement (Moderato con moto) is a fast waltz of lightness and gaiety. The

very sombre mood. The movement ends as it began on a clear D minor chord.The

notes in the piano and the cello having the first theme but now establishing a

melody of great depth and feeling. The movement ends (Largo) with detached bass

up in intensity and subsides to the second main theme —a sustained

of the Cello Sonata is announced by the cello in a lyric D minor. This builds

for cello and piano which remained in manuscript.)The opening theme (moderato)

Op. 40. (In 1923-24 he had composed three pieces (Fantasy, Prelude, Scherzo)

and 6 string quartets. In 1934 he wrote his only sonata for cello and piano,

cellos. By 1958 he had written another Trio, Op. 67, a Piano Quintet, Op. 57

and cello (unpublished) and Op. 11 an Octet for 4 violins, 2 violas and 2

serious music) since his early compositions. Op. 8 was a Trio for piano, violin

music has interested Shostakovich (as it has almost every other composer of

SHOSTAKOVICH: Sonata for Violoncello and Piano, Op. 40.The genre of chamber

Hall of the Moscow Conservatory. Both performances were by Rostropovich and Richter.

Composers. In March of 1950 it was performed at a public concert in the Small

on December 6, 1949 at a private concert sponsored by the Union of Soviet

remained unfinished. The Sonata, Op. 119, was composed in 1949 and first performed

for Cello, Op. 132 and the solo Cello Sonata, Op. 134. The latter two works

after the Sonata, Op. 119, came the second Cello Concerto, Op. 125, the Concertino

friendship with Rostropovich stimulated his enthusiasm for music for the cello:

asserted — brightly dynamic, enforced with thicker chords and rich ornaments.ProkofiefFs

of the finale. So, in the conclusion of the sonata again the main epic form is

accompanying them with one of the scherzo components of the secondary section

of the first movement “by expansion", with rhythmical changes,

achieves a particular significance; the composer develops the principal theme

compositions, the coda of the finale, in which the main themes are repeated,

but more effectively harmonized.As in the majority of Prokofieff’s cyclic

second theme of the subordinate section, related to the main theme of the scherzo

half-joking dance-like effect; especially appealing with its soft humor is the

the work. However, in the secondary section again one hears the echoes of a

structures; thus also with the new lyrical episode appearing in the middle of

“cantabile” melody developed in the same way with typical Prokofieff-like harmonic

section of the scherzo. Such is, first of all, the main part of the finale —the

predominant, stem from the main themes of the first movement and the middle

the sonata (Allegro ma non troppo), lyrical-romantic lines, which are again

laughable and care-free dance-like main themes of the scherzo.In the finale of

the cello. And at the end, as in a ballet production, appear the infectiously

delightfully romantic color of the melody strengthened by the singing timbre of

alternating with colorful, chromatic notes, beautiful modulations, generally

characteristic methods of the later works of Pro-kofieff: wide intervals

spirit of the love music of Romeo or The Duenna. Here, we can recognize the

movement (Andante ddice) which charms with the passion of its lyricism in the

unexpectedly, the beautiful “love scene": the middle section of the

mischievousness, there appears,

the scherzo, after all the lightness and

effects (staccato, skips, alternating pizzicato and arco) and sharp rhythms. In

Juliet. The humor is heightened by piquant harmonic details, clever timbre

third jesting theme which recalls to mind the laughing Mercutio in Romeo and

four-beat dance. And finally, like an echo of a festive dance, one hears the

but at the same time keeps the rhythm of a

scherzo is full of elegant wit: it is quite singable . . .

nature which are similar to children's folksongs.The second theme of the

Children. The main themes of this section consist of little songs of dance-like

second movement (Moderato) — a clever scherzo in the manner of Music for

sonata.On the other hand, the most memorable section of the sonata is the

flying arpeggios of the piano). This is the most dramatic moment in the whole

working out of the first movement (the cello combines with the turbulent,

particularly, develops dramatically and occupies the central part in the

morose-sad subject — is presented in the second subordinate theme. This theme,

lyrical mood. This is the secondary theme. Another aspect of the lyricism — a

classical form, contructed in a free polyphonic style, indicates a lighter

further on, the next clear melody in

Tales of the Old Grandmother. But,

chords and changing harmonies . . . One is reminded of the tender fantasy of

expressive, recitative phrases, capricious passage effects, restless pizzicato

grave). There is much here reminiscent of Russian folk-lore material:

mysterious — pervades the beginning of the first part of the sonata (Andante

melodies instead.The quality of a fairy-tale — calmly majestic or somewhat

composer develops them to a relatively small extent, constantly unfolding new

lightness. It is delightful to find a generous number of themes . . . The

express a calm, lyrical mood; the second, in contrast, a youthful, carefree

to those in the suite.The sonata is in three movements: the first and third

Op. 122. In the sonata there are impressions of childhood scenes corresponding

same time as the suite Winter Bonfire (known in America as Winter Holiday)It

follows: (translated from the Russian.)The Cello Sonata was begun about the

"Prokofieff , Israel Nestiev writes about the Cello Sonata, Op. 119 as

Piano, Op. 119.In a volume published in Moscow in 1957, entitled merely

PROKOFIEFF: Sonata for Violoncello and

DMITRI SHOSTAKOVICH, piano

MSTISLAV ROSTROPOVICH, cello

4.Allegretto

3.Largo

2.Moderato con moto

1.Modoroto

and Piano

SHOSTAKOVICH:SONATA, Op. 40 for Violoncello

SVIATOSLAV RICHTER, piano

MSTISLAV ROSTROPOVICH, cello

3. Allegro, ma non troppo

2.Moderato

1.Andante grave

and Piano

PROKOFIEFF:SONATA, Op. 119 for Violoncello

PROKOFIEFF & SHOSTAKOVICH:CELLO SONATA

monitor MC2021 1958