《拉赫玛尼诺夫&普罗科菲耶夫：大提琴奏鸣曲》

专辑介绍：instructor of piano at the Sibelius Academy in Helsinki.

performed and recorded, both in Finland and abroad. He is also active as a senior

Competition in Moscow and made it into the finals. Eero Heinonen has frequently

national Maj Lind Piano Competition in 1966, Heinonen entered the 1974 Tchaikovsky

Moscow Conservatory, where his teacher was Dimitri Bashkirov. Having won the

pianists. Upon completion of his studies in Finland. Heinonen continued at the

Eero Heinonen (b. 1950) is one of Finland's most renowned and respected

Noras has recorded extensively, both in Finland and abroad.

Europe, North and South America, where he continues to appear regularly. Arto

Competition in Moscow. This opened his way to the most important concert halls in

in 1964. Two years later he was awarded Second Prize at the Tchaikovsky

Paul Tortelier at the Paris Conservatoire, where he received the "Premier Prix”

completing his studies at the Sibelius Academy, Noras went to Paris to study with

instrumentalist, one of the most outstanding cellists of his generation. After

Arto Noras (b. 1942) is in addition to being the most celebrated Finnish

Kevin Klelnmann

altering it in the coda.

material from the main theme of the first movement, enlarging and rhythmically

The finale is, like the first movement, in the classical spirit and utilizes

Wolf, while its trio (Andante dolce) recalls a love scene from Romeo and Juliet.

scherzo (Moderato), reminds us of the playful Prokofiev who composed Peter and the

marked by strong dramatic contrasts and lyrical qualities. The second movement's

The long first movement (Andantegrave), in sonata form, is a slow movement

1933-38.

earlier compositions, notably the First Cello Concerto, Op. 58, composed between

Sinfonía Concertante, it is full of clean-cut harmonies that differ from his

passion, but maintains a tendency towards lyricism and simplification. Like the

Cello Sonata, whose sharply contrasted writing alternates between reverie and

The serenity that imbues the Ninth Plano Sonata, Op. 103 is absent from the

recorded it

propagation in the Western world is credited to Gregor Piatigorsky, who also

Moscow during March 1950 and performed it frequently thereafter! Its initial

Rostropovich and Sviatoslav Richter gave the Cello Sonata its public première in

unaccompanied sonata were left unfinished upon his death in 1953. Mstislav

as well as a Sonata for Cello Unaccompanied. Op. 134. Both the Concertino and the

Concertante. Op. 125 and planned the Concertino for Cello and Orchestra, Op. 132

he revised the Second Cello Concerto, which was to become the Sinfonía

spring of 1949. This close cooperative work was in a way a revelation; soon after

assistance of cellist Mstislav Rostropovich, the Sonata was completed in the

inspiration for the composition of a Sonata for Cello and Piano. With the

appease the Soviet authorities, he was reserving the best of his artistic

At the same time as Prokofiev was composing these and other works with themes to

fraternize to save civilization, our children and our future.”

and peace and the certainty that there will be no more war, that all peoples will

the people ... In this work I have tried to express my thoughts and ideas on war

of mothers and orphans, of towns destroyed by fire and the terrible sufferings of

Prokofiev's words, "... of the difficult days of the Second World War. the tears

a most educative oratorio. Guarding the Peace. The latter work tells in

complied and sought redemption by composing a popular ballet. The Stone Flower and

the Communist Party and the Congress of the Soviet Composer's Union, the composer

Following the violent attacks on Prokofiev in 1948 by the Central Commilee of

works.

making a suitable conclusion to one of the cello literature's most rapturous

finale. Allegro mosso, is large in its conception and dramatic in its expression,

recalling the composer’s sombre state of mind the preceding year. The rondo-like

movement. Andante, in ABA song form is tinged with a bitter-sweet melancholy

scherzando (scherzo-trio-scherzo) of remarkable craftsmanship. The lyrical third

allegro with a slow introduction. The second movement is a brooding Allegro

the sonata form’s basic laws. The first movement. Allegro moderato, is a sonata-

Structurally the Sonata could not be more traditional, as it adheres to all of

composing in a realm that we generally don’t associate with him.

partners throughout and this work serves to prove the composer’s great talent for

of well proportioned late-Romantic ensemble writing. The piano and cello are equal

which became Rachmaninoff's trademark, it is one of the last and finest examples

though the piano writing is immense, characterized by that gargantuan piano sound

not lead one to believe that here we have a Sonata for Piano with Cello. Even

obvious, but this fact, and its title which gives precedence to the piano, should

work is dedicated. The Sonata’s resemblance to the Second Piano Concerto is

on December 2, 1901 by the composer and cellist Anatoli Brandukov, to whom the

work on the Sonata for Piano and Cello. The Sonata received its première in Moscow

completed the Second Piano Concerto (dedicated to Dr. Dahl) and immediately set to

hypnosis in Moscow. The sessions with Dr. Dahl proved successful and Rachmaninoff

his desperation Rachmaninoff turned to Dr. Nikolai Dahl, a practitioner of

work that saw creation alter a long bout with depression and morbid pessimism. In

interesting, when we note that it follows the Second Plano Concerto. Op. 18; a

The opus number and date of composition make this sonata especially

youthful work, written when the composer was twenty-eight years old.

during the summer of 1901 and completed during December of that year. It is a

The RachmaninofT Sonata for Piano and Cello in G minor. Op. 19 was composed

no option other than to adapt to circumstances and comply.

Prokofiev would have wanted to retract that statement later on, but in 1949 he had

contemporaries, but has no hope of surviving his own generation.” Perhaps

is not a master but a pupil Such a composer is easily accepted by his

simply according to the rules established by previous classics signifies that one

This work is by the same Prokofiev who some years earlier boldly stated, "To write

regime, who in 1948 accused him offormalism, decadence and artistic delusions.

change dictated not so much by his own artistic sense as by that of the Soviet

radical change towards great simplicity, melodic richness and classicism. It was a

the 1920’s, his Sonata for Cello and Plano. Op. 119, composed in 1949, marked a

vogue. For Sergei Prokofiev, a composer closely associated with the avant-garde of

as the schools of the recently deceased Tchaikovsky and Brahms were very much in

for Piano and Cello in 1901 was one of choice with respect to prevailing tastes,

twentieth-century. The style Sergei Rachmaninoff used when composing his Sonata

Romanticism and adherence to classical principles during the first half of the

The two sonatas on this record are excellent contrasting examples of laie-

Eero Heinonen, Piano

Arto Noras, Cello

Allegro ma non troppo [8’02]

4.(III) Allegro ma non troppo - Andantino

Moderato primo[3’48]

3.(II) Moderato - Andante dolce-

• Lento - Allegro moderato [11 ’52]

2.(I) Andante grave - Moderato animato

Sonate für Violoncello und Klavier op. 119

Sonat för violoncell och piano op. 119

Sonaatti sellolle ja pianolle op. 119

Sonata for Cello and Piano, Op. 119

(1891-1953)

Sergei Prokofiev

1.(IV) Allegro mosso[10’54]

Side 2:

3.(III) Andante[6’04]

2.(II) Allegro scherzando[5’44]

1.(I) Lento - Allegro moderato [13’29]

Sonate für Klavier und Violoncello g-moll op. 19

Sonat for piano och violoncell, g-moll op. 19

Sonaatti pianolle ja sellolle g-molli op. 19

Sonata for Piano and Cello in G minor, Op. 19

(1873-1943)

Sergei Rachmaninoff

Side 1:

ARTO NORAS, Cello • EERO HEINONEN, Piano

RACHMANINOFF&PROKOFIEV:Cello Sonata