These
Russian cello sonatas span almost the whole of the 20th century,
and all loom large in their respective composers’ output.
They are reasonably well-known and quite often recorded,
either together or separately. All contain some of the
finest music these composers ever penned. Finally each
carries a deeply personal, intimate message, often reflecting
some intensely private concerns. Rachmaninov’s large-scale Sonata
in G minor Op.19 is a warmly romantic, at times
troubled and anguished work. The outer movements are both
the weightiest and the most complex, and frame a nervous,
whimsical Scherzo and a nocturnal Andante of great expressive
beauty. The final movement brings the sonata to its vehement
conclusion.
Shostakovich’s
imposing Sonata in D minor Op.40 is roughly
contemporary with the Fourth and the Fifth Symphonies,
and has much in common with the Fifth. The movements’ layout
is very similar: a moderately fast, long opening movement,
a short ironic Scherzo, a darkly lyrical slow movement
and a deceptively lively, often mischievous Finale. Miaskovsky,
among others, was deeply impressed by the music’s eloquence
and emotional depth. As in many other chamber works of
his, Shostakovich managed to express deeply private concerns
without attracting the regime’s opprobrium. One has to
keep in mind that the roughly contemporary Fourth Symphony
was withdrawn during the final rehearsals, and that the
Fifth Symphony (“response of a Soviet artist to justified
criticism”) seemed – at least superficially – to be closer
to some dictates of the Soviet regime, although it is clear
that the music goes much deeper than this and remains highly
personal.
Prokofiev’s
return to the Soviet Union did not bring him the fame and
comfort he may have expected. In any case, he too was not
untouched by the Zhdanov manifesto, so that his final years
(after World War II) were not altogether happy. This is
rather clearly reflected in the Cello Sonata’s first movement
with its abrupt changes of moods. The other movements are
comparatively simple in design: a lively Scherzo with a
more lyrical central section and a joyous Finale capped
by a beautiful, albeit wistful coda briefly restating the
opening theme of the first movement. During the composition
of his Cello Sonata, Prokofiev often consulted a young
Russian cellist, who was to make quite a formidable reputation
later, none other than. Mstislav Rostropovich.
Schnittke’s First
Cello Sonata may be one of his most popular
and most performed chamber works. This is a big-boned
piece in which the composer succeeds in keeping his
at times too single-minded polystylism under strict
control. The music is strongly lyrical, in Schnittke’s
own personal manner, and often rather understated.
The central Scherzo has more than a touch of biting
irony, and is the only movement in which the composer
indulges in his usual polystylism. He does this for
expression’s sake, which is not always the case in
several other pieces of his. However, the First Cello
Sonata is deeply serious and deeply felt.
Recordings
of these works are certainly not lacking in number; and
there exist many fine readings of these important and substantial
works (see below). Coppey’s
and Laul’s
readings belong amongst the finest. Coppey’s beautifully
varied, firm tone is a joy from first to last, and Laul
supports
his partner
with
commitment and immaculate playing. The recording is first
rate too. So, in short, a very fine release that may be
safely recommended.
Hubert
Culot
AVAILABILITY
Arkiv
Music
Comparative reviews
Shostakovich
& Rachmaninov - Gorokhov, Demidenko/ASV
Shostakovich
& Rachmaninov - George, Portugheis/Guild
Schnittke -
Wallfisch, York/Black Box
Prokofiev - Ivashkin, Lazareva/Chandos
Marc Coppey
(cello); Peter Laul (piano) 
