This is an unusual but very exciting issue. I would never have
thought that the soaring lyricism of César
Franck would make a good bedfellow for Shostakovich’s very disturbing
Sonata, but they work so well together, especially in such superb
performances.
Franck’s
Sonata is a broad four-movement piece, bold and romantic, and
it’s given the full treatment here: Sergey uses a big tone when
necessary and he really lets the romantic melodies soar, but
he can be gentle when the music demands it. It’s simply fantastic.
The sheer simplicity of the finale’s canon is beautiful, and
with the most subtle of rubato brother and sister Khachatryan
really make it sing.
The
Shostakovich Sonata is a different matter. Written at the very
end of his life, for David Oistrakh, here is Shostakovich reaching
out to new and unusual sound-worlds, giving us music of the
future and of hope, although it might not seem so at first hearing.
A
hushed and stark opening for the piano ushers in the violin:
it’s a bleak world. Much of this music is introspective, musing,
the dynamic never rising above mezzo-forte. The scherzo which
follows it is wild and unreserved. Giving no respite, this fast
and noisy movement simply batters its way into your head without
thought for what it is doing. The final movement returns to
the world of the first. One might feel the music to be distanced
from the listener for the composer’s use of some aspects of
the 12 note technique is planned to give us a sense of discomfort,
a sense of a lack of home, but repeated hearings will uncover
the beauty of the writing. In some respects this Sonata is an
intellectual dialogue between the players where it is the music
which is of prime importance - virtuosity is unimportant. And
what a discourse Shostakovich provides. As ever with this composer
he keeps you guessing what will happen next, and you can never
pre-empt him.
The
Khachatryans play this work as if it were a romantic Sonata
in the Franck tradition and it works marvellously. Their approach
is warm and generous in feel and they display the work in all
its glory. The twenty or so years since its composition have
allowed musicians to bring new approaches to the music, and
our further knowledge of the composer, and his life, have enriched
our understanding of his late masterpieces.
The
disk is very well presented in a gatefold sleeve with good notes,
in four languages, in the booklet. The sound is superb, with
a real concert hall feel and there is an excellent balance between
the players.
An
odd coupling, to be sure, but one which works and which will,
because of the excellent interpretations, give lots of pleasure
to the listener and bring the Shostakovich work many new friends.
Bob
Briggs
Sergey Khachatryan
(violin); Lusine Khachatryan (piano)
