It would seem strange enough that such an inventive composer as
Prokofiev should write only three works for violin and piano. It becomes
simply staggering when you learn that in fact he composed only the violin
sonata no.1 for this combination. The other two works are transcriptions:
the second sonata was originally for flute and piano and the
Cinq
Mélodies were written as five songs in 1920. When you hear them
you cannot understand why he should not have written more as they are so
successful. I fact my reaction is similar to hearing of a really good
composer being cut down in their prime; regret on reflecting what might have
been. Added to that is the fact that the opus numbers and designations of
the sonatas are totally misleading, since the second sonata, in its original
guise, had its première before the first.
The lyrical nature and beautifully calm and peaceful atmosphere
created by the
Violin Sonata no.2 in D major belies the fact that it
was written in 1943 against the background of the appalling events unfolding
at the time in Russia where Leningrad was in the middle of the siege which
it was to endure until the following year and the Battle of Stalingrad had
only recently ended. Yet Prokofiev found himself able to write this
wonderfully bright and sunny sonata with its memorable tunes. David Oistrakh
was in the audience at the première in Moscow where the original
version for flute and piano was played. He suggested to Prokofiev that he
transcribe it for violin and piano and with his input this Prokofiev did,
leaving the piano part untouched.
Now it is difficult to imagine that the sonata could have been
written for anything other than these two instruments though the original is
also hugely successful. The first movement opens with such a gentle dreamy
tune that wins the listener over straight away and which dominates the
movement. It is interspersed by rather more martial moments that, however,
do not disturb the overridingly pastoral atmosphere that always returns to
take command. The second movement, a scherzo is a witty piece of writing
with Prokofiev’s characteristic use of irony to the fore. This has
some brilliantly written sections that have the violin racing up and down
the scales accompanied by the piano which is a true equal partner here. The
third movement is full of material despite its short length in the form of a
three part serenade. The finale begins with a strongly declared theme and is
well deserving of its marking
Allegro con brio since it brims over
with life-affirming music that was certain to be much appreciated by
audiences that needed taking out of themselves at this trying time in their
county’s history.
What a contrast the first sonata is with its overwhelmingly dark
nature. The work was commissioned by David Oistrakh and his long-time
musical partner, pianist Lev Oborin. In response Prokofiev composed a work
that really tested its performers with Prokofiev constantly pushing the two
musicians to the very limit of their abilities of expression and the
capabilities of the instruments. It was interesting to read in the notes
that Prokofiev asked for the fast scales that appear at the end of the first
and last movement to be expressed “like a wind on a graveyard”.
The sonata is, as one would expect from this amazingly talented composer, a
wonderfully expressive work of great beauty despite its overall sombre mood.
The sonata was eight years in gestation since Prokofiev began it in 1938,
two years after returning to the Soviet Union. He was working at a feverish
pace, constantly putting the sonata aside in favour of completing other
works. These included several ballets including
Cinderella, operas
like
War and Peace and film music for
Alexander Nevsky, and
Ivan the Terrible among others. During this period he also composed
his ‘war sonatas’, the piano sonatas 6, 7 and 8.
Perhaps the dark nature of this sonata reflected his thoughts about
the state of his re-adopted country which had millions incarcerated in the
gulags and in which there were daily arrests of people often for little or
no reason. Indeed this was the period during which Shostakovich kept a
packed suitcase ready for the expected midnight knock on the door from the
NKVD. The opening movement is slow and deeply reflective with a gorgeously
rich and tuneful theme while the second is faster and agitated. Though the
third movement is in effect a lullaby the sombre mood still prevails against
another beautiful tune that is both moving and ethereal. Prokofiev then
transports us into a completely different world in the last movement with
elements of a madcap dance before the return of the “wind on a
graveyard” theme with which Prokofiev closes this brilliant sonata.
Oistrakh called it “the most beautiful work for violin that has been
written for years, here, or anywhere else” - a fully justified
description.
While the two sonatas were composed in the Soviet Union the
Cinq
Mélodies op.35a were written a world away in sunny California in
1920 as a cycle of five songs for Nina Koshetz, an opera singer, one-time
lover of Rachmaninov, who sang in the première of Prokofiev’s
The Love for Three Oranges and who taught singing to Marlene
Dietrich. Once again Prokofiev’s facility at adaptation is amply
demonstrated here. One would never guess they had not been written
specifically for violin and piano. Contrasting a feeling of freedom and fine
weather with one of homesickness these ‘melodies’ are
delightful, delicate and sensitive. While the songs were written for
Koshetz, in the versions for violin and piano the second was dedicated to
violinist and
Medtner champion Cecilia Hansen, wife of a pianist friend
and the last one to Josef Szigeti the violinist who had recorded
Prokofiev’s first violin concerto.
This is a thoroughly delightful disc of music that shows
Prokofiev’s amazing versatility as composer and arranger in three
contrasting works. As I said at the beginning, the listener is left with the
profound regret that he did not compose more works for these two instruments
for which he wrote so convincingly. Isabelle van Keulen, a winner of BBC
Young Musician of the Year in 1984 is a superbly sensitive player who
reveals every nuance in these wonderful works. She is accompanied by one of
Holland’s finest musicians Ronald Brautigam who shows himself as a
perfect partner. This is a disc of beauty and superb musicianship; a winning
combination.
Steve Arloff
