The Monopole label appears to specialise in releases of items 
                from the old Melodiya back catalogue. Previous issues have included 
                Shostakovich playing his own works (MONO008), Oistrakh’s Khachaturian 
                concerto but conducted by Gauk (MONO012), Gilels and Oistrakh 
                in Kabalevsky concertos and the Symphony No. 4 (MONO017), Kogan 
                in the Tchaikovsky conducted by Gauk (MONO021) and the redoubtable 
                Julian Sitkovetsky in the Khachaturian and Sibelius concertos 
                where the conductor is Niyazi and Anossov. Their catalogue also 
                offers a 1950 recording (MONO001) of Schubert’s Octet with Oistrakh 
                (violin I), Vladimir Sorkin (clarinet), Pyotr Bondarenko (violin 
                II), Joseph Stidel (bassoon), Mikhail Terian (viola), Jakov Shapiro 
                (French horn), Svyatoslav Knushevitsky (cello) and Joseph Gertovich 
                (double-bass).
                
In the case of the 
                  present disc we have two classic performances of music by Prokofiev 
                  from Rostropovich in his prime. It was Richter, in his only 
                  appearance as conductor, who led Rostropovich in the first performance 
                  of the Sinfonia Concertante.
                
This would have 
                  been a fascinating album, but unfortunately has been rather 
                  spoiled by poor production values. There is very little information 
                  about the music or the performers other than a track-listing 
                  and a series of photographs. Prokofiev’s Sinfonia Concertante 
                  is erroneously labelled “Symphony for cello and orchestra”, 
                  seemingly confusing it with Britten’s later masterpiece. More 
                  worrying still, the sound on this release suffers from over-processing, 
                  being muffled and out-of-focus; its previous incarnation on 
                  the Multisonic label was altogether more pleasant to listen 
                  to. A pity, for it is a tremendous performance, taken at white-heat 
                  throughout and transmitting an intensity which Rostropovich’s 
                  slightly later studio performance with Sargent did not always 
                  match.
                
Matters improve 
                  somewhat in the Cello Sonata, which is dated 1956; the sound 
                  is still artificial but somehow this is less troubling than 
                  the concertante work.
                
              
Overall an interesting 
                coupling, but could have been so much better.
                
                Ewan McCormick