Dimitri KABALEVSKY (1904-1987)
Piano Sonata No. 1 in F-major Op.6 (1927) [18:22]
Recitative and Rondo, Op. 84 (1969) [7:03]
Piano Sonata No. 2 in E-flat major Op.45 (1945) [24:16]
Four Preludes Op.5 (1927-8) [6:04]
Piano Sonata No. 3 in F-major Op.46 [15:26]
Arthur Pizarro (piano)
rec. no date or venue given
REGIS RRC 1324 [71:02]
Piano music is an important part of Kabalevsky’s output. He wrote for
the instrument almost throughout his career. This disc, eminently played by
Arthur Pizarro, covers the entire range of his output, from the Preludes of
1928-9 to the Recitative and Rondo of 1969, one of his last piano works.
There are four Preludes in Op.5, the first and third being reminiscent of
Prokofiev and Shostakovich. The vivo second is definitely the most
attractive of the four, though very short. Most integrated and mature is the
allegro molto fourth. Not long after the Preludes, Kabalevesky started
on his first Piano Sonata. It is an interesting mixture of what was then considered
“controversial” and the composer’s usual, more relaxed style.
Notable are the expressive second subject of the allegro and the entire second
movement, which has to count as one of the most beautiful inspirations of
the composer’s early years. The last movement I found a little disappointing
after what had come before.
The Second and Third sonatas were written at the end of World War II and this
is reflected in the opening of No. 2, which is by turns heroic, thoughtful
and sinister, but all forming a well-integrated whole. The Andante is heartfelt
and more profound than is usual in Kabalevsky. The finale starts almost humorously
and goes through a wide variety of emotions before a coda that is cleverly
based on a descending passage. The vivid Third sonata, which begins in Mozartean
style, gradually becomes more rushed and almost hysterical before returning
to the opening mood. The songlike andante is lovely, with a contrasting
solemn section. The two moods combine at the end. The last movement can only
be described as a tour-de-force of pianistic energy, mixing fanfares, typical
Russian melody and incredible passagework.
From many years later is Kabalevsky’s Recitative and Rondo Op.84.
In the Recitative the composer’s language has become more abstract
and more chordal. Quite a contrast to some of the earlier music. The Rondo
uses some of the same devices as the Recitative as part of its overall
form. It has an ironic cast to it before dying away rather sadly.
Arthur Pizarro’s pianism may not always be exact or even easy to follow,
but both his enthusiasm and his ability are astounding. There are moments
on this disk when the music is so difficult that one is astounded anyone could
play it, much less play it perfectly but he does.
This disc was originally released on Collins 14182 in 1994 and as with many
Regis re-releases there is some wow and flutter in the recording, but nothing
major. As the only competition is the Dossin [see
review] recording on Naxos, this recording is a must for lovers of Soviet
piano music.
William Kreindler
Spectacular pianism in the service of some surprisingly good music.