Sergei Prokofiev - Violin Sonatas - Alina Ibragimova, Steven Osborne (2014) High-Fidelity FLAC Stereo 24bit/96kHz
Сomposer: Sergei Prokofiev (1891-1953)
Artist: Alina Ibragimova, Steven Osborne
Title: Prokofiev - Violin Sonatas
Label: © Hyperion Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 60 minutes 43 seconds
Recorded: July 2013, Henry Wood Hall, London, United Kingdom
Hyperion is delighted to present a collaboration—an extraordinary force on the concert platform—in its first appearance on record. Alina Ibragimova and Steven Osborne are musicians of searing, uncompromising intelligence and intense feeling.
In his works for the violin, Prokofiev produced some of his most personal and expressive music. Both of his Violin Sonatas were written for David Oistrakh. The First was begun against the backdrop of Stalin’s Great Terror, in 1938, and one senses that he drew his inspiration from the uncharacteristically dark wells of fear, despair and bereavement which were the lot of Prokofiev and his contemporaries. The Violin Sonata No 2 in D major is of a very different character—generally sunny and carefree, though still with occasional fleeting shadows from the dark world of the First Sonata. In its original form it was a Flute Sonata, Op 94, which Prokofiev had completed in 1943. At David Oistrakh’s suggestion and with his assistance, Prokofiev transcribed this Sonata to create the Second Violin Sonata, Op 94bis.
From the austere opening bars of the First Violin Sonata, one of Prokofiev’s towering masterpieces, it’s clear that this violin-and-piano duo is capable of the subtlest interplay. Steven Osborne is the lion, or the demon, that needs taming by Alina Ibragimova’s fiddler, dancing—sometimes ever so frailly—on the volcano. There are revelations in the outer movements: never have I heard the violin’s tentative B minor melodising as so much the heart of the preludial Andante assai—it's equal in effect to what Prokofiev described as the 'wind in the graveyard’ rushings which appear at the end of that movement and return so strikingly at the end of the work—and the way the scherzo's abrasive insistence returns in the piano bass of the finale is truly hair-raising.
The slow movement is more than ever one of those ‘voices that will not be drowned’ from beyond the grave—again, the partnership is spellbinding—and if the violin seems weaker than her pianist in the spine-tingling Allegro brusco scherzo, I wonder if that’s not deliberate. The string voice is much fuller in the more straightforward melodies of the Second Sonata. Osborne is terrific in the clumsy-child piano octaves of the finale, and the spirit here is unconstrained by pity or terror. There’s a fine glide into the dream-world of the Hive Melodies transcribed from the soprano Songs without Words, where only the spiky antics of the scherzando fourth melody break the reverie, though be warned—there isn’t much of a break between the tragic dying fall of the First Sonata and the first of the Op 35 sequence. --David Nice, BBC Music Magazine
Sergei Prokofiev (1891-1953)
Violin Sonata No 1 in F minor Op 80
1 Andante assai[6'24]
2 Allegro brusco[6'17]
Five Melodies Op 35bis
6 Lento, ma non troppo[2'25]
7 Animato, ma non allegro[3'10]
8 Allegretto leggero e scherzando[1'06]
9 Andante non troppo[3'16]
Violin Sonata No 2 in D major Op 94bis
11 Scherzo: Presto[4'22]
13 Allegro con brio[7'01]
Alina Ibragimova, violin
Steven Osborne, piano
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