Sergei Vasilyevich Rachmaninoff (1 April [O.S. 20 March] 1873 - 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he made a point of using his skills as a performer to fully explore the expressive and technical possibilities of the instrument.
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Cello Sonata in G minor, Op. 19 (1901)
Dedication: Anatoliy Brandukov (1859-1930)
1. Lento - Allegro moderato (0:00)
2. Allegro scherzando (14:29)
3. Andante (21:11)
4. Allegro mosso (27:50)
Valentin Radutiu, cello and Evgeni Bozhanov, piano
Live recording
Valentin Radutiu is a Professor at the Hochschule für Musik in Dresden and 1. Solo Cello bij Deutsches Symphonie-Orchester Berlin (DSO Berlin)
Evgeni Bozhanov is a Professor at the Folkwang University of Arts in Essen, Germany
Description by Robert Cummings [-]
The common wisdom on Rachmaninov's Sonata for Cello and Piano is that it is really a piano sonata with cello accompaniment. While this assessment may be a slight exaggeration, it cannot be denied the piano is the dominant instrument in the work. The composer completed this sonata in November 1901, and gave the premiere in Moscow with cellist Anatoly Brandukov, on December 2 of that year, but apparently made several alterations over the next ten days, since he wrote the date of December 12, 1901, on the final page of the score.
The work is cast in four movements. The first is marked Lento - Allegro moderato - Moderato and is the longest of the four, especially when the exposition repeat is observed. It begins with a slow introduction in which the piano presents a six-note theme that at first appears insignificant, but in fact plays a key role throughout. The tempo picks up and the cello presents a passionate, beautiful theme. A slower, somewhat more wistful melody follows, after which comes the stormy development section. The reprise ensues and the movement ends in typical Rachmaninovian fashion: the tempo speeds up as thematic morsels appear in a race to the finish, the piano crowning the coda with three resolute chords.
The second movement, marked Allegro scherzando, begins with piano writing reminiscent of the faster and more sinister passages in the Rhapsody on a Theme of Paganini. The cello presents a rhythmic idea in the opening moments of marginal interest. Two other themes are also presented, the latter of which is quite beautiful and recalls the mood of much of the slow music in the Second and Third Piano Concertos, especially in the piano writing.
The third movement is viewed by many as the strongest of the four. Marked Andante, it begins on the piano with a lovely theme of intimate and passionate character. After the cello enters, the material expands much the way the melody does in the second movement of the Second Piano Concerto. A powerful climax is reached, and the third movement ends softly.
The finale starts off with a robust theme on the cello that rather lacks the individual stamp of the composer. Still, the music is bright and vivacious and has strong appeal. There follows a second subject more in the Rachmaninovian vein, full of passion and beauty and seeming to soar to the heavens. The two themes reappear throughout, the composer deftly manipulating their interplay. In the beginning of the coda, the cello recalls the piano's opening (six-note) theme from the first movement, and then the work ends brilliantly.
27 июл 2024
