<\/p>\n
Three Russian cello sonatas<\/p>\n
Three Russians wrote in the middle third of the previous century three sonatas for cello and piano, one each and no more: Prokofiev, Shostakovich and Schnittke; different works from different temperaments, written on different premises, although perhaps the basic social contexts encompassing them weren\u00b4t so different after all. All three tell us something about art and musical conditions under the oppression of a totalitarian system. <\/p>\n
On this album the duo \u00d8ystein Birkeland (cello) and Ian Brown (piano) moves into the Russian cello landscape in the form of three exceptional works. Shostakovich\u00b4s sonata must be the most distinctive work of the twentieth century for the classical sonata combination of cello and piano. In Prokofiev\u00b4s very elaborate movements of the C major sonata, there are segments so unmistakably Prokofievish, bearing a strong reminiscence of the inter-war sound palette, where contrasting elements queue up and constitute the characteristic essence of the piece. Schnittke\u00b4s cello sonata is perhaps best characterized through a conscious non-characterizing posture, standing outside all schools and movements. And nevertheless, we have little doubt who the originator is when we hear his music. With the cello sonata, Schnittke achieves the same thing as did his colleague, Shostakovich, with the same instruments, nearly half a century earlier: to grab hold of the listener with the entire range of associations and senses.<\/p>\n
<\/p>\n
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