Sergei Rachmaninov Cello Sonata - Nikolay Myaskovsky Cello Sonatas (Remastered) Michal Kanka & Jaromir Klepac

• Sergei Rachmaninoff (1873 - 1943): Cello Sonata in G Minor, Op. 19:
• 1 Rachmaninoff: Cello Sonata in G Minor, Op. 19: I. Lento - Allegro moderato 13:16
• 2 Rachmaninoff: Cello Sonata in G Minor, Op. 19: II. Allegro scherzando 06:47
• 3 Rachmaninoff: Cello Sonata in G Minor, Op. 19: III. Andante 06:12
• 4 Rachmaninoff: Cello Sonata in G Minor, Op. 19: IV. Allegro mosso 10:41
• Nikolay Myaskovsky (1881 - 1950): Cello Sonata No. 1 in D Major, Op. 12:
• 5 Myaskovsky: Cello Sonata No. 1 in D Major, Op. 12: I. Adagio - Andante 07:26
• 6 Myaskovsky: Cello Sonata No. 1 in D Major, Op. 12: II. Allegro passionato - Adagio 12:48
• 7 Myaskovsky: Cello Sonata No. 2 in A Minor, Op. 81: I. Allegro moderato 09:22
• 8 Myaskovsky: Cello Sonata No. 2 in A Minor, Op. 81: II. Andante cantabile 06:30
• 9 Myaskovsky: Cello Sonata No. 2 in A Minor, Op. 81: III. Allegro con spirito 06:40
• Total Runtime 01:19:42

Info for Sergei Rachmaninov Cello Sonata - Nikolay Myaskovsky Cello Sonatas (Remastered)

Rachmaninov’s Sonata Op. 19, in keeping with the model proposed by Chopin in his Cello Sonata Opus 65, focuses on the piano. The introducing Lento seems unwilling to choose between the minor keys of C (piano) then G (cello). The cello becomes more assertive and speeds up the tempo in the linked allegro moderato. The Allegro scherzando casts a frankly dreamlike mood: the piano seems to improvise future Preludes. The Andante seems like a timeless pause, with a piano that is unable to hold in check its passionate surges that the cello allows to settle. This sweeping meditation becomes almost serene when it moves into F minor, with the cello playing the bard in the coda. The Finale is introduced by the piano with the same fever and impetuosity as at the beginning of the opening Allegro. Its style becomes clearly concertante, the cello is no longer anything but a simple accompanist, even though it provides the emotional verity and lyrical richness to this brilliant demonstration of piano. Russian composer Nikolay Yakovlevich Myaskovsky remains unjustly neglected and represents the obligatory transition between the generation of ‘learned’ composers (such as Rubinstein, Tchaikovsky and Taneyev) - as opposed to the ‘amateurs’ of the Group of Five! - and the younger generation that stayed in Russia, such as Shostakovich, Shebalin, Vainberg... and that of the ‘cosmopolitans’ (Prokofiev and Stravinsky). This tireless worker left no less than 27 symphonies, concertos, 13 string quartets, 9 sonatas for piano, 2 for cello. The Sonata Op. 12 has only two movements, neither of them fast. It forms a sort of meditation that, from the outset, lets the cello speak in the opening Adagio. A dialogue with is establishing near an instrumental Lied, with a melodic line in the cello, while the piano the essential is beginning with two thematic ideas. The Op. 81 still does not have a slow movement. It begins with an Allegro moderato that proves to be closer to an andante, like the opening movement of the Op.12. The first theme, broad and flowing, with a Russian flavour that is archaic in its melody, is stated by the cello. The second, of a more assertive sweep, seems to be a secret homage to the Beethoven of the Op. 102 No. 1, also in C major. The middle Andante cantabile, is imbued with an ‘old Russia’ atmosphere, elegant and atavistically nostalgic, recalling firstly.

Awards: Choc by Le Monde de la Musique, Diapason d’Or, Recommended by Classica

""Accompanied by Jaromír Klepáč, who revives perfectly the discourse, Michal Kaňka brings us a masterly performance of Rachmaninov’s Sonata Opus 19, the best since Rostropovitch / Dedyukhin’s in 1956. Restablishment in a masterly manner with the two Myaskovsky Sonatas, Rostropovitch mainly playing his dedicated Cello Concerto (1944)." (Choc by Le Monde de la Musique, January 2003)

Michal Kaňka, cello
Jaromír Klepáč, piano

Digitally remastered

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