Hyperion Records

Violin Sonata No 2 in D major, Op 94bis
composer
1944; a transcription made with the assistance of David Oistrakh of the 1943 Op 94 Flute Sonata

Recordings
'Prokofiev: Violin Sonatas' (CDA67514)
Prokofiev: Violin Sonatas
Buy by post £10.50 CDA67514  Studio Master FLAC & ALAC downloads available
'Hyperion monthly sampler – July 2014' (HYP201407)
Hyperion monthly sampler – July 2014
HYP201407  Download-only monthly sampler  
Details
Movement 1: Moderato
Movement 2: Scherzo: Presto
Movement 3: Andante
Movement 4: Allegro con brio
Track 13 on CDA67514 [7'01]
Track 1 on HYP201407 [7'01] Download-only monthly sampler

Violin Sonata No 2 in D major, Op 94bis
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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 while in Perm to discuss staging his ballet Cinderella with the evacuated Kirov company. Its themes, according to his biographer Israel Nestyev, were originally sketched before the war, and were inspired by the French flute player Georges Barrère. At David Oistrakh’s suggestion and with his assistance, Prokofiev transcribed this Sonata to create the Second Violin Sonata, Op 94bis.

The opening movement harks back to the neoclassical style of Prokofiev’s Piano Sonata No 5 of 1923 (which in turn appears to have inspired Poulenc’s Flute Sonata of 1956–7) and of Cinderella. The second movement scherzo is initially light and capricious, but the piano part in particular introduces an increasingly sardonic tone, and the movement does not so much finish as come to an abrupt halt. There are further hints of disquieted emotions in the third movement, which has some thematic material in common with the third movement of Prokofiev’s then not yet completed First Violin Sonata. It also contains a striking passage of bluesy rumination: an admirer of jazz, Prokofiev at one stage held semi-clandestine meetings with fellow aficionados in his Moscow apartment in which he played recordings he had brought back from his foreign tours. Ultimately, though, it ends with an upbeat finale which includes in a central interlude one of Prokofiev’s sweetest melodies (which Poulenc, again, would recall in his Oboe Sonata, dedicated to Prokofiev’s memory).

from notes by Daniel Jaffé © 2014

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