Cello Sonata in B flat major, Op 71 (Kabalevsky) - from CDA68239 - Hyperion Records

Reviews

‘Isserlis and Mustonen make a strong case for [the Kabalevsky Sonata] in a performance of grand gestures that proves a real roller coaster ride. Isserlis’s intensity and Mustonen’s pianistic weight suit the piece wonderfully well, and the tolling opening chords sound at once solemn and threatening as Isserlis traces the sorrowing first subject over them. The first climax has an almost shocking ferocity that seems to haunt the meandering scherzo-cum-waltz that eventually follows, and the finale is both hair-raising in its manic energy and thrilling as a display of technical prowess … Isserlis and Mustonen play [the Rondo in memory of Prokofiev] with the combination of lyricism and drama that characterises the rest of the disc. Very fine’ (Gramophone)

‘This superb and thought-provoking programme presents mostly lesser-known works by three Russian composers … Isserlis and Mustonen are themselves extraordinary musicians, and both clearly believe in the music they are performing … Kabalevsky’s Rondo in memory of Prokofiev [is] a sincere and truly great work in an outstanding performance’ (BBC Music Magazine)

PERFORMANCE

RECORDING

‘In the Shostakovich Cello Sonata, Isserlis provides the lyrical narrative. He’s the storyteller—whispering, coaxing, singing and soaring—with Mustonen providing the turbulent counterpoint … playing with great gentleness and delicacy one moment, before an eruption of glittering notes propelled with a febrile intensity that reminds me of Shostakovich himself at the piano. It’s a fascinating partnership and, I think, a hugely rewarding performance … such a tremendous account … an intimately truthful recording as well … it’s my Recording of the Week’ (BBC Record Review)

‘Such a tremendous performance [of the Kabalevsky] … superb’ (BBC Record Review)

‘The Cello Sonata by Dmitri Kabalevsky has been in need of a really first-class recording ever since it was written for Rostropovich in 1962, and I wonder if Isserlis and Mustonen have made one that’s better than the piece itself … this is a recording not to be missed’ (The Strad)» More

‘It’s a tribute to Steven Isserlis and Olli Mustonen that it’s hard to imagine more thoughtful, well-prepared performances. Yet this is also playing in which everything is ‘in the moment’. Every vivid emotion—passion, anguish, hysteria, vivacity, despair—makes its mark. Mustonen brings a composer’s sensibility to his work, and a deep knowledge of these musical worlds from his other life as conductor. Isserlis is en pointe throughout—this is a tremendous partnership’ (Limelight, Australia)» More

‘Few cellists can mould a line with such attention to both light and shade … for a performance that distils the sweetness at the music’s heart, this is the one’ (The Telegraph)» More

‘All six works receive performances of the utmost quality, and the recorded sound in well up to the standards expected of Hyperion with, in particular, a highly successful balance between the instruments. Steven Isserlis, not content with being an outstanding cellist, is also a most accomplished writer, and his engaging booklet note is a positive feature of this issue … I have to hand alternative performances of the Shostakovich Sonata only, and find that this is now my favourite reading of the work’ (MusicWeb International)» More

‘This winning Russian programme, one of high twentieth-century narrative, has everything going for it. Two charismatic artists at the top of their game relishing playing with and off each other. Two powerful Cello Sonatas. A frankly magnificent Steinway D. Demonstration production standards (Jonathan Allen). Visceral sound engineering of cutting clarity and 'airy' space capturing symphonic climax as much as poetic catharsis (David Hinitt). The sort of release that grips one's imagination right from the first seconds … a triumph’ (Classical Source)» More

‘An immensely satisfying performance not just of this movement but of the entire [Shostakovich] sonata … [the Rondo in memory of Prokofiev] makes for a poignantly contemplative close to an exceptionally thoughtful selection of works’ (Presto Classical)» More

‘Whenever there’s another CD from the always wonderful Steven Isserlis in the new releases, you just know you’re in for something special, and so it proves yet again … a simply outstanding CD’ (The Whole Note, Canada)» More

«La Sonate de Kabalevsky est une merveille, les interprètes se montrant ardents dans l'Andante molto sostenuto, minutieux et tempétueux dans l'Allegretto suivant … parmi les pièces de moindre envergure qui complètent ce programme, on admire la raucité du jeu d'archet et la noirceur du clavier qui font de la Ballade de Prokofiev un pur cauchemar» (Classica, France)» More

Kabalevsky wrote many powerful and striking works—among which is his cello sonata, Op 71, written for Rostropovich and premiered by the latter, with Kabalevsky at the piano, in Moscow in February 1962. From the threateningly funereal bells of the piano’s opening, it is clear that the sonata is set to make a major personal statement. The first movement traverses a roller-coaster of emotions: intense gloom is violently contrasted with outbursts of manic energy. The second movement—‘the waltz that never was’, as Rostropovich used to describe it (according to his student and biographer Elizabeth Wilson)—is a ghostly ‘danse macabre’, full of skeletally grotesque effects. The finale is an electrifying perpetuum mobile, returning only in the coda to the shadows of the sonata’s opening. I find it surprising that this sonata is not heard more often; both Olli and I find it quite masterly—and addictive.

Kabalevski composa beaucoup d’œuvres puissantes et impressionnantes—notamment sa sonate pour violoncelle et piano, op.71, écrite pour Rostropovitch et créée par celui-ci, avec Kabalevski au piano, à Moscou, en février 1962. Dès les cloches funèbres initiales menaçantes du piano, il est clair que cette sonate va faire une déclaration personnelle majeure. Le premier mouvement traverse des montagnes russes d’émotions: tristesse intense, violemment contrastée avec des débordements d’énergie frénétique. Le deuxième mouvement—«la valse qui n’en a jamais été une», comme Rostropovitch avait coutume de la qualifier (selon son élève et biographe Elizabeth Wilson)—est une «danse macabre» spectrale, pleine d’effets squelettiques et grotesques. Le finale est un perpetuum mobile électrisant, revenant seulement dans la coda aux ombres du début de la sonate. Je trouve surprenant que cette sonate ne soit pas jouée plus souvent; Olli et moi-même la trouvons tous deux absolument magistrale—et addictive.

Kabalewsky schrieb viele starke, eindrucksvolle Werke—darunter auch die Cellosonate, op. 71, komponiert für und uraufgeführt von Rostropowitsch, mit Kabalewsky am Klavier im Februar 1962 in Moskau. Schon die drohenden Totenglocken zu Beginn machen klar, dass hier um eine zutiefst persönliche Geschichte erzählt wird. Der erste Satz ist eine wahre Achterbahnfahrt der Gefühle: tiefes Dunkel in grellem Kontrast zu manischen Kaftausbrüchen. Den zweiten Satz beschrieb Rostropowitsch ihn laut seiner Schülerin und Biografin Elizabeth Wilson als „Walzer, den es nie gab“—eine spukhafte „danse macabre“ voller grotesk-knochiger Effekte. Das Finale ist ein Perpetuum mobile von ansteckender Energie, das erst in der Coda in die Schattenregionen vom Anfang der Sonate zurückkehrt. Mich wundert es, dass diese Sonate nicht häufiger zu hören ist; in Ollis und meinen Ohren ist sie ein Meisterwerk—und sie macht süchtig.

Recording details: March 2018
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Jonathan Allen
Engineered by David Hinitt
Release date: February 2019
Total duration: 21 minutes 54 seconds

Cover artwork: Beat the Whites with the Red Wedge (1919) by El Lissitzky (1890-1941)
Universal History Archive / UIG / Bridgeman Images

Cello Sonata in B flat major, Op 71

Steven Isserlis (cello), Olli Mustonen (piano)

Reviews

Introduction