Prokofiev Sinfonia Concertante; Cello Sonata
Two superlative releases dedicated to Prokofiev’s works for cello
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Prokofiev
Genre:
Chamber
Label: Chandos
Magazine Review Date: 5/2003
Media Format: CD or Download
Media Runtime: 68
Mastering:
Stereo
DDD
Catalogue Number: CHAN10045

Tracks:
Composition | Artist Credit |
---|---|
Ballade |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
Sonata for Cello and Piano |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
Concertino for Cello and Orchestra, Movement: Andante |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
Sonata for Cello |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer |
(10) Pieces from Cinderella, Movement: No. 10, Adagio (Pas de deux) |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
(The) Tale of the Buffoon, 'Chout', Movement: The Buffoon and his Wife |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
(The) Tale of the Buffoon, 'Chout', Movement: Dance of the Buffoons' Wives |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
(The) Tale of the Buffoon, 'Chout', Movement: Dance of the Buffoons' Daughters |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
(The) Tale of the Buffoon, 'Chout', Movement: In the Merchant's Bedroom |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
(The) Tale of the Buffoon, 'Chout', Movement: Quarrel of the Buffoon and the Merchant |
Sergey Prokofiev, Composer
Alexander Ivashkin, Cello Sergey Prokofiev, Composer Tatyana Lazareva, Piano |
Composer or Director: Sergey Prokofiev
Genre:
Orchestral
Label: EMI Classics
Magazine Review Date: 5/2003
Media Format: CD or Download
Media Runtime: 62
Mastering:
Stereo
DDD
Catalogue Number: 5 574382

Tracks:
Composition | Artist Credit |
---|---|
Sonata for Cello and Piano |
Sergey Prokofiev, Composer
Antonio Pappano, Piano Han-Na Chang, Cello Sergey Prokofiev, Composer |
Symphony-Concerto |
Sergey Prokofiev, Composer
Antonio Pappano, Conductor Han-Na Chang, Cello London Symphony Orchestra Sergey Prokofiev, Composer |
Author: David Gutman
It is fair to assume that the Korean cellist is the youngest exponent of these pieces on disc, and it shows in the best possible way as her youthful vivacity meets Prokofiev’s mature style. Although still in her teens, she is an experienced, even mature recording artist with several fine discs under her belt including an acclaimed Tchaikovsky Rococo Variations with the LSO under Rostropovich, set down when she was a mere 13 years old (EMI, 11/96). Her taut, ardent conception of the main work here, music that can often come across as rambling and discursive, is the most radical thing she has done, knocking minutes off the timings of almost every previous recording. The first movement is perfectly pitched, never self-indulgent, and it is easy to forgive any momentary lack of unanimity when editing might have impaired the forward thrust of the music-making. Chang’s authoritative style reaps huge rewards from 7'25", where the theme sings out in the very highest register.
The central scherzo is sensationally swift and articulate but deeply felt too, with more emotional as well as physical precision than I can recall from previous performances barring Rostropovich’s own. Prokofiev’s sometimes wan lyricism is revivified by Chang’s refined sensibility; her phrasing truly breathes with the music and the vulnerable, confessional quality she reveals may well bring a tear to the eye. Autumnal half-lights are usually more potent for being strictly rationed, and Pappano is forthright as well as ‘sensitive’, giving us some minatory, Soviet-sounding brass interventions – try from 5'48" – amid the hustle and bustle (more panic and frenzy in this interpretation).
Of course, it’s not only the refined direction that brings new colour, clarity and lustre to Prokofiev’s orchestral fabric. EMI’s sound is genuinely top-notch, and you may be taken aback to discover just how terrific this orchestra can sound in a sympathetic recording studio. The cellist is placed closer than would be the case in live concert, but such technically invulnerable playing can take it.
Even in such exalted company, Ivashkin’s recital is by no means outclassed. Captured in the Maly Hall of the Moscow Conservatory where much of Prokofiev’s work was first heard, it is surprising to find so many aspects of the composer’s style represented, from the romanticism of the early Ballade through the spiky dissonances of Chout to the elegiac, unfinished Solo Sonata. Aided by characterful piano-playing by Tatyana Lazareva (daughter of the conductor, Alexander Lazarev), Ivashkin’s recital compares most favourably with his similar programme on Ode for which he was accompanied by a more reticent pianist; although the earlier disc includes the Concertino movement in the guise of Rostropovich’s cello quintet arrangement, the absence of the Chout transmogrification makes the Chandos collection appear better value.
We start with the familiar Cello (and piano) Sonata, a highly polished and deeply felt account which some may actually prefer to Chang/Pappano’s when Lazareva provides a weightier, more authentically Russian accompaniment. Pappano’s piano sound is subtler, more legato, tactfully retreating into the background at times. The Ballade is surely the best version yet of this increasingly popular work. Good though Wallfisch’s expansive reading is, Ivashkin surpasses him in his juxtaposition of the 19th-century style of the opening and the ghostly second idea, hushed to a real pianissimo. Instead of Wallfisch’s ‘March’ from The Love for Three Oranges, we get a Chout selection arranged by the Russian cellist Roman Sapozhnikov; again the rendition is technically spotless. Finally comes the Sonata for cello alone, its nostalgic opening brought off perfectly. Ivashkin’s playful treatment of the central gavotte-like section reminds us that he can do humour as well. Two minor quibbles: C major is the omnipresent key of the opening 40 minutes of this concert and, while the sound is fine, the stereo separation may be thought too much of a good thing.
A double whammy nevertheless, and Han-Na Chang’s coupling has to be my record of the year so far.
Discover the world's largest classical music catalogue with Presto Music.

Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.