Rachmaninov; Prokofiev Cello Sonatas
Some glorious playing from Maisky, and singing eloquence from Capuçon
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Gabriela Montero, Sergey Prokofiev
Genre:
Chamber
Label: Virgin Classics
Magazine Review Date: 2/2008
Media Format: CD or Download
Media Runtime: 75
Mastering:
Stereo
DDD
Catalogue Number: 385 786-2

Tracks:
Composition | Artist Credit |
---|---|
Sonata for Cello and Piano |
Sergey Rachmaninov, Composer
Gabriela Montero, Composer Gautier Capuçon, Cello Sergey Rachmaninov, Composer |
(14) Songs, Movement: No. 14, Vocalise (wordless: rev 1915) |
Sergey Rachmaninov, Composer
Gabriela Montero, Composer Gautier Capuçon, Cello Sergey Rachmaninov, Composer |
Rhapsody on a Theme of Paganini, Movement: Variation 18 |
Sergey Rachmaninov, Composer
Gabriela Montero, Composer Gautier Capuçon, Cello Sergey Rachmaninov, Composer |
Author: John Warrack
With the outer movements, in which Rachmaninov indulges not only his lyrical outpourings but the elaborate piano textures that came naturally to him, Tiempo does well to keep the touch light so as to give Maisky freer rein. The recorded sound is lucid, but matters cannot not have been easy in finding this balance without giving the cello too forward a sound. As fill-ups, Maisky’s transcriptions of songs and piano pieces are excellent, allowing the cellist to indulge to the full his impassioned and eloquent style.
The Sonata has been having a good outing on records: now come Gautier Capuçon and Gabriela Montero who take what is broadly a more lyrical approach, remaining undaunted by the difficulties in the opening movement and keeping the Scherzo light, even amiable. Capuçon’s elegant, singing tone responds especially well to the Andante, with gentle exchanges between the instruments. Perhaps it is this aspect of Rachmaninov that most appeals to him; this is suggested by his choice for fill-ups of not only the Vocalise, originally literally a song without words (for soprano), but the juiciest of the Paganini Variations, where Rachmaninov cleverly turns the lively little theme upside down to make another romantic song without words.
Prokofiev’s Sonata may seem an unusual coupling but it contrasts nicely, with its own latent lyricism and with the cheerful central Moderato that has all the harmonic wit and melodic charm of the composer at his best. The recording by Rostropovich and Richter (Revelation, 6/98 – nla) is likely to prove most people’s first choice, but this is pleasantly done.
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