Passion and gloom Rachmaninov and Shostakovich cello sonatas - an appraisal by ROBERT ANDERSON '... Gwyneth George ... riding the technical difficulties with enviable ease ...'

At the end of the 19th century it seemed as if Rachmaninov had written only one work, a short piece produced after graduation. If Raff was allowed just a Cavatina and Anton Rubinstein merely his Melody in F, Rachmaninov must make do with his Prelude in C sharp minor. It was demanded wherever he played. As late as May 1922 the Musical Times had to sit out the inevitable encore: 'Rachmaninov knew what was coming, if his depressed air was any guide. He had hardly sunk on to the piano-stool when cries of "C sharp minor!" were fired at him, and he got to work with it at once, not even making a fresh start when the mob broke in on the opening notes with applause'. Since then there has been a Piano Concerto in C minor, theme music for any situation requiring a sufficiently heady mixture of passion and gloom. I now recommend with complete confidence the Cello Sonata in G minor, written soon after the concerto. It has many of the same qualities. Towering pianist that he was, Rachmaninov makes no attempt to limit the number of keyboard notes, and produces a virtuoso part in the midst of which the cello must somehow make its eloquent plea and regret it is not a full orchestra. The main section of the first movement begins with unstoppable lyrical impulse [listen -- track 1, 1:02-2:02]. The Scherzo is grimly sardonic, but it is the third movement Andante that displays Rachmaninov's superb lyricism in full flower [listen -- track 3, 1:49-3:01].

Continue >>

For help listening to the sound extracts here, please refer to our questions & answers page.