Prokofiev Cello Sonata in C Major, Op. 119 (Han-na Chang, Pappano)

It was a remarkable pair of Soviet musicians that gave the 1950 premiere of Sergey Prokofiev's Sonata for cello and piano in C major, Op. 119: pianist Sviastoslav Richter and cellist Msitislav Rostropovich. By 1949, when he composed the sonata, Prokofiev was in the last half-decade of his life; together, the Sonata, the Seventh Symphony (1951-1952), and the Sinfonia Concertante for cello and orchestra (1952) make a remarkable final threesome of instrumental pieces.
Prokofiev was among those composers officially condemned for "formalism" in 1948, and it is both fascinating and stirring to witness how successfully Prokofiev managed, in these last works, to create a music that seems perhaps utterly conservative but which still pushes new expressive buttons in quiet ways that the Pravda officials would surely never have been astute enough to hear. The composer of the Sonata for cello and piano might seem a tame composer compared to, say, the composer of 1914's Scythian Suite; but he is really just a composer who has learned subtler, more patient, and, ultimately, clearer ways to fully speak his mind.
The sonata is in three movements: Andante grave, Moderato, and Allegro ma non troppo. True Classical sonata-allegro form meets stunning, voluptuous melody in the opening movement. A low, unpretentious cello solo raises the curtain; out of the piano's occasional comments grows a little tune whose steady chordal accompaniment is soon taken over by the cello's striking pizzicato chords. Prokofiev once said that he was no good at writing melodies. Looking at the music of his youth some might agree; but the G major second theme of the Andante grave proves beyond any doubt what can be learned through a lifetime of work -- it is rich, full, and exceedingly flexible.
The Moderato is a bouncing, energetic movement that dances its way towards a sublimely smooth central episode. In the finale, Prokofiev makes little effort to hide the fact that he was steeped in the music of Rachmaninov and Tchaikovsky during his youth. He as a young man might have revolted against that heritage, but he never escaped it, and in the Allegro ma non troppo he matches deeply lyrical "Russian" tunefulness with an easy gracefulness worthy of Haydn, and then adds the kind of impish rhythms and (late in the piece) virtuosic fire that will always say "Prokofiev" to us.
0:00 - Andante grave
11:37 - Moderato
16:26 - Allegro, ma non troppo (Small note: ignore the ossia that appears at 22:36)

[@EulerNumber_e_2.7183]

Koreans are proud to have Han-na Chang. No doubt she's one of the best players!

[@fazergazer]

Pappano really integrates the piano well with the cello phrasing, nicely orchestral and dancing

[@takaharrue]

absolutely beautiful even though i dont listen to much cello music

[@mervevatansever8542]

BLACK HAT you should bro

[@foxmulder8955]

Crazy good version

[@arnekorpen3143]

23:28 DSCH

[@greatmomentsofopera7170]

Thanks for putting this together. Very surprising to me somehow that Pappano played this! I know him as an opera conductor and lieder accompanist!

[@christianvennemann9008]

7:44 O Fortuna.

[@fazergazer]

This lends even more credence to the notion that a cello well played sounds like a beautiful human voice

[@andreauribe6454]

Bellisimo un prkfv diferente😮