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- เผยแพร่เมื่อ 9 มิ.ย. 2024
- Cast in four movements of approximately equal length and lasting about a half-hour, this tormented Sonata for violin and piano is among Prokofiev's finest works. The Andante opening panel begins with an ominous theme in the bass on the piano accompanied with death-rattle sounds of the violin. The mood remains tense as the violin struggles to steal center stage from the piano, finally doing so with a theme that cries out painfully. Eventually the music turns ethereal when the piano gently plays the opening theme in the upper register, while the violin delivers eerie runs that slither about hauntingly, like "wind in a graveyard," as explained by the composer himself. The movement ends softly but chillingly.
A hard-driving Allegro brusco follows, its main theme slashing and harsh as the piano and violin exchange angry dissonances and crushing chords. An alternate theme imparts a sense of nobility and hope for a time, but cannot here or later dispel the sense of fear and frenzy brought on by the dominant main material.
The third movement (Andante) opens with an ethereal, dreamy theme floating amid a sense of fantasy. An alternate theme, largely built on three notes that repeat obsessively, imparts a feeling of desolation, and the whole movement gradually turns darker, sounding bleak and fearful at the end.
The finale, marked Allegrissimo, opens with a bustling theme that seems cheerful and almost playful, but its brightness soon appears threatened by dark undercurrents and, as tension accrues from stomping bass chords from the piano, it collapses. The ending of the first movement is recalled, and the music then turns bleaker and, finally, despairing. This exceedingly profound work will yield immeasurable rewards for patient listeners.
0:00 - Andante assai
8:11 - Allegro brusco
15:09 - Andante
23:40 - Allegrissimo - เพลง
28:07 is such a powerful moment, when all of the pain that is carried thorough the sonata is condensed at this one very spot. The piano crushing chords and violin painful singing really strike my heart. And the ending - chromatic sixths and violin saying her last words before dissapearing into the air.
One of most beautiful pieces of music I've heard and had the privilege of playing.
As I played it, I couldn't stop imagining Prokofjev laying in his tomb, as this piece had been played at his funeral by Oistrakh and Feinberg. Waters my eyes every time I hear it.....
Inspired in the summer of 1938, "after hearing some music by Handel." (SP biographer Harlow Robinson.) Set aside for many years. Completed in 1946 at SP's beloved country cottage outside Moscow, in 1946, and first performed there for two close friends -- Oistrakh & Miaskovsky, who responded: "Don't you really understand what you have written! It is a thing of genius." Robinson: "In this masterpiece, the mischief & high spirits so typical of Prokofiev's music have been distilled, refined, and transcended. Wisdom replaces wisecracks." Music scholar Richard Longman: "[Op 80] Both the structure and the serious nature of the Sonata's expression suggest an extramusical dimension, and it could well be seen as a response to the terrible sufferings and privations of the Russian people, not only during (WWII) but also in the preceding years of cultural purges under Stalin." Robinson concludes "Dense, intellectual, and tragic, [Op. 80] stands in a class by itself." The first & third movements were performed at SP's funeral. SP died on the same day as his nemesis Stalin.
The last minute is unbelievable
yes
Well within the realms of belief.
28:05 is such a cool moment. The entire piece crashes down in an epilogue of all the themes from all the movements
5:33 this part is just stunning...
This is one of the greatest pieces of all time, if there is such a thing, and there certainly is.
That bass @ 3:57 🤤
Unbelievable! A real masterpiece!
Wonderfully played! Beautiful, thank you! The recording is quite well done.
This man is undeniably the greatest composer of the twentieth century, forget Schönberg, forget Stravinsky. Prokofievs range of musical vocabulary is unsurpassed.
Stravinsky is better dude come on
@@KR-mm4el No, Prokofiev is ;-)
@@Luca-yg5qx Fight me
What about Shostakovich?
@@jestemqiqi7647 the real son of mahler
Thanks for the upload - truly one of the masterworks of the 20th century
I'm a big fan of Oistrakh but for me his gorgeous, warm, full-bodied tone falls short of the kind of weightless, ghostly sound Mintz achieves in the "wind in the graveyard" sections
the 4th movement is so moving
Extraordinário e insuperável.
Such a unparalleled masterpiece!
That time signature at the beginning almost gave me a heart attack.
EDIT: The time signature at the beginning of the final movement actually gave me one.
I thought I was the only one.
It was 1985, I had a day off work and "the Mrs" was out for the day, so I was going to run a hot bath, place the walkman on a chair next to it, plug in and tune out ... With a little help from what Jah created.
For some reason I tuned in to BBC radio 3 that used to run western classical music 24/7.
The presenter introduced a piece by Prokofiev and said it had been described as being like a wind in a graveyard. "Ok" I thought as I slid into the bath, inhaled Jah's provision, closed my eyes and started the journey.
Man those violins sure did give me a grand tour of the graveyard. Fanning past every blade of grass, meandering round every gravestone, whistling throug overhanging trees. I was totally there, hanging on every note as the violins and my breath, slowly came to a silent halt.
The only thing I could hear was my anticipating heart beat.
Then suddenly out of nowhere swooped in, strident, aggressive violins (which must have been hiding behind one off those mausoleum doors). In one gigantic lurch forward I launched from the bath, heart palpitating faster than Usain Bolt in full flight, eyes popping and legs on autopilot carrying me toward the kitchen to quench my thirst and satiate my munchies.
Big up Prokofiev! He threw it down with this one
Don't ever look at the score of "Le Marteau sans maître". You'll spontaneously combust.
@@nicholasfox966 Good grief! That score is something else! Random numbers that don't even look like time signatures 😵😵
@@christianvennemann9008 what's way more fun is that they really just mean "you know, just expect anything" because there's no pattern to the layout (outside for accomodating the themes and motives), sometimes I even feel the notation contradicts the motivic content: the lone 6/8 at 24:24 seems to be the same content layout as the preceding measure. Perhaps it's a hint of SP for me (piano) to play the upbeat 3/8, not 2/8 to the next measure, not following the violin ¯\_(ツ)_/¯
Thank you very much for this masterpiece. The description is also very good.
chilling
Why have I never before today researched this composer?!?!
In the end, the precarious struggles throughout the movements hopelessly disintegrate only to provide concrete material for desperation, leaving behind nothing but the frozen wind from the first movement. But I hope there will be salvation.
at 30:50 I wonder whether the text difference (Bronfman plays an e-natural instead of the e-flat in the score) is somehow justified or just a minor oversight.
I would like to add: He doesn´t even have to stray into the murky realms of atonal music.
It's actually probably a help in appreciation. Not for nothing, the works of Webern have been praised precisely for creating new sense of tonality through atonal systems
First movement sounds like an answer to Bach's Pasacaglia in C minor...
21:13
Why does Mintz not play the untrilled grace notes in the beginning? Does he know better than Prokofiev? How was this allowed to be released without it played correctly?
What?
@@GUILLOM At the ends of the trills there are written-out, untrilled grace notes. Mintz either doesn’t play them at all or plays them so softly that one can’t hear them distinctly. To hear them clearly played, listen to Oistrakh’s performance.
@@nicholasfox966 I know that. I just don't understand the following questions.
oistrakh doesnt either. Theyre practically identical get over it. Oistrakh also doesnt listen to score, at 28:09 he doesnt play poco meno but keeps the tempo.@@nicholasfox966
16:25 DSCH
Almost
true, half a semi, but in this case I feel it is quite obviously organically appearing through chromatic enclosure (perhaps a reference to the motive appearing throughout e.g. 1:44, 30:09 as well as being a key mechanism in which he achieves enharmonic voice leading)
Oh, and I can't quite put my finger on it, but it seems the ending measures remind me of something. It will probably be years from now when I realize, but it smells like a Shos string quartet somehow
half a semi down. Anyways, since you mentioned it I can't stop hearing copies, like 5:24 and even 5:01
Am I blind? I'm not seeing it
8:11
15:09
23:40
מלך
@@michaelshaham158 היצירה הכי יפה בעולם
The ads throughout are incredibly annoying.
That's a choice (and YT). It's likely not even a choice of the channel, because the monetization will be claimed by the music label of the recording used.
Technically superior. However, the violin and piano are too eagerly seeking harmony and IMHO doesn't work. This is Prokofiev, who is about unsettling. This piece especially is about struggling, a duet like twisted soul. An anecdote about this piece was when Oistrakh and Oberin were rehearsing for premiere Oberin tended to play soft because he was afraid of drawing the violin part. Prokofiev allegedly told him to play louder which was the point. For a more authoritative rendition check out Oistrakh/Richter.
Kremer and Argerich is what you're looking for. He makes the 'freddo' sordino passages unintuitively and rightly lack warmth, as the sound of a breeze whistling in a narrow corridor. Compare this with the original Oistrakh recording, and that will seem almost (perhaps erroneously) melodic.
I think you mean Lev Oborin. Not ObErin