Johannes Moser is a regular visitor to Bantry. This year he was due to play the three Martinů Cello Sonatas with the Russian pianist, Andrei Korobeinikov. Curiously Martinů’s complete quartets had featured in Pavel Haas Quartet’s prospective programme. Hopefully both these programmes will re-appear next year. Ever the adventurous soloist, Moser is now introducing us to one of Weinberg’s Cello Sonatas. This is a lyrical but quiet work that livens up with a propulsive, hard-driven Finale that, inevitably, was written for Rostropovich. Shostakovich’s Cello Sonata is an early work, pre-dating his long duel with Stalin and the unpredictably repressive Soviet authorities. So the gentle and untroubled lyricism of the first movement may come as a surprise, though the spiky, percussive piano part in the Scherzo is more familiar territory. The slow meditative opening to the Largo gradually arouses itself to a moment of restrained passion, but by the coda it has sunk back into exhausted stasis. After so much introspection the ebullient and playful Finale comes as a surprise with both instruments shamelessly showing off. Not many Shostakovich works end with such a broad smile.
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|Mieczysław Weinberg||Cello Sonata No.2 in G minor Op.63|
|Sergei Rachmaninov||Vocalise Op.34 No.14|
|Dmitri Shostakovich||Cello Sonata in D minor Op.40|
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