Search - Nikolay Medtner, Sergey Prokofiev, Alfred Schnittke :: Oleg Kagan Edition, Vol.19

A reference recording !

08/24/2000

(5 out of 5 stars)

"On these live recordings from the 1980s, you'll hear magnificent performances of Medtner's Sonata for violin and piano no. 1 (Kagan, Richter) and of Prokofiev's Sonata for two violins (Kagan, Tretyakov). The interpretation of Medtner brilliantly equals the one recently published by APR (Medtner, Hansen) and Prokofiev's sonata has seldom found such interpreters. Also on this CD, two works by Webern and Schnittke that deserve attention. Although all recordings are live, sound quality is optimal (I have heard virtually no audience noise). Really, this CD is an occasion to discover a less known - but incredibly talented - Russian violinist. Check also other recordings of him with his wife, famous cellist Natalia Gutman."

A Schnittke reference indeed

villegem | canada | 03/16/2009

(5 out of 5 stars)

"Oleg Kagan has been friend with Schnittke for a long time. He often premiered his works and brought an acute understanding and sensibility rarely matched these days.



This recording of the Violin Sonata No.1 (1963) is certainly a reference as both violinist and pianist (Lobanov) understand what they are playing and bring a total commitment to the music. They are not the kind of instrumentists who think composers and works are supposed to serve their ego...



The Andante is mysterious and unresolved. Then an Allegretto brings a climax that propels the piece higher up. The Largo stays in this rarefied upper levels and even find another refined and tender voice. The Allegretto scherzando brings an energetic conclusion to the work.

This is early Schnittke with a clear Shostakovich influence yet is no imitation.



I just returned from a recital featuring violinist Arabella Steinbacher and pianist Robert Kulek playing this piece. What a contrast with Kagan/Lobanov!



Although Miss Steinbacher played from memory, one wish the content and the architecture of the work had been understood and conveyed. One expected better from such a hyped musician. The fast movements were taken slower, usually not a good sign. Only for one moment in the Largo seemed the audience suspended to the music but quickly faded and the whole piece never really left the ground.

As for the pianist, his smug attitude, gestures and faces while playing were simply unbearable and unfortunately only conveyed his own shallow understanding of the piece. He seemed the one holding the strings to the violinist and relishing in showing how smart he thought he was. The music suffered of course, became a caricature of the score while the rapturous energy level of the last Allegretto was lost. What a waste!



Indeed this kind of recital makes Schnittke's Kagan/ Lobanov recording a must have to treasure and alone worthy of the expense. Not to be missed and one also should think of acquiring another CD in the same Kagan series where Lobanov and Kagan play masterfully the Sonata for violin and Piano No.2, Quasi Une Sonata!

"