Natalia Prishepenko – Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80 / Shostakovich: Violin Sonata in G Major, Op. 134 (2022/2023) [FLAC 24 bit, 44,1 kHz]

Natalia Prishepenko - Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80 / Shostakovich: Violin Sonata in G Major, Op. 134 (2022/2023) [FLAC 24 bit, 44,1 kHz] Download

Artist: Natalia Prishepenko
Album: Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80 / Shostakovich: Violin Sonata in G Major, Op. 134
Genre: Classical
Release Date: 2022/2023
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 59:26
Total Tracks: 7
Total Size: 514 MB

Tracklist:

1-1. Natalia Prishepenko – Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80: I. Andante assai (06:15)
1-2. Natalia Prishepenko – Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80: II. Allegro brisco (07:15)
1-3. Natalia Prishepenko – Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80: III. Andante (06:45)
1-4. Natalia Prishepenko – Prokofiev: Violin Sonata No. 1 in F Minor, Op. 80: IV. Allegrissimo (07:22)
1-5. Natalia Prishepenko – Shostakovich: Violin Sonata in G Major, Op. 134: I. Andante assai (10:43)
1-6. Natalia Prishepenko – Shostakovich: Violin Sonata in G Major, Op. 134: II. Allegretto (07:04)
1-7. Natalia Prishepenko – Shostakovich: Violin Sonata in G Major, Op. 134: III. Largo. Andante (13:59)

Download:

“The piano sounds mysterious, almost magical in Ugorskaja’s hands, the violin is very clear, sparkling clean and present as well. The whole quality of the two artists is revealed in the sweetness and tenderness of the dim, rippling Andante, which takes off dreamily in perfect artistic symbiosis.”This recording took place in the Studio 2 of the Bayerischer Rundfunk in Munich, in February 2016. Dina Ugorskaja pursued the finishing process of the master with great impulse and unbelievable energy during a time when her health was abating. This project will stay simply as a singular milestone.

Prokofiev and Shostakovich were ambivalent toward one another. Prokofiev accused Shostakovich of “devouring everything” (the fact that the younger composer dared to incorporate the street genres of entertainment music into his classical compositions) and affirmed that Shostakovich had no gift for melody. Shostakovich, for his part, occasionally found Prokofiev’s music too crude, too clearly illustrative. Yet, in spite of the largely unfair criticism they directed toward one another, each one never let his counterpart entirely out of his sight, or, to be more exact, of his ears. Ever since the 1920s their music was featured on joint recital programmes. The young Shostakovich acknowledged Prokofiev’s influence on certain of his own works. Prokofiev, when abroad, encouraged “chemical exchange between Russia and Europe” and promoted Shostakovich’s works in particular, even expressing the wish that his younger colleague be allowed to perform abroad, too. Natalia Prishepenko and the late Dina Ugorskaja present stunningly personal and virtuosic performances of two of their violin sonatas.

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