Dmitri Kabalevsky (1904-1987)

[foxandpeng]

A new recording of his Cello Concerto No. 2. September 13th:

Again, thank you!

[kyjo]

A new recording of his Cello Concerto No. 2. September 13th:

Nice, this powerful concerto has been very fortunate on disc with fine performances by Daniil Shafran, Steven Isserlis, Torleif Thedeen, and others. Now what it really needs is more live performances...

[kyjo]

I'm happy to share a performance I gave a few months of Kabalevsky's great Cello Sonata in B-flat, Op. 71 (1962), which is not only one of Kabalevsky's very finest works (perhaps his masterpiece) but one of the most powerful cello sonatas in the repertoire. Kabalevsky is often pigeonholed as a "light" composer, and while that may be true of his earlier pieces like his suites from The Comedians and Colas Breugnon or his didactic piano music for children, he developed a more serious, darker style later in life when he produced substantial works comparable with his compatriots Prokofiev and Shostakovich. Perhaps ironically, his Cello Sonata is a much darker work overall than even Shostakovich's own Cello Sonata (which was composed much earlier in 1934).

The solemn opening of the work immediately grabs the attention with its tolling low B-flats in the piano and a pleading cello line which constantly wavers between major and minor tonality. Later on, the movement develops into a furious mechanistic toccata which builds and builds in intensity until a harrowing climax. The second movement opens uncertainly and mysteriously with fragments of a theme suggested by both instruments. Eventually, a lilting yet spooky waltz gets underway with an instantly memorable theme which materializes from the opening fragments. Overall, this movement does not offer much reprieve from the intensity of the outer movements despite its more muted character. Finally, the third movement finale returns to the toccata-like energy of the middle section of the first movement and is filled with greatly virtuosic writing for both instruments. It begins unassumingly enough but eventually develops a darkly anxious head of steam. There is a remarkably intense interlude in the remote key of A-flat minor before a return to the opening material. Eventually, there is yet another volcanic climax where the piano hammers out octave B-flats like a terrifying alarm going off and the cello plunges its way into its lowest register, preparing the way for a deeply tragic reprise of the very opening of the sonata which brings the work to its bleak close.

My performance is by no means perfect (of course), but I'm overall quite happy with it considering how difficult the piece is:

https://youtu.be/lFcfDr9KZpg

[Roasted Swan]

I'm happy to share a performance I gave a few months of Kabalevsky's great Cello Sonata in B-flat, Op. 71 (1962), which is not only one of Kabalevsky's very finest works (perhaps his masterpiece) but one of the most powerful cello sonatas in the repertoire. Kabalevsky is often pigeonholed as a "light" composer, and while that may be true of his earlier pieces like his suites from The Comedians and Colas Breugnon or his didactic piano music for children, he developed a more serious, darker style later in life when he produced substantial works comparable with his compatriots Prokofiev and Shostakovich. Perhaps ironically, his Cello Sonata is a much darker work overall than even Shostakovich's own Cello Sonata (which was composed much earlier in 1934).

The solemn opening of the work immediately grabs the attention with its tolling low B-flats in the piano and a pleading cello line which constantly wavers between major and minor tonality. Later on, the movement develops into a furious mechanistic toccata which builds and builds in intensity until a harrowing climax. The second movement opens uncertainly and mysteriously with fragments of a theme suggested by both instruments. Eventually, a lilting yet spooky waltz gets underway with an instantly memorable theme which materializes from the opening fragments. Overall, this movement does not offer much reprieve from the intensity of the outer movements despite its more muted character. Finally, the third movement finale returns to the toccata-like energy of the middle section of the first movement and is filled with greatly virtuosic writing for both instruments. It begins unassumingly enough but eventually develops a darkly anxious head of steam. There is a remarkably intense interlude in the remote key of A-flat minor before a return to the opening material. Eventually, there is yet another volcanic climax where the piano hammers out octave B-flats like a terrifying alarm going off and the cello plunges its way into its lowest register, preparing the way for a deeply tragic reprise of the very opening of the sonata which brings the work to its bleak close.

My performance is by no means perfect (of course), but I'm overall quite happy with it considering how difficult the piece is:

https://youtu.be/lFcfDr9KZpg

Bravo! - really impressive and compelling performance of a great piece.  To the bolded above I'd agree. [the day you think any performance you give is perfect is the day to give up.........]

[relm1]

I'm happy to share a performance I gave a few months of Kabalevsky's great Cello Sonata in B-flat, Op. 71 (1962), which is not only one of Kabalevsky's very finest works (perhaps his masterpiece) but one of the most powerful cello sonatas in the repertoire. Kabalevsky is often pigeonholed as a "light" composer, and while that may be true of his earlier pieces like his suites from The Comedians and Colas Breugnon or his didactic piano music for children, he developed a more serious, darker style later in life when he produced substantial works comparable with his compatriots Prokofiev and Shostakovich. Perhaps ironically, his Cello Sonata is a much darker work overall than even Shostakovich's own Cello Sonata (which was composed much earlier in 1934).

The solemn opening of the work immediately grabs the attention with its tolling low B-flats in the piano and a pleading cello line which constantly wavers between major and minor tonality. Later on, the movement develops into a furious mechanistic toccata which builds and builds in intensity until a harrowing climax. The second movement opens uncertainly and mysteriously with fragments of a theme suggested by both instruments. Eventually, a lilting yet spooky waltz gets underway with an instantly memorable theme which materializes from the opening fragments. Overall, this movement does not offer much reprieve from the intensity of the outer movements despite its more muted character. Finally, the third movement finale returns to the toccata-like energy of the middle section of the first movement and is filled with greatly virtuosic writing for both instruments. It begins unassumingly enough but eventually develops a darkly anxious head of steam. There is a remarkably intense interlude in the remote key of A-flat minor before a return to the opening material. Eventually, there is yet another volcanic climax where the piano hammers out octave B-flats like a terrifying alarm going off and the cello plunges its way into its lowest register, preparing the way for a deeply tragic reprise of the very opening of the sonata which brings the work to its bleak close.

My performance is by no means perfect (of course), but I'm overall quite happy with it considering how difficult the piece is:

https://youtu.be/lFcfDr9KZpg

Very nice job!  This is the first time I heard this work so now the reference I'm imprinted with.

[Symphonic Addict]

Congratulations, Kyle! To tackle a work like the Kabalevsky is a challenge and you did it quite well. Also, kudos to the pianist!

[kyjo]

Thank you RS, relm1, and Cesar! I should should give a great amount of credit to the pianist (who is a colleague and friend of mine), who not only handled her own part with virtuosic aplomb but was also a very sensitive collaborator with me. Being able to play such great music with talented colleagues of mine reminds me why I love being a performing musician!