Rachmaninoff / Shostakovich: Cello Sonatas

Audun Sandvik, cello / Sveinung Bjelland, piano

Lawo Classics LWC1131 (2017)

We know that our seafaring ancestors cultivated a strong tradition of singing. And Russian singing, especially in a religious context, is a renowned hallmark of the country’s rich culture. Both composers featured on this album were partial to the human voice.

Many regard the cello as one of the instruments best able to reproduce the human voice. It is tempting to presume that both Rachmaninoff and Shostakovich were motivated by the cello’s matchless range of expression when each wrote his powerful sonata — and, mind you, with the piano as wholly equal partner. Each was considered one of the most outstanding piano virtuososof his generation and knew his instrument through and through.

Shostakovich’s cello sonata (opus 40) was his first instrumental sonata. Rachmaninoff’s (opus 19), on the other hand, was his last in this genre and his last chamber music work altogether. The sonata was overshadowed by the immense success of his second piano concerto, which had been premiered only one month earlier. We find many musical similarities between the two works. Following this glittering period, Rachmaninoff devoted himself to pure piano music, and to larger works for choir or orchestra.

We hope that the Russian sonatas — in Norwegian renderings — can show that the human spirit transcends cultural and national boundaries. All that remains is to listen. Perhaps we may perceive the sounds of our ancestors singing together. In music — humanity’s home — we all share the same mother tongue.

REVIEWS 

15.02.2018: Atmosphärisch - Klassik.com 

How closely the human vocal part is related to the sound of the cello and how well it harmonizes with that of the piano, are shown impressively by Audun Sandvik and Sveinung Bjelland, especially with the sonata by Rachmaninoff.

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10.01.2018: Pizzicato: Inspirierende Nachbarschaft

Trotz ihrer langjährigen Podiumsgemeinschaft legen Audun Sandvik und Sveinung Bjelland nun erstmal einen gemeinsamen Tonträger vor. Damit ist ihnen auf Anhieb ein überzeugender Beweis für ihre herausragenden Fähigkeiten geglückt.

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30.10.2017: Klassisk Musikkmagasin

Som ventet av Rakhmaninovs cellosonate, har den et enormt krevende klaverparti, og den har også en ambisiøs 35-minutters lengde. Følgelig må begge musikerne være på høyde med verkets kvasi-symfoniske størrelse så vel som på dets takt for takt-krav, med celloens presserende intensitet i de utstrakte melodiske linjene og klaveret som hvirvler all verdens dekorative kompleksitet rundt dem. Audun Sandvik og Sveinung Bjelland holder musikken i bevegelse og generer akkurat den spenningen som en god fremførelse må ha.

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17.10.2017: Stavanger Aftenblad: En ypperlig duo  
«Audun Sandvik og Sveinung Bjelland (fra Stavanger) viser seg på denne nye cd-en som en fremragende duo. [...] Særlig Rachmaninovs cellosonate er undervurdert og ganske oversett, stilt i skyggen av komponistens klaverkonserter, klaverstykker og noen av symfoniene. Det har Sandvik/Bjelland nå virkelig rettet på.»

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21.11.2017: Klassisk Blogspot: Den russiske celloen  

Men slikt krever selvsagt utøvere som matcher de to komponistenes skriverier. Duoen Sandvik / Bjelland er nettopp en slik duo - som klarer å formidle de innerste følelser og musikalske tanker bak denn e musikken ut gjennom et par høyttalere. Joda - her legges det for dagen virtuositet, teknisk briljans og stor musikalsk innsikt. Et stort pluss er også cd - bokens tekstlige bidrag, signert Nora Taksdal. Dette er en plate som trygt kan handles inn - den er av det særdeles fine slaget!     

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