KABALEVSKY: Piano Sonata No. 1 in F Major, Op. 6; Piano Sonata No. 2 in E-flat Major, Op. 45; Four Preludes, Op. 5; Piano Sonata No. 3 in F Major, Op. 46 – Artur Pizarro, piano – Regis RRC 1324 [Distr. by Qualiton], 71:02 *****:
If, like me, you didn’t latch onto this recording when it was originally released on Phoenix Edition, here’s a second chance courtesy of Regis. My advice is to take advantage of the opportunity. But then, maybe like me you missed out on Kabalevsky’s piano music altogether, which is another mistake you can handily rectify by grabbing up this fine collection.
Kabalevsky’s reputation has been tainted by his adherence to the principles of social realism and his essentially conservative musical language, which became more conservative and unbending over time. For many Western listeners, therefore, he’s the composer of concertos, especially the concertos written with young performers in mind, and of lighter music such as the suites from Colas Breugnon and The Comedians. Left out of the picture are his symphonies, choral works, chamber works, and piano pieces, among which is at least one composition that deserves a place beside the best piano music of Prokofiev and Shostakovich.
In fact, Kabalevsky’s Second Sonata, written in 1945, is often compared to Prokofiev’s great wartime sonata trilogy (Piano Sonatas 6 through 8). It’s a big sonata (almost twenty-five minutes in length) with a heroic grandeur befitting the time of its composition. The first movement, marked Allegro moderato – Festivamente, has an equivocal sort of festivity about it, as if Kabalevsky acknowledges that victory in the Great Patriotic War has come at an incalculable cost. It’s a tumultuously noisy movement, with clashing dissonances largely absent from Kabalevsky’s other works for piano. The second movement (Andante sostenuto) is much more subdued and has film-score resonances like those we find in Prokofiev’s slow movements of the same era. The Presto finale is a perpetuum mobile that comes as close to anxious jubilation as Kabalevsky allows himself. This is a powerful work and one that all lovers of modern piano music should know.
The more economical Third Sonata of the next year is comparatively relaxed and poised, but only comparatively. The first movement seems to pose a contest between the agitated first theme and the tranquil second, which wins the day with the subdued close of the movement. Again, it recalls Prokofiev filtered through a unique musical perspective. The last movement, marked Allegro giocoso, is jocose, yes, but the humor of the piece often verges on gallows humor. How did the Russian authorities take this work? As it turns out, Kabalevsky ended up on the list of proscribed Soviet composers in 1948, along with Prokofiev and Shostakovich (and Miaskovsky and Khatchaturian), though his name was removed before the list was made public.
The First Sonata, written early in Kabalevsky’s career (1927), is a different affair entirely, much more discursive, with the free-wheeling harmonies and rhythms of Scriabin. Interestingly, the Romantic-sounding Four Preludes of 1928 seem to evoke Chopin, an early musical hero of Scriabin. But if Kabalevsky is still finding his way toward an individual compositional style, both these works speak to a large talent in the making.
Portuguese pianist Artur Pizarro’s performances are dazzling. His technique is imposing, his playing undeniably powerful, yet he manages to deliver this music with finesse and emotional integrity. He’s seconded by a recording that’s equally big and bold but without any clangor or stridency. With a generous timing, this CD represents great music making and very good value. What’s not to like?
-Lee Passarella
