Complete works for Violin & Piano Duo Khojayan / Poortinga

• Sergei ProkofIev (1891 - 1953): Sonate I in f mineur, opus 80:
• 1 ProkofIev: 01 - Sonate I in f mineur, opus 80 - Andante assai 06:52
• 2 ProkofIev: 02 - Sonate I in f mineur, opus 80 - Allegro brusco 07:04
• 3 ProkofIev: 03 - Sonate I in f mineur, opus 80 - Andante 08:00
• 4 ProkofIev: 04 - Sonate I in f mineur, opus 80 - Allegrissimo - Andante assai, come prima 08:12
• Sonate II in D majeur, opus 94b:
• 5 ProkofIev: 05 - Sonate II in D majeur, opus 94b - Moderato 07:59
• 6 ProkofIev: 06 - Sonate II in D majeur, opus 94b - Scherzo, Presto 04:57
• 7 ProkofIev: 07 - Sonate II in D majeur, opus 94b - Andante 03:57
• 8 ProkofIev: 08 - Sonate II in D majeur, opus 94b - Allegro con brio 07:46
• Five Melodies for Violin and Piano, Op. 35bis:
• 9 ProkofIev: 09 - Five Melodies for Violin and Piano, Op. 35bis - Andante 02:05
• 10 ProkofIev: 10 - Five Melodies for Violin and Piano, Op. 35bis - Lento, ma non troppo 02:49
• 11 ProkofIev: 11 - Five Melodies for Violin and Piano, Op. 35bis - Animato, ma non allegro 03:33
• 12 ProkofIev: 12 - Five Melodies for Violin and Piano, Op. 35bis - Allegretto leggero e scherzando 01:29
• 13 ProkofIev: 13 - Five Melodies for Violin and Piano, Op. 35bis - Andante non troppo 02:53
• Total Runtime 01:07:36

Info for Complete works for Violin & Piano

The violin sonatas of Sergei Prokofiev were written during the tumultuous years of 1938-1946. Prokofiev’s musical language in both sonatas was already fully developed.

He went back to a certain melodic simplicity which is often linked with the poetic language of Anna Akhmatova. Prokofiev himself said during this period: “I want nothing better, more flexible or more complete than the sonata form, which contains everything necessary for my structural purposes.”

Each of the four movements are a reflection of the impressions of the tumultuous Stalinist regime and war years which show many contrasting characters. Prokofiev said: “This music should sound so that people jump in their place and ask, ‘Are you out of your mind?”. Of parts of the first sonata he said: ‘it should sound like the wind on a grave’. Prokofiev had a tendency to shock with his music, especially when it came to first performances. Such a shock is hard to create now because audiences are familiar with his sound-idiom and know what to expect. Nevertheless, the power of the music is deep rooted and overwhelming and is present also in serene moments, of which Prokofiev was an absolute master.

Meri Khojayan, violin
Robert Poortinga, pianoforte

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