Oliver Scott / Cello

Alex Raineri / Piano

Live performance from the 2020 Brisbane Music Festival 'Streamed Series'.

Jai Farrell / Audio Engineer & Videographer

Composed in 1934, Dimitri Shostakovich’s 'Sonata for Cello and Piano' only just preceded the censorship of his music by Soviet authorities, though in many ways it preludes the compositional caution Shostakovich was to be forced to adhere to under Stalin’s calling for musical styles that resonated with everyday experiences of Soviet citizens. As such, the Sonata is imbued with a sense of neo-classicism, harkening to sentiments of classical music of previous generations. Regardless of its historical context, the strength and emotional power of this work is undisputable.

The Sonata showcases many of the compositional tropes for which Shostakovich is most celebrated. An introspective melody haunts the first movement, twisting and turning through a harmonic trajectory that is forever in search of respite – a winding path of dissonance searching for resolution. A bleak coda suggests that no such respite has been discovered. The second movement at first glance is somewhat aggressive and matter-of-fact, though a playful and charming second subject suggests a split-personality. Movement three is perhaps one of the most profoundly emotional works of the chamber music canon. Here, time feels as though it is suspended as the slowly paced movement unfolds with ravishing moments of exquisite beauty. The final movement is a snarling and sarcastic dance. This finale virtuosically frames the sonata in retrospect as an incredible work imbued with a broad spectrum of emotional discourse, from the most intimate utterances to the most extrovert displays of brilliance.