Sergei Prokofiev (1891-1953): Sonata for Cello and Piano in C Major, Op. 119 [24’]

1. Andante grave
2. Moderato
3. Allegro ma non troppo

Francis Poulenc (1899-1963): Sonata for Cello and Piano, FP 143 [24’]

1. Allegro – Tempo di Marcia
2. Cavatine
3. Ballabile
4. Finale

Nikolai Myaskovsky (1881-1950): Sonata No. 2 for Cello and Piano in a minor, Op. 81 [23’]

1. Allegro moderato
2. Andante cantabile
3. Allegro con spirito

The year 1948 stands as a pivotal moment in Soviet musical history, marked by the notorious Zhdanov Decree. This Communist Party resolution denounced many leading Soviet composers, including singling out Prokofiev and Myaskovsky, for “formalist tendencies” – essentially, for writing music deemed too complex and insufficiently accessible to the masses.

Composed the year after this Decree, this sonata represents Prokofiev’s attempt to write in a more “accessible” style while maintaining his artistic integrity. Despite the oppressive cultural climate, Prokofiev created a work of remarkable warmth and lyricism, with extremely long phrases and singing melodies. The playful second movement and energetic finale retain his characteristic wit, though perhaps with more restraint than his earlier works. We can hear typical Prokofiev melodies and themes reminiscent of his ballets Cinderella or Romeo and Juliet.

In 1948, Poulenc was working in the relative artistic freedom of post-war France, however as this sonata was sketched before the German Occupation and summarily abandoned during, Poulenc was no stranger to oppression. Openly homosexual, Poulenc and his music were deemed degenerate and during the Occupation, he was at the forefront of artistic resistance movements in France. This sonata showcases Poulenc’s distinctive mix of neoclassical clarity and cabaret-inspired cheekiness. The work’s four movements are constantly changing character, full of humour, from martial to melancholic, with the touching Cavatine serving as its emotional heart.

Myaskovsky, like Prokofiev, was specifically named in the Zhdanov Decree. This sonata, written immediately afterward, represents both compliance and subtle resistance. While its language is more traditionally romantic than his earlier works, it maintains a depth of expression and masterful craftsmanship that transcends political dictates. The work’s melancholic character, particularly in its soulful second movement, might be read as a response to the artistic restrictions of the time.