Abstract instrumental works (that is to say, those which had no “programme” in “Socialist Realism“.) were considered undesirable or – as in the case of chamber music – tainted by Western decadence. Shostakovich had won no friends within the cultural establishment with compositions of this nature. In two Pravda articles of 1936, Shostakovich was accused of “left-deviant” and “petit-bourgeois decadent” attitudes. By that time, he had already composed his Sonata for Violoncello and Piano in D minor op. 40; written in 1934, this work was premiered in Moscow the same year. It is essentially the commanding chamber work of Shostakovich’s early years. In this recording, the sonata is heard in the version for viola and piano for which the viola part was arranged by Veit Hertenstein. Already seriously ill, he wrote his last work, the Sonata for Viola and Piano op. 147, one month before his death. It is regarded by many as his own encounter with Death. Shostakovich knew that he was about to die. Nor did he live to see his final work premiered.
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Reviews
“… terrific performance; highly recommended.”
Mark Novak – Fanfare – May/June 2021
"Mr Hertenstein himself arranged the Cello Sonata for viola and piano, and it works astonishingly well... Hertenstein's playing is warm and nuanced; in fact, he brings more persuasive individuality to the piece than many cellists!.. The cryptic yet evocative Viola Sonata is given a reading filled with gentle humor and a sense of discovery. Kim is a delight to hear as as well; her tone exudes strength and integrity even in the softest moments. This is a recording I'll gladly return to."
Stephen Estep – American Record Guide – March/April 2021
“… Hertenstein and his duo partner Minze Kim on the piano reveal the abysses and hidden messages in the compositions of this Russian composer in a refined and profound interpretation…” *****
Uwe Krusch – Pizzicato.lu – 24 October 2020
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