This Bach-meets-Paganini tour de force begins with a prelude marked Obsession, presumably about the shadow Bach had cast over this music, but the finale Les Furies falls back on the famous Dies irae theme. In the Chausson Poème, Mordkovich is smoulderingly passionate. The jewel in the crown is the Shostakovich Sonata, Op 134 for Violin and Piano.

The composer had written his Second Violin Concerto as a 60th birthday present for Oistrakh but got the years wrong and this sonata was composed for his real 60th birthday. It distills the ambience of the twilight world where ambiguity flourishes amid a thicket of coded messages, no doubt understood by Oistrakh but missed by the musical commissars. The first movement flirts, ironically, with the twelve-tone technique (strictly forbidden by the regime) in the first movement. The central allegretto consciously eschews contemplation for a manic moto perpetuo but the third movement presents a complex passacaglia (theme and variations) of increasing intensity and complexity. Again, a reference to Bach’s solo violin style emerges, this time fused with a sort of Rachmaninov-like effusiveness, only to subside ultimately into a withdrawn coda.

Powerful stuff! David Oistrakh would have been proud.

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