Peter Prosser's faculty recital yesterday evening at Mannes began with Bach's Sonata No. 2 in D for Viola da Gamba and Harpsichord, BMW 1028. Although there is some doubt regarding the exact date of composition, many scholars place it around 1740 and suggest it was written for Carl Friedrich Abel, a virtuoso gamba player in Leipzig while Bach was resident there. Even at the time the music was written, however, the gamba was considered no longer fashionable and the piece has historically most often been performed on cello with piano accompaniment. Notably, Bach intended the obligato keyboard to be an essential partner rather than just "filler." The title page to BMW 1027, the only one of the series whose autograph has survived, is entitled Sonata à Cembalo è Viola da Gamba and shows Bach's intent that the keyboard be given the same weight as the strings.
Although many of Shostakovich's symphonies are too long and ponderous for my taste, I've always found his chamber music to be fully engaging. The Sonata in D minor, Op. 40, is no exception. Written during a period of personal turmoil while Shostakovich was in the process of a painful divorce, this is an early piece notable for the different directions the composer explores from one movement to the next. The mood swings wildly from the dark largo to the playful closing allegro.
In the second half of the program, following a brief Capriccio, described as a "ballet for cello and piano," by Lukas Foss, the musicians proceeded to the Brahms' Sonata No. 2 in F, Op. 99. For me, the heart of this famous piece is the third movement, the allegro passionato, and last evening it was performed with a heartfelt sincerity that was fully satisfying.
Although not included in the program title, pianist Mary Jo Pagano was an equal partner in this recital rather than just an accompanist. Her playing was sharp and colorful and complemented Mr. Prosser's style very well.
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