プロコフィエフ ヴァイオリン・ソナタ第2番 ニ長調 Op.94

00:00 I. Moderato 07:41 II. Presto - Poco Piu Mosso Del - Tempo I 12:25 III. Andante 16:17 IV. Allegro Con Brio - Poco Meno Mosso - Tempo I - Poco Meno Mosso - Allegro Con Brio Performance time: 23'' 35'' Sergei Prokofiev's "Violin Sonata No. 2 in D major, Op. 94bis" is a masterpiece filled with vitality and classical elegance, remarkable considering it was created during the dark times of war. In particular, the recording you provided, featuring David Oistrakh (violin)** and Vladimir Yampolsky (piano)**, made on May 22, 1955 (a session recording at the Saal Kokoronail in Brussels), is a masterpiece of extremely high historical and musical value, as it was performed by Oistrakh himself, who was deeply involved in the creation of this piece. -- 1. Background and Circumstances of Composition Birth as a "Flute Sonata" in Evacuation This work was not originally written for violin; it was originally a "Flute Sonata in D major, Op. 94" (composed in 1942-1943). At the time, due to the intensification of World War II (the Great Patriotic War), Soviet artists such as Prokofiev were forced to evacuate to places like Perm (then called Molotov) and Alma-Ata at the foot of the Ural Mountains. Amidst the tense wartime atmosphere, Prokofiev sought "classical, healthy, and clear-sounding music," and composed this piece imagining the light tone of the flute. Adaptation to Violin Version at Oistrakh's Eager Request In 1943, Prokofiev's close friend, violinist David Oistrakh, heard the premiere of this flute sonata and was captivated by its magnificent melodic beauty and classical perfection. He pleaded with Prokofiev: "I want you to arrange this wonderful piece for violin sonata. It would perfectly match the techniques of the violin." With Oistrakh's advice and cooperation, Prokofiev effectively incorporated the violin's unique double-stop technique and bowing skills, completing *"Violin Sonata No. 2, Op. 94bis"* (*bis means "second" or "re-"). On June 17, 1944, it premiered in Moscow with Oistrakh on violin and Lev Oborin on piano, achieving great success. Today, it is as important as, or even more important than, the original flute version, in the violin repertoire. -- 2. Performer Introduction David Oistrakh (1908–1974) One of the greatest violinists of the 20th century and a leading master of the Soviet Union. His playing is characterized by a rich and endlessly warm tone, perfect intonation and virtuosic technique, and a spiritual precision. He was close to Prokofiev both personally and professionally, and was deeply involved not only in this Second Violin Sonata, but also in the creation and premiere of the more introspective and darker "Violin Sonata No. 1 in F minor, Op. 80." Oistrakh himself also edited the score of this work (published by International Music, etc.). ### Vladimir Yampolsky (1905–1965) He was one of Oistrakh's most trusted accompanists. A distinguished Soviet ensemble player, he accompanied Oistrakh on numerous domestic and international concert tours and recordings (including for EMI). He possessed meticulous control that absolutely enhanced the soloist, while also being a highly skilled pianist capable of fully expressing Prokofiev's characteristic percussive piano dynamism. -- 3. Detailed Explanation of the Piece The piece as a whole is a neat four-movement structure based on the spirit of "Neoclassicism." Movement 1: Moderato (D major, 4/4 time) Sonata form. From the beginning, the violin sings a graceful first theme that is somehow nostalgic and full of elegance. The melody is cheerful, almost as if you can feel the flute's breath, but in the middle section, Prokofiev's characteristic unexpected modulations and slightly sharp, ironic sounds emerge. Overall, it is very refined and filled with a gentle light. Second Movement: Scherzo. Presto (A minor, 3/12 time signature; middle section is 2/4 time signature) A fast and thrilling scherzo, full of playfulness and a touch of venom. While the rhythmic main section makes extensive use of syncopation (shifts in strong beats), as if the violin and piano are chasing each other, the middle section shifts dramatically to a romantic and elegant waltz-like melody. The dramatic changes in tempo are reminiscent of film music. Third Movement: Andante (F major, 2/4 time signature) A reflective and beautiful slow movement, like being in a dream. The piece begins with the delicate sound of a violin using a mute. In the middle section, the supple, jazzy rhythms and languid narrative style that Prokofiev was interested in at the time blend together, creating a languid yet pleasantly urban atmosphere. Fourth Movement: Allegro con brio (D major, 4/4 time) This is a finale overflowing with brilliant energy. In a rondo-like form, a powerful, driving theme returns repeatedly, showcasing the violin's dazzling virtuosity (consecutive chords and intense staccato). After contrasting with lyrical episodes i...