In the 1930s, profoundly homesick, Prokofiev was wooed back to Russia-by now the USSR ruled by Stalin-with official promises that he would enjoy not only such privileges as being allowed to tour regularly in the West, but would also play a leading role in rebuilding Soviet music after the ravages of the cultural revolution of the late 1920s. While the latter is a magnificent partnership by any standards … I get a feeling of even greater involvement and excitement from the new Hyperion disc … this Prokofiev disc is a triumphant achievement, recommended without reservation’ (International Record Review) » More It’s interesting to compare Ibragimova and Osborne with Kremer and Argerich (DG). The attention to detail, to subtle nuances, is breathtaking, and the overall drive and momentum of the performance results in a reading as fine as any I’ve heard, in sound that is better than most. The D major Sonata (originally written for flute and piano and transcribed at Oistrakh’s request) is even better.
‘The dark moods of the F minor Sonata … are relished to the full by both musicians: the range of colours and the precision of the rhythmic articulation are two notable features of a performance that grips the listener from start to finish, thanks to its unflinching conviction as well as its consummate skill.
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