The violin plays alone until the piano calms it down, encouraging an altogether more relaxed atmosphere. The second movement opens in a searching and somewhat agonized way.

The similarity with music by Garayev’s teacher is far less apparent in the rest of the sonata. That is why both Shostakovich and Weinberg come to mind, since both used Jewish rhythms and folk influences a great deal in their music. The main theme may be influenced by Azerbaijani folk music but it also sounds Jewish. A strong main theme on the piano set against a caustic reply from the violin makes for a movement with wonderfully contrasting themes that satisfy and excite in equal measure. The first movement of the Sonata is one of bold and assertive statements. If I had not known that it was by Garayev, I would certainly identified it as being by Shostakovich or, failing that, Weinberg.

That is evident from the very first notes of the Sonata for violin and piano. It is interesting to read that as a student at the Moscow State Conservatoire he was able to attend classes given by Shostakovich who the notes explain “.had a powerful influence on the young composer”. It is therefore extremely heartening that this disc gives us the opportunity to hear the first ever recording of his Sonata for violin and piano, and the first complete recording of his 24 Preludes for piano. Gara Garayev (also variously Qara Qarayev and Kara Karayev), a giant of Azerbaijani culture, was certainly its most significant composer. 2014, La Grange au Lac, Évian, Franceįirst recording (sonata) first complete recording (preludes) Support us financially by purchasing this from

Karayev 10 preludes for piano