Shostakovich: Sonata in D minor for Cello and Piano (CD review)

Also, Brahms: Trio for Piano and Strings, No. 2. Daniil Shafran, cello, and Lydia Pecherskaya, piano; Gary Graffman, piano, Berl Senofsky, violin, and Shirley Trepel, cello. HDTT HDCD184.

Question: What do the two pieces of music on this disc have in common? After all, they are by two completely different composers from two completely different centuries.

Answer: They're both great pieces of music given excellent performances in top-notch remastered 1960's sound from HDTT (High Definition Tape Transfers).

First up on the agenda is the Sonata in D minor for Cello for Piano, Op. 40, by Russian composer Dimitri Shostakovich (1906-1975). The sonata, written in 1934, was one of the composer's earlier pieces, making it just under the wire before the Soviet government imposed strict rules on the music its people could write. If parts of the sonata sound melancholy, it's probably because Shostakovich was going through some emotional tensions in his personal life. Whatever, in its four movements the sonata drifts from somewhat sad and despondent to energetic to somber to exuberant and joyful. It's quite a ride.

Russian cellist Daniil Shafran and pianist Lydia Pecherskaya handle the work nicely, negotiating the mood swings in smooth, orderly fashion. This should come as no surprise from the late Mr. Shafran; early on, critics regarded him and Mstislav Rostropovich, both close in age, as two of the great young cellists of the day. Shafran's enthusiastic yet poetically lyrical style suits Shostakovich's music flawlessly.

If there are any expressive nuances Shafran leaves out of the music, I don't know what they are. Shafran's part in the proceedings largely overshadows Ms. Pecherskaya's, but she accompanies him with a sympathetic air. There is a special exuberance about the second-movement Allegro, a wistful yearning in the Largo, and a playfulness in the finale that are hard to resist.

Daniil Shafran
The coupling is the Trio for Piano and Strings No. 2 in C major, Op. 87, by German composer and pianist Johannes Brahms (1833-1897). Composed around 1882, the four-movement Piano Trio remains one of Brahms's most-popular chamber pieces. American pianist and teacher Gary Graffman, violinist Berl Senofsky, and cellist Shirley Trepel play the piece at least as well as the disc's accompanying performance, so we get a two-for-the-price-of-one kind of deal here.

The Brahms is clearly more Romantic in tone than the Shostakovich, and Graffman and company have it well in hand. Although I've heard more-ebullient renditions of the piece, the present trio members offer a warm, satisfying reading, highly charged with musical subtlety.

RCA originally recorded the Shostakovich in 1961 and the Brahms in 1964. HDTT remastered and transferred the music from 15-ips 2-track tapes and released their coupling in 2015. The miking is a tad close, and the instrumentalists loom somewhat large; yet they sound so lifelike, one can hardly complain. There is a sweet warmth to the sound as well, so despite the proximity to the players, there is no trace of steeliness, brightness, or edge. Because of the miking, the instruments appear well separated, with plenty of space around each of them. It is smooth, clear, well judged, finely balanced sound that brings out the best in the performance. HDTT did an extremely good job processing the tape for a clean CD playback.

For further information on HDTT's various configurations, formats (CD, HQCD, FLAC, DSD, DVD-24, DVD-24, etc.), discs, downloads, and prices, you can visit their Web site at


To listen to a brief excerpt from this album, click here:

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa