Twenty cellists have now contributed a recording of Rachmaninov’s Sonata to the current catalogue, the senior of them being Paul Tortelier in 1967 in what has proved a popular coupling with Chopin’s Cello Sonata (EMI, 6/89). Truls Mork’s choice of Miaskovsky’s sonata is unique, despite the large number of Russian cellists who feature in the lists. Written in 1911, a decade after Rachmaninov’s, it is clearly influenced by the earlier work in so far as a commitment to a long melodic line and a romantic vein of piano writing are concerned; and if Miaskovsky cannot match Rachmaninov in quality of invention or virtuosity of technique, his work may still, as Simon Mundy’s insert-note suggests, come as a rewarding discovery.
Mork handles both sonatas gently and sensitively, rising to the occasion in Rachmaninov’s scherzo with a vigorous impulse but sounding more at ease with the reflective opening, the rapturous main part of the first movement, and the inward communing of the slow movement. Comparisons are frequently made with the Second Piano Concerto, of similar date, and the works do indeed inhabit the same world. The recording is sensitive in solving the not inconsiderable problems of balance which Rachmaninov, in particular, sets his artists.'