While Prokofiev's first violin sonata was meant to sound "like wind in a cemetery", the second, written as a flute sonata, is characterized more by cloudless skies and an absence of concerns. Both are dedicated to the legendary violinist, David Oistrakh, who played parts of the first sonata at Prokofiev's funeral. On this recording, the Five Melodies serve as the transition between light and darkenss. The work was originally a wordless vocalise written while Prokofiev was living in the USA. It was arranged for violin and piano during his years in Paris.

REVIEW:

Båtnes and Gimse are recorded much more closely than Ibragimova and Osborne, but on top of that their playing has in general a sharper edge to the projection, which is by no means out of place in this music. One might, at first, question the measured tempo for the Moderato first movement of the Second Sonata, which adds well over a minute to the timing on the Ibragimova and Osborne disc. But on repeated listening it works, somehow bringing a touch of unease to the melody’s sultriness. In fact in the entire programme, while Ibragimova and Osborne offer telling insights into the music’s dynamic and emotional shading, the more forthright approach of Båtnes and Gimse has a valid point to make as well—not that they are in any way wanting when it comes to the allure of lyrical restraint, either in the sonatas or in the Five Melodies. Maybe this is not a decisive verdict, but I shall happily live with both versions.

– Gramophone