Album Review: Sonata 1 & 2 by Johannes Brahms (Daniel Shafran)
Alright, let’s dive into this gem. If you’re a fan of classical music—or even if you’re just dipping your toes into it—this record is a total treat. It’s got that old-school USSR charm, released under the iconic label Мелодия. You’ve got Daniel Shafran on the cello, who honestly plays like he’s having a deep conversation with the universe, and F. Gotlib on piano adding this perfect layer of sensitivity. Brahms’ compositions are already legendary, but these two bring something special to the table.
The album includes both of Brahms’ cello sonatas, so you’re getting some heavy hitters right off the bat. Tracks like Allegro Non Troppo and Adagio Affettuoso really stuck with me for different reasons.
Let’s talk about Allegro Non Troppo first. This one feels like a slow burn that sneaks up on you. Shafran’s cello has this rich, almost vocal quality—it’s like the instrument is singing directly to you. The interplay between the cello and piano here is super intimate, almost like they’re whispering secrets back and forth. There’s no rush, no grandstanding, just pure emotion. Honestly, I found myself zoning out while listening to it, in the best way possible. It’s the kind of track that makes you forget where you are for a minute.
Then there’s Adagio Affettuoso, which hits different. This one feels heavier, more introspective. It’s the kind of piece that grabs you by the soul and doesn’t let go. The cello carries so much weight, and the piano adds these delicate little touches that feel like rays of light breaking through clouds. Every note feels intentional, like Brahms knew exactly how to make you feel all the feelings without saying a word. It’s haunting, but in the most beautiful way.
What I love about this album is how raw it feels. You can tell these musicians aren’t just playing—they’re living it. And yeah, sure, it’s technically flawless, but what makes it stand out is the heart behind it. It’s not polished to the point of being cold; it’s warm, human, alive.
Oh, and here’s a random thought—I wonder if people back in the USSR realized how timeless this stuff would be. Like, did they know we’d still be talking about it decades later? Or were they just making music because it felt right? Either way, I’m glad they did.
So yeah, if you’re looking for an album that’ll make you stop scrolling, sit down, and actually feel something, give this one a spin. Just don’t blame me if you end up daydreaming for hours.
