by Brice Boorman
In With All My Breath and All My Blood, Giorgi Gigashvili uncovers the hidden rhythmic pulse and folk lyricism that lie beneath Prokofiev’s notorious ferocity. The recording feels like a natural showcase of virtuosity that propels an expedition across a rugged, emotionally charged landscape.
Sonata No. 6 in A major, Op. 82 brings a psychological landscape of anticipation where fear, resolve, and uncertainty coexist. “Allegro moderato” introduces the opening sounds with a chordal blast deliberately weighted in the lower register, anchoring the texture while the upper voices retain a bright, bell‑like clarity. A repeated‑note motif in the central section functions as an example of Gigashvili’s strong sense of rhythmic momentum. Pedal vibrato is employed, which enhances the resonance of the dense harmonies.
“Vivace” is where Gigashvili’s precise fingerings allow for clean shaping and articulation, rather than blurred shapes. His pedal vibrato resurfaces to lend a warm halo to the rapid figuration. The movement maintains a steady pulse, with dynamic shading that highlights inner contrapuntal lines instead of relying on sheer speed.
The “Allegro” of Sonata No. 7 in B♭ major, Op. 83 buzzes to life as Gigashvili emphasizes sudden dynamic spikes and abrupt register jumps, creating a sense of drama and strong musical perspective. A pronounced left‑hand pulse reinforces the rhythmic drive. “Precipitato” is also treated with an alluring percussive attack that lets the rhythmic writing of Prokofiev generate a powerful feel of inevitable change. Gigashvili presents rhythm as an atmospheric condition that shapes the linear narrative.
Sonata No. 8 closes the piano sonatas. The “Andante dolce” is taken at a tempo that deliberately invites expression. Gigashvili shapes each phrase with intentional breath points. Pedal use is confined to supporting harmonic color, never obscuring inner voices. “Andante sognando” gives a softer movement to the flow, before the energy of “Vivace” explodes through the gentle mood. The last movement requires technical brilliance. Gigashvili is able to naturally find the balance of physical demand and nuanced expression. Even as arpeggiated textures are distributed across the keyboard, Gigashvili captures Prokofiev’s rich compositional palette. Accented rhythms define the polyrhythmic section, which is rendered with clear, confident rhythmic awareness.
“Dance of the Knights” is where Lisa Batiashvili’s violin expertise enters the dialogue. Her tone and rhythm deliberately match Gigashvili’s assertive piano style. The two show a strong chemistry and produce a stirring performance of a piece associated with orchestral power and sonority. The final selection, “To Gia Kancheli (P.S.) flows with Batiashvili’s lyricism and the two’s contrapuntal textural excellence.
Gigashvili’s interpretation reveals layers of rhythmic propulsion and lyrical nuance that are characteristic of his style. By foregrounding the weight of the pulse, he offers a fresh perspective on Prokofiev’s “War” sonatas. The two-chamber additions complement this aesthetic. Batiashvili’s violin performance produces a unified hue that enhances the duet character of “Dance of the Knights.”
For pianists, the recording serves as an example of rhythm with structural grounding in a dance music mindset. Classical listeners will appreciate the newly uncovered rhythmic drive to deliver a clear narrative. With All My Breath and All My Blood Gigashvili brings rhythmic insight into the war time Piano Sonatas, making for a strong addition to any Prokofiev collection.
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