Giorgi Gigashvili | Giorgi Gigashvili Plays Prokofiev – With All My Breath and All My Blood Review
Giorgi Gigashvili brings an 84‑minute program that is a tour de force of stamina, architectural clarity, and raw feeling with his album,
Giorgi Gigashvili Plays Prokofiev – With All My Breath and All My Blood. Gigashvili sustains a consistent intensity while exercising razor‑sharp control, shaping a seamless arc that feels irresistibly compelling.
The program opens with the Piano Sonata No. 6 in A major, Op. 82. “I. Allegro moderato is performed with a bold and crystal-clear interpretive direction. The opening blasts with weighty chords. The touch remains transparent rather than abrasive, bringing out the character of the writing. A luminous, lyrical middle‑section follows; Gigashvili’s phrasing lets the calmer theme breathe. Repeating notes settle into a propulsive pulse that drives the underlying tension toward the close; the passages are shaped with virtuosity while staying meticulously shaped.
“II. Allegretto” is where Gigashvili brings out the sarcastic elements of the writing with an incisive connectivity. Crisp staccato gestures, accented articulations, and an astute pedalling technique keep the composition expressive while still exposing the movement’s wry edge. “III. Tempo di valzer, lentissimo” flows with nostalgic lyricism, dialing into Prokofiev’s hidden romantic sighs in the waltz writing, coaxed into a logical arc.
“IV. Vivace” explores chromatic passages and relentless movement. As the chromatic drama erupts, Prokofiev brings back earlier themes with nuanced dynamics and transparent voicing. Gigashvili’s steady pulse underpins the development, with clean glissandi and judicious pedal work reinforcing the perpetual‑motion character, building energy and drama to good effect.
Having established this dramatic footing, Gigashvili turns to the darker landscape of Piano Sonata No. 7 in B-flat major,
Op. 83. “I. Allegro inquieto” crackles with wartime agitation, balanced by fleeting moments of hope that evoke the turbulence of conflict. Gigashvili’s performance shades these moments with appropriate emotions. “II. Andante caloroso” shows Gigashvili’s gift in letting the folk‑like motifs surface naturally. Gigashvili’s phrasing walks a tightrope between stark war imagery and yearning for peace, merging the two into a unified emotional strand. “III. Precipitato” builds with a strong rhythmic drive, creating a compelling rhythmic feel that pushes the music forward and has undertones of Gigashvili’s connection to today’s musical stylings.
The intensity of Sonata VII gives way to the reflective moments of the contemplation of Piano Sonata No. 8 in B-flat major, Op. 84. “I. Andante dolce” has a quieter mood, whispering dissent against Soviet formalism of the time. Gigashvili lets harmonic colours breathe, inserting deliberate pauses at pivotal cadences; his lyrical approach adds subtle warmth. The darker central passage builds dramatic tension, while a folk‑like episode offers a light‑hearted contrast before the climactic culmination.
“II. Andante sognando” is given a gentle pulse by Gigashvili, keeping the narrative engaging. The performances thus far in the Sonata naturally build to the technical brilliance and expressive nuance of “III. Vivace.” Dynamic shaping outlines rhythmic shaping through accents and the overall structure; Gigashvili’s performance lets Prokofiev’s rich harmonic palette sparkle. He is clear in his accompaniment figures that respond sensitively to the melody. The final third of the movement showcases Gigashvili’s personal imprint and impassioned style.
With the sonatas concluded, the album expands into a stunning chamber dialogue. “Dance of the Knights,” (transcribed for violin & piano, Op. 64), features Lisa Batiashvili’s beautiful violin tones. Their phrasing and dynamic balance feel instinctive. Gigahvili’s accompaniment remains rich and supportive, enhancing the overall colour of Batiashvili’s spellbinding performance.
“To Gia Kancheli (P.S.)” is propelled by Batiashvili’s lyrical, soaring tone that instantly attracts your attention. The ensuing dialogue between violin and piano is balanced, while resonating fully as closure to a journey marked by conflict, hope, and artistic resolve.
Giorgi Gigashvili Plays Prokofiev – With All My Breath and All My Blood reflects Gigashvili’s blend of rhythmic propulsion, lyrical nuance, and visceral, making this a powerful cycle of a modern statement on Prokofiev’s war sonatas. The violin–piano duets add a luminous, complementary hue, turning the whole program into a balanced, emotionally resonant experience that rewards every attentive listen.
Artist: Giorgi Gigashvili
Album: Giorgi Gigashvili Plays Prokofiev – With All My Breath and All My Blood
Label: Alpha
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Release Date: January 16, 2026
Illiam Sebitz
Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.
In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.
Giorgi Gigashvili brings an 84‑minute program that is a tour de force of stamina, architectural clarity, and raw feeling with his album, Giorgi Gigashvili Plays Prokofiev – With All My Breath and All My Blood. Gigashvili sustains a consistent intensity while exercising razor‑sharp control, shaping a seamless arc that feels irresistibly compelling.
Op. 83. “I. Allegro inquieto” crackles with wartime agitation, balanced by fleeting moments of hope that evoke the turbulence of conflict. Gigashvili’s performance shades these moments with appropriate emotions. “II. Andante caloroso” shows Gigashvili’s gift in letting the folk‑like motifs surface naturally. Gigashvili’s phrasing walks a tightrope between stark war imagery and yearning for peace, merging the two into a unified emotional strand. “III. Precipitato” builds with a strong rhythmic drive, creating a compelling rhythmic feel that pushes the music forward and has undertones of Gigashvili’s connection to today’s musical stylings.
“To Gia Kancheli (P.S.)” is propelled by Batiashvili’s lyrical, soaring tone that instantly attracts your attention. The ensuing dialogue between violin and piano is balanced, while resonating fully as closure to a journey marked by conflict, hope, and artistic resolve.
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