Prokofiev: The Concertos

1. Piano Concerto No. 1 in D flat major, Op. 10
Composed by Sergey Prokofiev

2. Piano Concerto No. 2 in G minor, Op. 16
Composed by Sergey Prokofiev

3. Piano Concerto No. 3 in C major, Op. 26
Composed by Sergey Prokofiev

4. Piano Concerto No. 4 in B flat major (for the left hand), Op. 53
Composed by Sergey Prokofiev

5. Piano Concerto No. 5 in G major, Op. 55
Composed by Sergey Prokofiev

6. Violin Concerto No. 1 in D major, Op. 19
Composed by Sergey Prokofiev

7. Violin Concerto No. 2 in G minor, Op. 63
Composed by Sergey Prokofiev

8. Sinfonia Concertante for cello & orchestra in E minor, Op. 125
Composed by Sergey Prokofiev

Prokofiev: The Concertos,Sergey Prokofiev,Orchestra of Radio Luxembourg,Vox (Classical),Cello Concerto,Classical,Concerto,Concerto for Piano One Hand,Piano Concerto,Violin Concerto

Average customer rating: The young Fischer has a definite "wow" factor THE FUTURE IS IN GOOD HANDS An Impressive Début Disc Quality Classical Music Listening 3 Russian Violin Ctos - Verve, Lilt, Dash, & Elegance

Russian Violin Concertos [Hybrid SACD] Manufacturer: Pentatone ProductGroup: Music Binding: Audio CD All Works by Khachaturian | Khachaturian, Aram | ( K ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Russian National Orchestra | ( R ) | Featured Performers, A-Z | Classical | Styles | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Khachaturian, Aram | ( K ) | Composers, A-Z | Classical Music Blowout | Stores | Music Prokofiev, Sergei | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Russian National Orchestra | ( R ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006 Tchaikovsky Violin Concerto (Hybr) Mozart: Violin Concertos Mozart, W.A.: Violin Concertos Nos. 1, 2 & 5 Mozart: Flute Concertos; Rondo; Andante [Includes the Bis 2005 Catalog] [Hybrid SACD] ASIN: B0002TX9FC Release Date: 2004-12-14

Customer Reviews:

The young Fischer has a definite "wow" factor.......2007-03-11

Even a jaded listener would blink twice at this recording, which showcases the German violin prodigy Julia Fischer. She's quite a dynamic player, and although lightning-fingered virtuosos aren't that rare nowadays, Fischer also possesses real charisma. She exudes confidence in every bar, and besides her gorgeous tone, she has an uncanny ability to phrase for someone so young. In all three works here she's able to shift effortlessly from Khachaturian's brash, semi-kitschy Soviet fireworks to Prokofiev's lyrico-ironic modernism and finally Glazunov's plush-velvet sentimentality. Only the Prokofiev concerto comes close to being a masterpiece, but you'd never know that from Fischer's complete dedication to each one.

PentaTone's remarkably vivid sonics make a big impression--this company has been in the forefront of SACD sound for a while--bringing Fischer's violin to life quite remarkably. Even better is Yakov Kreizberg's conducting of the exuberant Russian National Orch. His style is extroverted, like Gergiev's, with unihibited Russian vitality. I'm on the verge of gushing, but how can one help it when confronted by such a brilliant all-around production?

THE FUTURE IS IN GOOD HANDS.......2007-01-03

The very young Violinist Julia Fischer demonstrates in this recording that (to me) the future for the performance of masterpieces of so-called classical music is very bright indeed. Julia gives very sensitive, virtuosic, and beautiful in tone performances of these Russian concertos for the violin. She is rhythmically astute in the Khachaturian concerto and very gorgeous in tone in the overtly romantic Galazunov concerto. Likewise, the Prokofiev's First Violin Concerto is given a finally nuanced performance with Yukov Kreizberg leading the Russian National Orchestra splendidly.

I heard Ms. Fischer in Aspen, Colorado in the summer of 2006 and was very impressed with her; this recording certainly confirms that most favorable impression.

If you want to hear some great violin playing, buy this disc.

By the way, the recorded sound is great-- very full and rich!

An Impressive Début Disc.......2006-07-26

Although this is not the young Julia Fischer's first recording, it is the first she has done in SACD format on the PentaTone label with whom she has signed as an exclusive artist. The CD came out in late 2004, if I'm not mistaken, and she has since released the Bach Partitas and Sonatas, and most recently a disc of Mozart Violin Concerti. I gave a rave to the latter here at Amazon. I had not heard this début disc until recently and was, I will admit, a little concerned that she might be too 'classical' a violinist to make the most of these mostly extrovert Russian concerti. I was wrong to have any hesitation; she plays them with verve, wit, style and plenty of extroversion where needed. But she also brings to them an inwardness -- particularly in the Prokofiev First, which certainly has a veil of mystery about it -- that makes them seem fresh.

In recent times the Khachaturian Concerto has to some extent fallen from favor. When I was a youth it was one of the big modern Russian concerti along with Prokofiev 2 and, late in the 1950s, the Shostakovich 1, and one heard it in concert with some regularity. Happily there has been a bit of a revival lately, in spite of the tendency of some critics and programmers to think it is rather lightweight and too much of a populist work. Whatever the drawbacks it might have, it is an extremely effective piece with plenty of Khachaturian's Armenian flavorings, lots of rhythmic interest and virtuosity galore. Fischer brings to it a musicianly concern for dynamic subtlety and nuanced phrasing along with complete mastery of the concerto's technical difficulties. She eschews the Oistrakh edition of the concerto -- he extended the first movement cadenza and cut some measures in the finale -- and uses Khachaturian's original version. This is a first-class performance of a wonderful concerto which is worth one's attention.

One cannot but adore Prokofiev's First Violin Concerto. And one cannot say enough about the masterful orchestration Prokofiev provides, with harp intertwined with violin harmonics and extraordinarily plangent woodwind writing. The Russian National Orchestra, a group formed not long after the breakup of the Soviet Union and the stirrings of a new freedom in Russia, is a marvelous group. Their conductor here is Yakov Kreizberg, incidentally the brother of the probably better-known conductor Semyon Bychkov, who is making a very favorable impression these days. I've heard a number of his recent recordings and am mightily impressed with his formally clear approach that is, ironically, coupled with a really poetic sensibility. Clarity and poetry make wonderful partners in his recordings. Both Kreizberg and Fischer show us the darker side of the Prokofiev and in the process present it as the lyrical yet fierce work it is.

Glazunov's concerto is a late Romantic work in one movement. It is notable for its heartfelt lyricism, gorgeous tunes, and the equality of the orchestral principals with the violin soloists. It is really more like a symphony with violin obbligato, particularly in the long and lovely andante middle section. That aspect of the work is emphasized here and one must give credit to Fischer and the recording engineers for allowing that to shine through. Fischer is more generous, even self-effacing, in this than some soloists in other recordings the concerto has had (Perlman, Heifetz) and this is to the benefit of the work's effect. (A comparable concerto, to give you some idea of what I mean, is Brahms's Second Piano Concerto where the piano is not always the spotlighted star.) This is a genial reading with Fischer's burnished tone riding above and around the contributions by the orchestra. The folksong aspects of the finale are emphasized and one is left with a kind of uplift that makes one want to start the concerto all over again.

This is, make no mistake, a marvelous disc and I cannot recommend it highly enough. In addition, all three concerti are given strikingly lifelike sound.

Scott Morrison

Quality Classical Music Listening.......2006-04-08

I am not an expert in classical music but I do enjoy listening to good classical music. This recording of Russian Violin Concertos is one that I have enjoyed listening too many times. I would not hesitate recommending it to anyone who enjoys classical music that highlights the romantic violin.

3 Russian Violin Ctos - Verve, Lilt, Dash, & Elegance.......2005-07-15

Julia Fischer is a violinist whose name is news to me, but then, What good news she is. Like the young Anne Sophie Mutter, she appears to have sprung whole from the head of Jove. She plays with a simply huge command of her instrument, and she grasps the music in both local nuances and larger paragraphs. Her intonation and fingerwork and bowing are well nigh faultless, so far as I can hear. She has a sort of wicked ease that actually might remind an older listener of the late, great Heifitz. He used to tell his student violinists to warm up by playing fingered octaves, which is rather like telling people to start just where most others are leaving off in happy achievement.

Nowhere are these capabilities put to better use than in her resuscitation of the much hackeneyed Khachaturian concerto, which she has the gruff to play as her opening. She obviously loves playing it, and has such a good time that it is quite easy to forget all the kitsch renderings you may have heard over the years. The RNO under Yakov Kreizberg (who is also a rising star among conductors now active in Europe) keep up with Julia all the way. Somehow all the flash just sounds scintillating, and the orientalisms just sound atmospheric and colorful. You think in some beautiful spots that Khachaturian knew what he was doing, after all.

Then Julia and company move on to the Prokofiev first violin concerto, and make deft, stunning magic of it, too. Again she and the conductor and the orchestra demonstrate remarkable unanimity of musical purpose. And, they have a good time with the Prokofiev, shattering our stuffy stereotypes that genius in classical western music is always tendentious, fat, and dressed in over-starched shirts with very stiff collars.

Thirdly, we get the Glazunov concerto. This, too, benefits from a completely fresh and straightforward reading, rooted in the players love of the music. Julia realizes the more brilliant moments of the Glazunov without forgetting that its heartfelt pusle is mainly lyrical, and her lyrical is so lithe and athletic that you don't feel for once that Glazunov was tempted to outstay the melodic welcomes embodied in his main themes.

The SACD surround sound is equally wonderful. It completely serves the music and the musicians, without calling attention to itself. You simply get a good, multichannel sense of everybody, including Julia, the super RNO as a whole body and as an unnervingly talented nexus of virtuosos, and of course, of conductor Kreizberg. The hall acoustic adds air and resonance, which is quite an accomplishment considering that we are talking about a recording studio and not one of the historic Moscovite venues like Tchaikovsky Hall at the conservatory.

If you like superior violin playing that is above all musical, with an orchestra and conductor that can keep up with such a soloist; then this disc will do fine. Five stars, fading into sunrise pinks and whites and blues. Where did the slow night go? Oh, well, play that SACD again, will you?

PS. Keep your ears and eyes on the lookout. Julia Fischer is now an exclusive Pentatone artist, and Yakov Kreizberg, maybe, too.

Average customer rating: treasured Easily one of the finest releases of the Deutsche Grammophon catalog Miraculous! The young Argerich--fresh and completely without affectation Beautiful rendition

Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Ravel, Maurice | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Martha Argerich Plays Chopin: The Legendary 1965 Recording Debut Recital / Martha Argerich Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23 J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich ASIN: B000001GQQ Release Date: 1996-05-14

Tracks:

1. Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 1. Andante - Allegro
2. Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 2. Thema. Andantino - Variations I. L'istesso Tempo - Var.2.Allegro - Var.3. - Allegro moderato - Var.4.Andantino meditativo - Var.5.Allegro giusto - Thema.L'istesso tempo
3. Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 3. Allegro ma non troppo
4. Konzert fur Klavier und Orchester G-dur - In G Major: 1. Allegramente
5. Konzert fur Klavier und Orchester G-dur - In G Major: 2. Adagio assai
6. Konzert fur Klavier und Orchester G-dur - In G Major: 3. Presto
7. Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 1. Ondine. Lent
8. Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 2. Le Gibet. Tres lent
9. Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 3. Scarbo, Modere

Amazon.com essential recording

This is the original Prokofiev/Ravel concerto coupling as it appeared on LP; the Prokofiev has also been coupled with the Tchaikovsky First Concerto. I prefer this edition since superb performances of the Ravel are less common. The young (1967) Martha Argerich plays the Prokofiev for maximum brilliance but leavens the Ravel with the composer's ironic lyricism. It's very effective. The bonus is one of the greatest performances of the Ravel piano suite ever recorded, but it leaves me wondering what will happen to the remainder of the original LP. All those solo Ravel pieces should be in the catalog; as Argerich plays them, they offer a primer on what keyboard color is all about. --Leslie Gerber

Customer Reviews:

treasured.......2007-06-05

I won't go at length about this CD's every refinement, but the Adagio assai on ravel's concerto is easily the best I have ever heard. It is possibly the best collaboration between orchestra/conductor and the pianist of any work. Abbado and Argerich just clicked. It's magic. That does not come along often, even with the masters.

Easily one of the finest releases of the Deutsche Grammophon catalog.......2007-05-24

It's criminal that DG waited almost thirty years to reissue these excellent recordings as a compact disc edition. Never mind the middling late Karajan discs or all this overwrought Lang Lang tripe that they're defecating into mass-production these days - this 1967 release is the finest of many stunning collaborations between Argerich and Abbado at the distinguished helm of the BPO.

The first of the two piano concertos on this disc is Prokofiev's third, and it's undoubtedly one of the best of either Argerich's or Abbado's respective careers. The performance ebbs and flows naturally with note-perfect precision and vibrant (but never overstated), colorful dynamics. Argerich has a keen understanding of any composer's more playful sensibilities, which is why her intuition has always been especially keen when interpreting repertoire works that express such wit by the likes of Prokofiev. Cliché as it is, the only complaint that one could direct at this recording is that it's too short - after three thrilling, relatively brief movements, one is left breathless, but wanting even more. If a better performance of this work has been committed to disc, I'm not familiar with it. Argerich's 1998 recording (paired with Dutoit) is good but nowhere close to this, and the Prokofiev/Coppola recording available from Naxos suffers from the age and deterioration of its' source; given such a poor recording, many aspects of that terrific performance are impossible to evaluate.

The recording of the Ravel piano concerto is almost as thrilling as that of the Prokofiev concerto, and for all the same reasons. Both pianist and orchestra tackle the amusing inventions that Ravel invested in this remarkable piece. The three part form of the second movement is especially well navigated, something that can't be said of many other performances of this composition.

The expanded storage capacity of the CD format permits another recording in addition to the two of the original Prokofiev/Ravel LP: Argerich's amazing 1974 performance of Ravel's "Gaspard de la nuit." If any recording presents this composition as the one of the most difficult of the standard repertoire and Argerich as one of the finest pianists of her generation, it's this one. Both technically and expressively, it is almost incomparably superb, only surpassed by Pogorelich's brilliant equivalent. Argerich exhibits a curious insight pertaining to Ravel's unique, macabre adaptation of Bertrand's poem, and her execution of what Ravel called a "caricature of romanticism" does this insight justice. The speed and tonal color produced in her performance of the infamously difficult "Scarbo" movement is almost inhuman, and must be heard to be believed. This recording was originally released on LP along with numerous other excellent Ravel solo piano works such as "Valses nobles et sentimentales" and "Sonatine." Most of those other recordings are available on different DG compilations, and the inclusion of "Gaspard" succeeding the two concertos on this disc feels appropriate.

It should be mentioned that DG might regain some of its' straying audience if the label chose to reissue DVDs of the many excellent live performances and music videos that it released over the course of it's long and storied existence, instead of so many pointless, worthless, pretentious albums by pop star morons-turned-fake classicists like Sting and Elvis Costello. The music videos for this disc's recording of "Gaspard de la nuit" were especially interesting - curious little films that capably presented symbolist iconography related to the source material as well as video footage of Argerich's light-speed fingers. I've seen enough of these videos in poor quality on YouTube to know that a sufficient number of them exist to pad out a DVD that any sighted Argerich fan would be willing to view, and probably pay for.

Like most of the discs in DG's "The Originals" reissue series, the remastering of these recordings is adequate, but hardly exceptional. The original recordings of the concertos were a bit too bright (almost harsh), and the remastered versions fix this while rendering the soft passages a bit too subdued. Overall, this is a fair trade-off. At the cut price, you can't possibly go wrong with this phenomenal release.

Miraculous!.......2007-05-12

The collaboration between Argerich and Abbado is impressive. Argerich is at her best. A must for your classical collection.

The young Argerich--fresh and completely without affectation.......2007-02-25

The few complainers about this famous recording have slipped fra down the list here at Amazon, and what's striking is that the things they hate about Argerich (mannered phrasing, overly aggressive attack, rushing, banging) are the very things we don't get here. Ms. Argerich can display a reckless, hectoring style, but at her best--as here--she's full of imagination, wit, and an uncanny ability to see beneath the surface of the score.

I can only second everyone else's high praise for the Prokofiev and Ravel concertos, which are spellbinding, as well as for her Gaspard de la Nuit, which is staggeringly virtuosic and original. Abbado conducts with gusto and style, if not the greatest nuance, and only the somewhat dated sonics detract (marginally) from a recording that has remained in print for forty years.

Beautiful rendition.......2007-01-03

The piano concertos by Prokofiev and Ravel are played brilliantly and the quality of the recording is all right, though it could be better (which cost this recording a star). A real treat, both Argerich and the orchestra show great timing and dynamics.
Both sound and interpretation of Gaspard de la nuit do not match the recording by Alexandre Tharaud (Ravel: l'oeuvre pur piano). Still I wholeheartedly recommend this album.

Average customer rating: Perfect Sibelius Nice package, exemplary sound and solid performances Outstanding

Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD] Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Heifetz, Jascha | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Brahms, Tchaikovsky: Violin Concertos [Hybrid SACD] Beethoven: Violin Concerto; Mendelssohn: Violin Concerto [Hybrid SACD] Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD] Mussorgsky: Pictures at an Exhibition, A Night on Bald Mountain, and Other Russian Showpieces [Hybrid SACD] Heifetz plays Bruch & Vieuxtemps [Hybrid SACD] ASIN: B0006PV5U8 Release Date: 2005-01-25

Tracks:

1. Allegro Moderato
2. Adagio Di Molto
3. Allegro Ma Non Tanto
4. Allegro Moderato
5. Andante Assai
6. Allegro Ben Marcato
7. Moderato
8. Andante Sostenuto
9. Tempo I
10. Allegro

Customer Reviews:

Perfect Sibelius.......2005-12-29

The word I used to describe how I feel about Heifetz's Sibelius, although ostentatious in it's literal meaning, is somewhat frowned upon in it's artistic meaning. Most listeners want "explosive" or "deeply moving", but "perfect"? That is precisely the point of my review. First off, one must understand that most violinists, save a select few, can even play through the first movement of the Sibelius without major miscues; many few can accomplish the following and still hold true to it's interpretation. In the case of Heifetz, technicality was not a problem, which can be said for just about every single piece he's ever played.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Unlike the plebeian approaches of most modern violinists, Heifetz knew that contrast is attained not only through more, but also less. Here is a perfect example. In the first movement of the Mendelssohn, Heifetz has been infamously accused of playing the main theme using harmonics and flying through the movement with zero sentimentality. This demonstrates ignorance and a strong lack of respect on the modern generation. Concomitant with the rise of 20th Century music (most of which Heifetz detested), appreciation for professionalism declined and indulgence in emotionalism became commonplace. Heifetz understood that there is no payoff, no climax to any piece of music, unless there is patience and sensitivity. After a withheld first movement and a sweet second movement, Heifetz bursts open the doors in the third playing with unbelievable speed and liveliness. The concerto climaxes towards the end as Heifetz passionately pounds through the main theme one last time then finishes with a flourish. This epiphany would not have been possible had he sentimentalized the whole concerto; one would not have been able to tell the difference in significance between the minor skirmishes of the opening movement, and the heroic triumph of the closing measures.

In the case of the Sibelius, Heifetz knew that this was a different composer with different intentions than the formal Brahms and the powerful Beethoven. This was a piece in which emotionalism and improvisation were required; although both would need to come in the context of the piece. The well-known and well-accepted myth that Heifetz does not know how to play with feeling is one of absolute ignorance. Such unfounded criticism needs to be challenged and defeated. The first movement includes some of the highest peaks ever brought forth from the romantic movement. Many other violinists tend to slow down during the more challenging measures due to technical inadequacy, or in the words of musicians with no ear: "playing with feeling." Heifetz brings the romantic ideas of Sibelius to astronomical heights not by slowing down, but by utilizing different techniques to exploit the wide range of tones his Stradivarius offers. For example, during the second movement, the first explosion of deep emotion comes with the violin take a the theme higher and higher with the orchestra following. Heifetz plays the theme on the G-string with extremely rapid vibrato; most other violinists would play the theme on the D-string to attain the clear strong tone and try conjure some form of emotion by playing it at a slower tempo. Heifetz plays the measure in the higher position so it sounds almost as if the violin is weeping with passion, a tone one must hear to understand.

Then of course, there is the 3rd movement, often imitated, never duplicated. Most violinists will start out strong with the main theme and maintain the same speed and energy for a while. But this movement shows no mercy on technical mediocrity. Sooner or later, the violinist will bow to the towering requirments of the movement, and will slow the tempo. This is not true for Heifetz. Even in the most difficult measures, one will not be able to find one moment in which he loses control. And unlike others, Heifetz doesn't need to overextend any passages to cover-up for a lack of technical/musical confidence.


Before I end, a word about Walter Hendl who directed the Chicago Symphony in place of an ill Fritz Reiner. One of the more less-known characteristics of Heifetz playing, was he actually preferred lesser-known conductors to well-known ones such as Maestro Reiner. This was so he could impose his musical ideas on the orchestra with less tension. THe Sibelius is a good example of this. However, the technical differences between a Hendl led orchestra and a Reiner led one, is sadly obvious. The tempo is at times uneven and the orchestra unbalanced. This however should not be of any importance when considering whether to purchase this album. It is Heifetz's statement, not Hendl's, that should be considered.

Nice package, exemplary sound and solid performances.......2005-05-25

This is my first foray into the reissued RCA Living Stereo hybrid SACD disks that have gotten a lot of publicity in recent months. Others in the batch of releases include some Rubinstein piano concertos, French music by Charles Munch and some of Fritz Reiner's orchestral specialties in Chicago.

This CD features legendary fiddler Jascha Heifitz mated to three different conductors and orchestras doing the Sibelius, Prokofiev No. 2 and Glazunov concertos. Heifitz was closely linked with the first two, less so with the third one. He does them all quite well here in sound that is as good as advertised, at least based on what my equipment tells me.

I bought this both before and after I converted to 5.1 SACD. The recording is wonderful in SACD and almost as good in traditional stereo. In particular, the timpani underpinning of the Prokofiev accompaniment by Munch and the Boston Symphony is quite thrilling. So to is the backup by Hendl and the Chicago Orchestra in the Sibelius.

However, a better recording can also show flaws that perhaps weren't as obvious before. In the waning moments of the Sibelius opening movement, there is a time -- maybe 5-6 bars in duration -- where Heifitz, Hendl, the symphony and one of its principal woodwind players seem to be missing connections by a half-beat or so. This is a minor quibble and will do little to discourage enjoyment of this otherwise fine issue.

As to the performances, the Sibelius is an example of Heifitz's searing tone and remarkable bowing. The accompaniment by Hendl and the CSO is a bit more severe than some of the more romanticized accounts but fully in sync with Heifitz direction.

I've heard accounts of the Prokofiev that concentrated more fully on the music's dreamy legato. In this version Heifitz and Munch seem more attuned the the spiky nature of Prokofiev's creation while maintaining a marginal aloofness, as if they are old juveniles having fun with the 20th century creation. It works fine both ways and this is a good one.

Heifitz and Hendl, this time with the RCA Symphony Orchestra, seem more romantically engaged in the slight 18-minute concerto by Glazunov. This romantic trip through lightweight Russian music is a fitting end to a wonderful CD brought up to 21st century speed by the new technology of SACD.

This issue is handsomely packaged in a durable CD case and includes the original LP notes plus other notes by Joseph Wechsberg from 1959. There are also notes on the history of Living Stereo and some chatter on technical details, plus a separate set of notes on SACD and how it works.

Wechsberg's notes begin: "There can be no doubt today (1959) that Jascha Heifitz is the greatest violinist of our generation. When all is listened to and said and done, Heifitz' supremacy as fiddler and musician emerges as one of the few unchallenged facts of our clouded musical age."

There is still little debate today (2005) about the first half of Wechsberg's thesis -- that Heifitz is the greatest fiddler. His tone, technique, bowing and sound continue today to blow away most competitors and this splendid sounding CD reinforces his greatness as a player.

But as an artist? Well, there's the rub. The performances on this CD are very good but I have heard more artistic renderings of the Sibelius and can imagine more committed versions of the Prokofiev. The legend of Heifitz was, generally speaking, of his stature as a player, where he continues to be without parallel.

But his artistic approach to the music he played has been questioned for many years. Lots of listeners -- especially those that more fully appreciate the Oistrakh-Vengerov approach -- will prefer other fiddlers in these works.

I don't belong to either camp and appreciate players with all viewpoints. I found this CD to be well worth the $12 list price. The sound puts it into direct competition with today's best new DDD recordings, something you couldn't say about past issues. For collectors that have yet to sample the legend of Heifitz, this would be a good starting point.

Outstanding.......2005-04-02

These performances by Heifetz are amazing. Heifetz owned the Sibelius concerto all his life (and was the first to really standardize it as one of the great concertos beside Beethoven's Mendelssohn's Brahms's and Tchaikovsky's). The disc is worth the price simply for the Sibelius, yet you also get two outstanding performances of the Prokofiev and Glazunov as well. The sonics are spectacular; it sounds as if these masterpieces were recorded yesterday. Heifetz was the undisputed master of the bow, and this disc proves it; it is a must for all lovers of music.

Average customer rating: Brilliant sonics and fine, assured playing Monochrome austerity Music fan/July2/2003 and John Coughlin's revviews Idiomatic piano, shrill strings Magnificent achievement!

Prokofiev: The Five Piano Concertos Manufacturer: Decca ProductGroup: Music Binding: Audio CD Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Saint-Saëns: Piano Concertos 1-5 Prokofiev: 7 Symphonies; Lieutenant Kijé Prokofiev: The Complete Symphonies Rachmaninov: Piano Concertos Nos. 1 - 4 Prokofiev: Romeo and Juliet ASIN: B0000041LA Release Date: 1997-08-26

Tracks:

1. Piano Concerto No. 1 In D Flat Major, Op. 10: 1. Allegro brioso
2. Piano Concerto No. 1 In D Flat Major, Op. 10: 2. Andante assai-
3. Piano Concerto No. 1 In D Flat Major, Op. 10: 3. Allegro scherzando
4. Piano Concerto No. 4 In B Flat Major, Op. 53: 1. Vivace
5. Piano Concerto No. 4 In B Flat Major, Op. 53: 2. Andante
6. Piano Concerto No. 4 In B Flat Major, Op. 53: 3. Moderato
7. Piano Concerto No. 4 In B Flat Major, Op. 53: 4. Vivace
8. Piaon Concerto No. 5 In G Major, Op. 55: 1. Allegro con brio
9. Piaon Concerto No. 5 In G Major, Op. 55: 2. Moderato ben accentuato
10. Piaon Concerto No. 5 In G Major, Op. 55: 3. Toccata: Allegro con fuoco
11. Piaon Concerto No. 5 In G Major, Op. 55: 4. Larghetto
12. Piaon Concerto No. 5 In G Major, Op. 55: 5. Vivo

Tracks:

1. Piano Concerto No. 2 In G Minor, Op. 16: 1. Andantino
2. Piano Concerto No. 2 In G Minor, Op. 16: 2. Scherzo: Vivace
3. Piano Concerto No. 2 In G Minor, Op. 16: 3. Intermezzo: Allegro moderato
4. Piano Concerto No. 2 In G Minor, Op. 16: 4. Allegro tempestoso
5. Piano Concerto No. 3 In C Major, Op. 26: 1. Andante -- Allegro
6. Piano Concerto No. 3 In C Major, Op. 26: 2. Terna con variazioni
7. 3. Allegro, ma non troppo

Amazon.com

During the 1970s, Vladimir Ashkenazy recorded virtually the entire standard piano repertoire, largely successfully. Then he turned to conducting, at which he's steadily become more successful. Although his initial efforts on the podium were not greeted with universal acclaim, you've got to respect the fact that he moved onto something new rather than attempting to revisit the same music again and risk not doing it nearly as well. Among his complete editions was this set of Prokofiev piano concertos, and they are among the best things that he did. At two discs for the price of one, it's a fine way to acquire all of these exciting works. --David Hurwitz

Customer Reviews:

Brilliant sonics and fine, assured playing.......2006-07-13

By any standard this is very good Prokofiev playing. Ashkenazy strikes me as one of the most Westernized of Russian pianists, and his approach here, seconded by Previn's conducting, avoids rawness and astringency in favor of combined lyricism and strength. Perhaps because Decca's sound is so natural, the piano remains limpid and sparkling throughout--don't expect volcanos and thunder a la Argerich and Richter.

The only real shortcoming is that these works can use a lot of what Ashkenazy leaves out: bite, wit, irony, and brash attack. Concerto #2 is a specialty of this pianist and comes off beautifully--its lyricism suits him. Concerto #1 seems too middle-of-the-road, which can also be said of the left-hand concerto #4, but the most familiar work, Concerto #3, is authoritative and strong throughout. Previn seems more alert in this work, too.

I should mention that although Ashkenazy's approach is much less wild than Argerich and Richter, the Gramophone described these recordings as overflowing with 'panache, swagger and firebrand audacity.' I guess it all depends on where you're coming from.

Monochrome austerity.......2006-06-15

Although the remastering job done by Decca was terrible, Ashkenazy comes through with fine playing. He plays all 5 concerti well, although 1 and 2 stand out as the best for me. As one would expect, Ashkenazy plays his compatriot's piece with generous sympathy. He plays in a Prokofievian style avoiding any sort of color or singing tone. It is nevertheless ravishing playing.

In addition to the fine rubatos here and there, it is played on an even level, without a singing tone. It is by far a monochromatic reading with no color or excessive dynamics. Austerity is paramount also with no voluptuousness.

I love the second concerto most, and Ashkenazy's fine, sensible tempi stand out. It is not hurried or rushed playing with no lethargy either.

Music fan/July2/2003 and John Coughlin's revviews.......2006-03-11

I totally agree with these 2 reviews

I believe the fault here lies more with Previn, and thus holds back Ashkenazy "somewhat", as Ashkenazy is not stellar as one would expect.
, There are some high points, but overall I strongly agree with A Music Fans recommend of Krainev, the finest set on record.Yes I've heard all avaliable recordings in comparison.
If you like this set then OBVIOUSLY you will vote on my review as follows:
, no this review was not helpful
But at least I'm truthful, w/o the hype.
Besides I've heard all the avaliable, while others that promote this set has not.

Idiomatic piano, shrill strings.......2006-02-11

Ashkenazys playing has a certain "definite" (slightly clanky and strutting) style to it. For example the last part of cto3 mvt2, it is explicit and playful, other interpreters miss this out. And the beginning of cto3 mvt3, it sounds idiomatic/ folklore to me, (Russian, or Klezmer, or just a song and dance man, I don't know which). I like his playing better than any other's in these works. Sadly enough, the shrill strings deprive the recordings of their beauty, especially unfortunate in cto 3. If the orchestral tone of this recording could be restored, it would make me so happy.

In the meantime, I enjoy the Janis/Kondrashin cto 3. It seems to have similar qualities as Ashkenazy. For cto 2, I enjoy Baloghova/Ancerl/CzechPO on Supraphon.

Magnificent achievement!.......2005-02-02

I have this recording of all five Prokofiev concertos. The rapport between soloist and conductor is first rate. The fact that Andre Previn is an excellent pianist helps mould a great understanding and the fact that both soloist and conductor got on so well helps so much.
Vladimir Ashkenazy played all the concertos very brilliantly.He doesn't overcook the interpretation and it sounds better for it.His recording of the second concerto is amazing. Remember he used that with his New York debut in the fifties with Bernstein. I find this collection to be such an achievement. I thoroughly recommend this CD.

Average customer rating: A classic Tchaikovsky Second Concerto, plus astonishing Richter

Tchaikovsky: Piano Concertos 1, 2 & 3 - Prokofiev: Piano Concerto 5 - Bartok: Piano Concerto 2 - Emil Gilels, Sviatoslav Richter, Lorin Maazel Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Bartók, Béla | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Similar Items: BBC Friends: Richter (Great Performers of the Twentieth Century) Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany] Brahms: Concerto No.2/Beethoven: Sonata No.23 Liszt: Piano Concertos; Totentanz; Hungarian Fantasy The Sofia Recital 1958 ASIN: B000EMSIBM Release Date: 2006-05-02

Tracks:

1. I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - New Philharmonia Orchestra
2. II. Andantino Semplice - Prestissimo - Tempo I - New Philharmonia Orchestra
3. III. Allegro Con Fuoco - New Philharmonia Orchestra
4. I. Allegro Brillante - New Philharmonia Orchestra
5. II. Andante Non Troppo - New Philharmonia Orchestra
6. III. Allegro Con Fuoco - New Philharmonia Orchestra

Tracks:

1. I. Allegro Brillante - New Philharmonia Orchestra
2. I. Allegro Con Brio - London Symphony Orchestra
3. II. Moderato Ben Accentuato - London Symphony Orchestra
4. III. Toccata (Allegro Con Fuoco) - London Symphony Orchestra
5. IV. Larghetto - London Symphony Orchestra
6. V. Vivo - London Symphony Orchestra
7. I. Allegro - Sviatoslav Richter
8. II. Adagio - Sviatoslav Richter
9. III. Allegro Molto - Sviatoslav Richter

Customer Reviews:

A classic Tchaikovsky Second Concerto, plus astonishing Richter.......2006-06-08

The reissue gods are smiling. This bargain Gemini two-fer contains four superlative concerto recordings--the Tchaikovsky Second and Third with Gilels, the Prokofiev Fifth and Bartok Second with Richter. The conductor throughout is Lorin Maazel, definitely on best behavior, and the orchestras vary between the LSO (Prokofiev), New Philharmonia (Tchaikovsky), and the Orchestre de Paris (Bartok). EMI's early Seventies analog sound is bright and forward. The perspective on the piano is natural with Gilels, but as usual, Richter asked to be miked more up close.

Gilels had already made a magisterial Tchaikovsky First with Reiner in 1955 (RCA) when he first stormed West out of Russia, and he would go on to make one just as great in 1980 with Mehta (Sony). This version from 1973 is let down by Maazel's less-than-committed acompaniment, which moves too glibly and quick in the first movement especially. But the Second and Third Concertos are another story. Gilels makes the best case ever for the former work, despite the usual cuts. Maazel livens up, giving us springy rhythms and elegance, while Gilels is polished marble and power. I will be satisfied to own this one version for life, I'm sure.

On CD 2, Richter returns to one of his favorites, the Prokofiev Fifth concdrto, which he had already recorded in 1959 to universal acclaim--this was his time to roar out of Russia and astonish the West. This remake offers somewhat different tempos but the same astonishing solo work. For me, the main distinction is Maazel's razor-sharp, brilliant conducting and the virtuoso playing of the London Sym., wwhich far surpasses the earlier reading on DG. The same holds true for the Bartok Second, where Richter takes a fiendishly difficult, percussive piano part and makes it speak and sing as never before. Pollini is equally riveting in this work but not nearly as approachable. Officially, Richter never recorded the two most popular concertos from these composers, the Prokofiev and Bartok Third. That's a shame, but these great recordings, along with Gilels's' contribution, make this an unmissable bargain.

Average customer rating: Solid performance and great value Great collection and great value No brainer -- buy it!

Prokofiev: Complete Concertos Sergey Prokofiev , Vladimir Ashkenazy , Joshua Bell , Lynn Harrell , Andre Previn , Charles Dutoit , and London Symphony Orchestra Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Harrell, Lynn | ( H ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Shostakovich: Complete Concertos Complete Concertos / Overtures Prokofiev: 7 Symphonies; Lieutenant Kijé Prokofiev: The Complete Symphonies Shostakovich: The Complete Symphonies - Mariss Jansons (10 CD) ASIN: B000076GYI Release Date: 2003-01-14

Customer Reviews:

Solid performance and great value.......2007-02-15

This set contains almost all Prokofiev's concertos. Contrary to what is advertised as "Complete Concertos", it omits Prokofiev's early work "Cello Concerto in E minor, Op. 58". Although a large amount of thematic material is reused in the later piece "Sinfonia Concertante for cello & orchestra in E minor, Op. 125", there are really substantial differences. (Traditionally, when a set is advertised as "complete", it will contains at least all works with Opus numbers.) But really, Op. 58 is not performed in the concert halls these days. (At least, none that I am aware of.) If you are really interested in comparing these 2 works, you may consult, e.g. Chandos recording "The Unknown Prokofiev".

I like the performances here. For each individual piece, there are performances closer to my heart. For example, Richter's Piano Concerto in G and Argerich's Piano Concerto in C., Heifetz's Violin Concerto in g minor, besides those mentioned in other 2 reviews. (By the way, Rostropovich's Sinfonia Concertante is now available in DVD from EMI Classic Archive 15.) However, if you are looking for solid performances at an affordable price, hesitate no more! This set is for you.

Highly recommended.

Great collection and great value.......2006-10-09

This 3-CD set includes all of Prokofiev's concertos in one place. The best part is that it includes Ashkenzy and Previn's perfomances of the piano concertos- generally considered the best on recording.

Bell's perfomance of the violin concertos and quite good, maybe not the best, but Lynn Harell's cello renditions are excellent.

Highly recommended.

No brainer -- buy it!.......2004-08-22

This is a great and inexpensive introduction to the concerti of Sergei Prokofiev. And there's not a boring piece--or performance--in the box. I'm generally not a big Ashkenazy fan these days, but many of his earlier recordings were often very fine, and these are among them. His direct, declamatory way of played works to the advantage of the music here as well. He seizes these works by the horns, and the results are spectacular. Previn and the LSO never sounded better--for those who are familiar mostly with the later Previn, somewhat burned out and sluggishly leading the RPO or LAPO, these recordings will be a revelation. From the mechanical workings of No. 1 to the agitated fury of No. 2 to the quicksilver lithe of No. 3 to the enigma that is No. 5, these are great performances that manage to hit the mark while being very middle-of-the-road. (I don't mean middle-of-the-road in a negative way.) You'll notice I didn't mention No. 4, which has never really worked for me. As far as left-hand concertos go, listen to Ravel's.

The violin concerto is very fine, but it won't displace either Oisktrakh (a tall order, I admit) or, believe it or not, Perlman, with Rozhdestvensky and the BBC Symphony. The two cello concerti are tremendously exciting compositions that deserve to be played a lot more often than they are. Written for Rostrapovich, they are given credible readings by Harrell here, though I wish Rosty's performances were available (other than Op. 132 in an expensive 13-CD box) to show you you're *really* supposed to burn up these works. There aren't a whole lot of other performances of either of them, so you'll have to settle for these.

Average customer rating: Not only for the performances and the recording quality -- Sheesh I guess the score doesn't matter Piano could stand out a little more awesome and terrifying

Prokofiev: The Five Piano Concertos; Overture on Hebrew Themes Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Similar Items: Rachmaninoff Piano Concertos Nos. 2 & 3 / Rhapsody on a Theme of Paganini / Muti, Gavrilov Prokofiev Plays Prokofiev Saint-Saëns: Piano Concertos 1-5; Wedding Cake Caprice-Valse Mikhail Pletnev - Prokofiev: Piano Sonatas nos. 2 - 7 - 8 Shostakovich: The Complete Symphonies - Mariss Jansons (10 CD) ASIN: B000002S09 Release Date: 1992-09-29

Tracks:

1. Piano Concerto No 1 In D Major, Op.10: I. Allegro Brioso
2. Piano Concerto No 1 In D Major, Op.10: II. Andante assai
3. Piano Concerto No 1 In D Major, Op.10: III. Allegro scherzando
4. Piano Concerto No 2 In G Minor, Op.16: I. Andantino - Allegretto
5. Piano Concerto No 2 In G Minor, Op.16: II. Scherzo (vivace)
6. Piano Concerto No 2 In G Minor, Op.16: III. Intermezzo (allegro moderato)
7. Piano Concerto No 2 In G Minor, Op.16: IV. Finale (allegro tempestuoso)
8. Piano Concerto No.3 In C Major, Op.26: I. Andante - Allegro
9. Piano Concerto No.3 In C Major, Op.26: II. Theme et variations
10. Piano Concerto No.3 In C Major, Op.26: III. Allegro ma non troppo

Tracks:

1. Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': I. Vivace
2. Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': II. Andante
3. Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': III. Moderato
4. Piano Concerto No.4 In B Flat Major, Op.53,'For The Left Hand': IV. Vivace
5. Piano Concerto No.5 In G Major, Op. 55: I. Allegro con brio
6. Piano Concerto No.5 In G Major, Op. 55: II. Moderato ben accentuato
7. Piano Concerto No.5 In G Major, Op. 55: III. Toccata (allegro con fuoco)
8. Piano Concerto No.5 In G Major, Op. 55: IV. Larghetto
9. Piano Concerto No.5 In G Major, Op. 55: V. Vivo
10. Overture on Hebrew Themes, Op. 34
11. Visions fugitives, Op. 22: No 1. Lentamente
12. Visions fugitives, Op. 22: No 2. Andante
13. Visions fugitives, Op. 22: No 3. Allegretto
14. Visions fugitives, Op. 22: No 4. Animato
15. Visions fugitives, Op. 22: No 5. Molto giocoso
16. Visions fugitives, Op. 22: No 6. Con eleganza
17. Visions fugitives, Op. 22: No 7. Pittoresco
18. Visions fugitives, Op. 22: No 8. Commodo
19. Visions fugitives, Op. 22: No 9. Allegretto tranquillo
20. Visions fugitives, Op. 22: No 10. Ridicolosamente
21. Visions fugitives, Op. 22: No 11. Con vivacita
22. Visions fugitives, Op. 22: No 12. Assai moderato
23. Visions fugitives, Op. 22: No 13. Allegretto
24. Visions fugitives, Op. 22: No 14. Feroce
25. Visions fugitives, Op. 22: No 15. Inquieto
26. Visions fugitives, Op. 22: No 16. Dolente
27. Visions fugitives, Op. 22: No 17. Poetico
28. Visions fugitives, Op. 22: No 18. Con una dolce lentezza
29. Visions fugitives, Op. 22: No 19. Presto agitatissimo e molto accentuato
30. Visions fugitives, Op. 22: No 20. Lento irrealmente

Customer Reviews:

Not only for the performances and the recording quality --.......2005-12-07

-- I even like the cover art!

Sheesh.......2003-11-05

I'm reading the reviews here because I just adore this recording and wonder why it's so rarely the recommended choice in CD guides, etc... Maybe there are individual moments in other recordings that surpass individual moments here, but as a whole I don't think any of the other sets are nearly as effective.

But anyway - the review below really annoyed me so I just wanted to weigh in: Beroff's is a really lovely rendition of the Visions Fugitives, and the "ppp" in question (that prompted my fellow reviewer to impress us all with his lordly inability to tolerate philistinism by hurling his CDs into the trash like the filth they are) - ahem - the "ppp" in question applies WITHOUT ANY DOUBT only to the inner voice - I don't know what edition Mr. Landkamer has, but the two that I just looked at both make special effort to place the "ppp" on the page in a way that communicates this. It also bears mentioning that this "ppp" does not appear in the first edition at all.

In conclusion: this set is an amazing deal and, regardless of what people say about Ashkenazy or Argerich or Richter or whomever else, is utterly satisfying. It's one of the few recordings of Prokofiev I've heard where the performance is GENUINELY CONVINCED of the idea that this music is utterly coherent and human. Even supposedly "sensitive" Prokofiev performances often underestimate the fluidity of his musical expression and decide to let things seem thorny and chaotic rather than doing the work necessary to clarify the enigmatic elements. Beroff and Masur are so in tune with the spirit of Prokofiev's screwball jokes and whimsically meandering emotions that you feel you're hearing the piece direct from the composer. Very rare thing, that. There are no more and no fewer fireworks in these performances than Prokofiev put in the score - which is plenty! - and I don't know about you but that's how I like my classical recordings.

I guess the score doesn't matter.......2003-04-26

A few minutes ago, for lack of anything better to do, I put on the Visions Fugitives as played by Michel Beroff on this CD. In bar 14 there is a two-note pickup starting a repeat of the opening melody, here marked "p semplice". Then, on beat 1 of the next bar, the marking is "ppp" implying that the repeat of the theme is to *begin* like a routine restatement but then shift without warning into a new, quieter dreamlike realm. Beroff makes ABSOLUTELY NO CHANGE at the ppp. It might as well not be there. These CD's are about to go into the trash.

There, gone.

Addendum (5/31/03)...I purchased another recording of Visions Fugitives, by Boris Berman, and he played this part the same way. Looking again at the score, I think I can see why...the ppp is being interpreted as applying only to the chromatically winding inner voice. I'm not certain that's right, but it's at least not completely unreasonable. Sorry, Michel, I take it all back.

(11/28/03) in response to my courageously anonymous fellow reviewer ("music fan" above) the edition I have is MCA and the ppp is placed between the upper an lower staves but somewhat above-center. I'm not sure this qualifies as a special effort to communicate the intent.

Piano could stand out a little more.......2002-09-21

I agree with other reviewers this is a very good recording, of very difficult works. But it is especially good for the orchestral part. I am not saying Beroff is not a good pianist dont get me wrong. I am just saying there is better.
For the piano (and those are PIANO concertos my friends :) I have to say that I like the Ashkenazy/Previn recording better especially for #2 and #3 The piano sounds much clearer and less hesitating. The opening of 4th movement of #2 for example is 100 times better as played by Ashkenazy. Those chords are so much more precisely dropped. The orchestra though in many passages is more overwhelming (as it should be in this piece) in the Beroff/Masur recording.
If you want the complete set. Get both this recording and the Ashkenazy/Previn. They complement one another really well.
Now if you want the best recording of #3. You want to get the Argerich/Abbado recording. It ROCKS its is way above any other. Better rythmic precision , better phrasing, faster tempo. It is just amazing.

awesome and terrifying.......2002-09-21

This CD is another example of good price, comprehensiveness, and outstanding quality combining to make a powerhouse recording. I cannot overstate how dazzling Beroff's performance is. To hear pianistic technique at its pinnacle, just listen to the cadenza of the Second Concerto's opening movement--it'll take your breath away (you'll swear that it cannot be played by just a single player--examining the score will compound the disbelief). Beroff's swift hammering, mastery of dynamics, and perfect grasp of both Prokofiev's wit and rage, will have you coming back to this CD set for years. Concerto No. 3, by the way, is the best performance I've heard besides that given by Martha Argerich. With expert performance by Maestro Masur and the Gewandhaus Orchestra, these five neoclassical works have rarely received such musical justice. The second CD also features Prokofiev's delightful ethnographic chamber piece, "Overture on Hebrew Themes," as well as his solo piano work, "Fugitive Visions" (not quite as notable as, say, his late sonatas). I consider this CD set one of the best in my collection, and I recommend it without any reservations.

Average customer rating: Excellent recording by a contemporary violinists Strongly Recommended, But Is It Definitive? Recommended, but not a first choice beautiful I love this cd!

Prokofiev: Violin Concertos 1 & 2; Sonata for Solo Violin Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Sibelius/Tchaikovsky: Violinkonzerte Bartók: Violin Concerto No. 2; Rhapsodies Nos. 1 & 2 Mendelssohn, Bruch: Violin Concertos Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos Vivaldi: The Four Seasons/Fritz Kreisler: Concerto for Violin ASIN: B000001GRF Release Date: 1996-04-09

Tracks:

1. Concerto for Violin and Orchestra No.1 In D Major, Op.19: 1. Andantino - Andante assai
2. Concerto for Violin and Orchestra No.1 In D Major, Op.19: 2. Scherzo: Vivacissimo
3. Concerto for Violin and Orchestra No.1 In D Major, Op.19: 3. Moderato - Allegro moderato - Moderato - Piu tranquillo
4. Concerto for Violin And Orchestra No.2 In G Minor, Op.63: 1. Allegro moderato
5. Concerto for Violin And Orchestra No.2 In G Minor, Op.63: 2. Andante assai - Allegretto - Andante assai
6. Concerto for Violin And Orchestra No.2 In G Minor, Op.63: 3. Allegro, ben marcato
7. Sonata For Solo Violin In D Major, Op.115: 1. Moderato
8. Sonata For Solo Violin In D Major, Op.115: 2. Tema: Andante dolce - Var. I - Var. II: Scherzando - Var. III: Andante - Var. IV - Var. V
9. Sonata For Solo Violin In D Major, Op.115: 3. Con brio - Allegro precipitato - Tempo I - Allegro precipitato

Customer Reviews:

Excellent recording by a contemporary violinists.......2004-06-25

Although I personally dislike discussions on whether one recording is definitive or not, this question is an apt one in this case. Would this CD be on my desert-island-pack (where I can only have 5... hmm... alright ten CD's)? Well, it would be in the running for these concertos in terms of a contemporary rendition, but I would still have to opt for the usual suspects (Oistrakh, Milstein, Szigeti, etc...).
This brings us to another aspect of Mr. Shaham's playing: Although it is beautiful and technically impeccable fiddling, his playing does not have the distinctive mark that violinists of the past did. It is unfair to single out Mr. Shaham with this accusation, as it can be leveled at almost any violinist alive, but since Gil Shaham is considered the scion of violinists these days, I suppose more is expected of him. What it boils down to is that I will always go to his recordings if I want technically perfect, if occasionally soulfully devoid playing, such that I can form my own opinions of the piece without being burdened by too personal an intepretation.
Nonetheless, this CD rates 5 stars for its clarity, beauty, and the inclusion of the oft-maligned Solo Sonata.

Strongly Recommended, But Is It Definitive?.......2002-03-07

Without question, Gil Shaham is one of our finest young violinists. Here he plays with his usual lyrical sweetness and splendid technical skill. Yet I concur with a previous reviewer that the finest recent recording of Prokofiev's 1st violin concerto is Maxim Vengerov's, since he demonstrates far more passion than Shaham (Vengerov's performance of the 2nd violin concerto is almost as fine.). Unfortunately, both performances are on two separate Teldec recordings with Rostropovich conducting the London Symphony Orchestra, so Shaham's interpretations might be preferable to those interested in getting both concerti on one CD. Speaking of conducting, Previn shows he is an admirable accompanist to Shaham, and is as astute interpreter of Prokofiev's music as Rostropovich. The sound quality is absolutely superb; it's slightly better than the Vengerov/Rostropovich Teldec CDs.

Recommended, but not a first choice.......2001-01-07

Shaham brings his customary good-natured, sweet-voiced interpretations to the two violin concertos of Prokofiev. He is technically impeccable (though there are a few, like Dmitri Sitkovetsky, who are able to bring even greater clarity to the passagework), and musically astute. Those for whom Shaham is a first choice in violinists, and are seeking a recording of these concertos, can purchase this CD without second thoughts. However, for others, this CD should not be a first choice in this repertoire, unless one has their heart set on buying this specific repertoire on a single disc.

The first concerto, alternatively lyrical and demonic, is probably best served on modern recordings by Maxim Vengerov, who also has the advantage of superb accompaniment at the hands of Rostropovich; Vengerov brings fire and passion to the concerto, at the expense of some clarity. Cho-Liang Lin and D. Sitkovetsky, both (like Shaham) former Dorothy Delay pupils, interpret this concerto in a way quite similar to Shaham's, and are also reasonable alternatives (Sitkovetsky's in particular for its sterling clarity and super-budget price). However, there are three very fine historical recordings that trump the modern ones.

One is Nathan Milstein's studio recording (there's also a broadcast recording, interpretively quite similar, but the performance is marred by some noticeable moments of the soloist being lagged by the orchestra); Milstein brings his usual grace and sense of classical proportion to the work, in a recording which is probably a first choice. Another is David Oistrakh's recording; Oistrakh was a champion of this concerto, and he plays what is probably the most identifiably "Russian" interpretation. The final recording is Joseph Szigeti's, interpretively quite distinct from anything else on record and well worth listening to.

In the second concerto, the competition is stiffer -- most of the major violinists of the 20th century recorded this work. Milstein must be mentioned again. Heifetz, too, brings his considerable virtuosity to this concerto (he did not, unfortunately, record the first). Shaham's lyrical playing serves him particularly well in the second movement of this concerto, though.

The inclusion of the solo sonata is a nice bonus, but probably shouldn't influence your purchasing decision much.

beautiful.......2000-04-26

Prokofiev's violin concertos are among the greatest and most immediately likeable pieces of music written this century. This is by far the best recording I have heard of them. The sound is beautiful and Gil Shaham achieves a remarkable degree of emotional clarity. He obviously truly understands and loves these pieces. Tears are brought to my eyes every time I hear this CD.

I love this cd!.......1999-12-19

The lyricism and power of these pieces are very well comunicated by Shaham. The sound is very focussed and musical. This is one of my all time favorite recordings and I recommend it to anyone!

Average customer rating: New favorite recording of Shostakovich Excellent playing, stunning engineering Just...beautiful old cowgirl The Perfect Marriage of Composers, Soloist, and Conductor

Prokofiev, Shostakovich: Violin Concertos no 1 / Rostropovich, Vengerov Manufacturer: Teldec ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Vengerov, Maxim | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music All Works by Shostakovich | Shostakovich, Dmitri | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Similar Items: Prokofiev & Shostakovich: Violin Concertos, No.2 Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99 Brahms: Violin Concerto; Sonata No. 3 Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich, Shostakovich: The String Quartets ASIN: B000000SLM Release Date: 1994-11-08

Tracks:

1. Violin Concerto No. 1 In D Major, Op. 19: Andantino
2. Violin Concerto No. 1 In D Major, Op. 19: Scherzo: Vivacissimo
3. Violin Concerto No. 1 In D Major, Op. 19: Moderato
4. Violin Concerto No.1 In A Minor: Nocturne: Moderato
5. Violin Concerto in A minor: Scherzo: Allegro
6. Violin Concerto in A minor: Passacaglia: Andante
7. Violin Concerto: Burlesque: Allegro con brio

Amazon.com essential recording

With his brilliant tone, flawlessly centered intonation, jaw-dropping technique, and exquisitely beautiful phrasing, Maxim Vengerov is ideal in this repertory. His sparkling account of the Prokofiev conveys the music's mercurial shifts of color and mood with great élan, and turns wonderfully evocative in the ethereal pages. The interpretation of the Shostakovich is equally fine--strongly characterized and imaginative, haunting in its beauty. The young soloist is ably partnered by Mstislav Rostropovich, who draws some remarkably fine and suggestive playing out of an alert London Symphony Orchestra, and makes a convincing whole out of each score. Teldec's engineers take advantage of the Abbey Road venue to deliver a recording that, while predictably balanced in favor of the soloist, is detailed and nicely atmospheric. This disc won Gramophone magazine's Record of the Year award in 1995, and it comes impressively close to capturing the kind of electricity Vengerov generates onstage. --Ted Libbey

Customer Reviews:

New favorite recording of Shostakovich.......2007-06-22

I had not heard more than a few of Vengerov's performances and master classes (on YouTube) prior to hearing this disc - he is a remarkable individual and a thinking musician, and this recording of the Prokofiev 1 and Shostakovich 1 really proves that. Although I've heard plenty of good performances of both, these stand out. The review below is 100% correct - Vengerov "really gets it" - and he was a mere 19 or 20 years old when this disc was first released in 1994. He understands these pieces and his readings of them are very welcome. The second part of the first movement of the Prokofiev is often played 'Allegro Moderato' or 'Allegro non Troppo'. Vengerov plays it at the indicated tempo, 'Moderato', and not rushed. The accents and tenutos are perfectly done. He does some great things in the 'Scherzo', especially the slides on the G string! Although I like Lydia Mordkovitch's recording of the Shostakovich with Jarvi equally well (and that disc is also superbly engineered), Vengerov's is filled with great things. And how lucky he was to record it with the composer's close friend and musical collaborator, Rostropovich. If you've become partial to other recordings of these two concertos, listen to this disc and you may very well change your mind.

Excellent playing, stunning engineering.......2006-09-27

This recording pairs a fairly unfamiliar but highly acessible concerto from Prokofiev's younger days with a dark, biting, yet heartbreaking concerto from a difficult time in the difficult life of Shostakovich.

The Prokofiev is highly sensitive and lyrical and technically solid. The London Symphony is at its best here, under the baton of Rostropovich who personally associated with both Prokofeiv and Shostakovich.

I must admit to owning about 10 recordings of the first Shostakovich concerto. This collection includes performances by Perlman, Oistrakh (twice), Hahn, Sarah Chang, and Mullova. I have heard live performances by Caitlin Tully and Vadim Repin.

Out of all of these soloists, three or four stand out as really "getting it." Oistrakh's recordings are essentially definitive, but the orchestra's sound is less-than-ideal in these aging recordings. Among the newer recordings and performances, Repin and Vengerov strike me as more emotionally attached, while Mullova smooths out some of the rough edges the men have in their sound, but unfortunately her slow movements are not slow or emotional enough for me.

The orcehstra is once again ideal. Details are very finely crafted unlike in other lesser recordings. Vengerov's playing is spectacular and takes after Oistrakhs in character and sound.

Just...beautiful.......2006-09-01

Let me start off by saying...I'm no classical expert - I don't spend my days listening to different versions of the same piece played by different composers, solists, etc...

What I have seen in this is utter virtuosity from Vengerov... he can simply evoke any tone that he likes out of his violin. There's never a passage of doubt; vengerov makes his violin sing the melodies and plays with so much expression!

I prefer the Prokofiev piece, mainly because it seems to be more "concentrated" and less drawn out. It's always moving, rushing, flowing in a "contemporary" classical manner. I can agree with other reviewers stating this piece may just be the most beautiful piece of violin literature ever written.

The Shostakovich is more introverted and reflective; sometimes it is slow at places. Reading the liner notes (something all should do, IMHO) revealed the purposed for this - a tribute to the victims of the harrowing purges under Stalin. I also read that this piece was prohibited by Stalin for release - it was not until the death of Stalin that the piece was performed. Such adds to the harrowing, haunting melodies of the piece.

Like I said, I'm no classical expert, so I couldn't tell you how Rostropovich does as a conductor. As an "average Joe," this CD sounds marvelous to me!

old cowgirl.......2006-08-15

For the connoisseur of Prokofiev this is beautifully interpreted. Vengerov obviously loves what he does.

The Perfect Marriage of Composers, Soloist, and Conductor.......2005-08-16

It would be difficult to imagine a more perfect match for these two concerti than Maxim Vengerov and Mstislav Rostropovich. Not only do the two innately understand the shared Russian spirit inherent in Prokofiev's and Shostakovich's music, they also happen to be superb musicians who can make these two concerti appear simple to the ear when they require such an enormous degree of dexterity.

The phrasing and thematic exploration by Vengerov is astonishingly right and in every way and every moment his interpretation is mirrored by Rostropovich and the responsive London Symphony Orchestra. While music lovers will probably be more thrilled with the eloquent beauty of the Prokofiev (and this is certainly the finest recording I have heard of this concerto), Vengerov's virtuosity and clarity of technique should now bring others into the fold of devotees of the Shostakovich.

Recorded in 1994 this CD is remains the Gold Standard for these two spectacular concerti. The recording ambience is rich and full and almost as exciting as being in the concert hall. Highly recommended. Grady Harp, August 05

Average customer rating: C'mon, baby light my fire. A Perfect Prokofiev Pairing: Bronfman, Mehta, Israel Philharmonic lackluster but well recorded Brilliant imaginative performances!

Prokofiev: Piano Concertos Nos. 1, 3, & 5 Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Sergei Prokofiev: Piano Concertos Nos. 2 & 4/Overture, Op. 34 Rachmaninov: Piano Concertos Nos. 2 & 3 Bartók: Piano Concertos Nos. 1-3 Prokofiev: Piano Sonatas Nos. 1, 4 & 6 Prokofiev:Piano Sonatas Nos. 7 & 8 ASIN: B0000028MF Release Date: 1993-08-10

Tracks:

1. Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Allegro brioso
2. Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Meno mosso
3. Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Andante assai
4. Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Allegro scherzand
5. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Andante - Allegro
6. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
7. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
8. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
9. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
10. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
11. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
12. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
13. Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Allegro ma non troppo
14. Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Allegro con brio
15. Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Moderato ben accentuat
16. Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Toccata. Allegro con f
17. Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Larghetto
18. Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Vivo

Amazon.com

Bronfman's performance of the popular Third Concerto has an easy songfulness that sits very nicely alongside the many bravura passages, which he dispatches with aplomb. The First Concerto is a zippy little piece that is less than a quarter of an hour long, but is exhaustingly difficult. Prokofiev was himself a stellar pianist, and he wrote these taxing works for his personal use. By the time he came to write the sadly neglected Fifth Concerto, he was at the end of his life (he died on the same day as Stalin), but his melodic inspiration was still potent as ever. Bronfman never loses sight of the melody in the piles of notes, and Zubin Mehta accompanies faithfully. This is the set to own if you want good digital sound. --David Hurwitz

Customer Reviews:

C'mon, baby light my fire........2006-10-16

Do you ever feel bored? Feel like you need some excitement in your life? Well, Just listen to the fire that Bronfman's interpretation of these concertos create. Listen to IPO's passion under Mehta's direction. Play this disc in your car if you're beginnning to feel at all tired. This CD is a "perfect package". I award five stars for musicianship, sound engineering, and the overall quality of the recording.

A Perfect Prokofiev Pairing: Bronfman, Mehta, Israel Philharmonic.......2006-04-24

This is one of those recordings that should be placed in the Great Recordings category, not only because of the dazzling performances of these three popular Prokofiev piano concerti, but also because it represents the long respected friendships among the artists employed.

Aptly placed for a recording, Prokofiev's D-flat major concerto (#1) opens with a brief orchestral overture! Once the tone has been set by Mehta and forces, Bronfman enters with the technically brilliant display of the piano portion. This may be a brief work (less than 15 minutes in length) but it is a solid one in Bronfman's and Mehta's hands. There are moments of lyricism that suggest the inimitable melodies that haunt Prokofiev's later slow movements of his other concerti.

The very popular C major concerto (#3) is given a wholly Romantic approach here. Bronfman knows how to make the beautiful lines sing as well as making the finger-beating passages seem airborne. And much the same can be said of the G major (#5) concerto. Undoubtedly the most challenging of the five concerti, Bronfman and Mehta offer a solid and in control performance that is probably the most exciting one on records.

Together with the other CD that presents concertos #2 and #4 this union of Mehta and Bronfman and the Israel Philharmonic is one to be treasured. Here is Prokofiev with ?lan, style, and dexterity - and heart! Grady Harp, April 06

lackluster but well recorded.......2004-04-17

i've admired bronfman's playing primarily through the beautiful series of chamber discs he recorded with mintz; against that standard these prokofiev concertos are a disappointment. the overall approach is surprisingly literal and metronomic, with a lack of lyrical fire or virtuosic ice, and tempos (especially in the outer movements) that are slower than usual. soloist and conductor seem to play in parallel rather than in close partnership. (it's as if bronfman and mehta were thrown into the studio without enough rehearsal time.) all the keyboard notes are perfectly in place, and the orchestral detail is exceptionally clear, but these are recordings better suited for studying the performance score than for encountering the full range of prokofiev's unique poetry.

Brilliant imaginative performances!.......1999-08-05

I had the good fortune to see the pianist Yefim Bronfman twice in concert. When he played Prokofiev we could immediately sense his affection for this music, judging not only from colorful, lightning-fast passages and superb virtuosity he displayed on them, but also from his facial expression and body language. For him Prokofiev's music seems to go beyond its astonishing difficulty and into the surrealistic atmosphere and kaleidoscope of imagery. This album would have been worth its price for the Concerto No. 3 alone, yet Bronfman and Mehta treat us to "an evolution" of the composer, so to speak, by adding Nos. 1 & 5. No. 5 is something we don't hear often on record, yet it's truly amazing in terms of the dialogue between the orchestra and the piano. Indeed, the No. 5 was the deciding factor for purchasing this album because there's also a wonderful Kissin/Abbado collaboration on DG without it. Both CDs boast the greatest pianists and conductors of our time, so the decision was a tough one to make, but after listening to the superb moderato ben accentuato in No. 5, I was glad I got this album. You will be too.

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7. Schubert: Symphonies No. 3, 5 & 6
8. Schubert: Symphonies Nos. 1 & 8
9. Schubert: Symphony No. 8/Rosamunde, Incidental Music
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