Prokofiev: Piano Concertos

On this CD:

1. Piano Concerto No. 1 in D flat major, Op. 10
Composed by Sergey Prokofiev
Performed by London Symphony Orchestra with Vladimir Ashkenazy
Conducted by Andre Previn

2. Piano Concerto No. 4 in B flat major (for the left hand), Op. 53
Composed by Sergey Prokofiev
Performed by London Symphony Orchestra with Vladimir Ashkenazy
Conducted by Andre Previn

3. Piano Concerto No. 5 in G major, Op. 55
Composed by Sergey Prokofiev
Performed by London Symphony Orchestra with Vladimir Ashkenazy
Conducted by Andre Previn

4. Piano Concerto No. 2 in G minor, Op. 16 1923 revised edition
Composed by Sergey Prokofiev
Performed by London Symphony Orchestra with Vladimir Ashkenazy
Conducted by Andre Previn

5. Piano Concerto No. 3 in C major, Op. 26
Composed by Sergey Prokofiev
Performed by London Symphony Orchestra with Vladimir Ashkenazy
Conducted by Andre Previn

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.

Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich

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

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ASIN: B000001GQQ
Release Date: 1996-05-14

Tracks:

Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 1. Andante - Allegro
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
Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 3. Allegro ma non troppo
Konzert fur Klavier und Orchester G-dur - In G Major: 1. Allegramente
Konzert fur Klavier und Orchester G-dur - In G Major: 2. Adagio assai
Konzert fur Klavier und Orchester G-dur - In G Major: 3. Presto
Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 1. Ondine. Lent
Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 2. Le Gibet. Tres lent
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:

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

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ASIN: B0000041LA
Release Date: 1997-08-26

Tracks:

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

Tracks:

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

Tchaikovsky: Piano Concertos 1, 2 & 3 - Prokofiev: Piano Concerto 5 - Bartok: Piano Concerto 2 - Emil Gilels, Sviatoslav Richter, Lorin Maazel

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

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The Sofia Recital 1958

ASIN: B000EMSIBM
Release Date: 2006-05-02

Tracks:

I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - New Philharmonia Orchestra
II. Andantino Semplice - Prestissimo - Tempo I - New Philharmonia Orchestra
III. Allegro Con Fuoco - New Philharmonia Orchestra
I. Allegro Brillante - New Philharmonia Orchestra
II. Andante Non Troppo - New Philharmonia Orchestra
III. Allegro Con Fuoco - New Philharmonia Orchestra

Tracks:

I. Allegro Brillante - New Philharmonia Orchestra
I. Allegro Con Brio - London Symphony Orchestra
II. Moderato Ben Accentuato - London Symphony Orchestra
III. Toccata (Allegro Con Fuoco) - London Symphony Orchestra
IV. Larghetto - London Symphony Orchestra
V. Vivo - London Symphony Orchestra
I. Allegro - Sviatoslav Richter
II. Adagio - Sviatoslav Richter
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

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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.

Prokofiev: The Five Piano Concertos; Overture on Hebrew Themes

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

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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:

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

Tracks:

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

Prokofiev: Piano Concertos Nos. 1, 3, & 5

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

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Prokofiev:Piano Sonatas Nos. 7 & 8

ASIN: B0000028MF
Release Date: 1993-08-10

Tracks:

Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Allegro brioso
Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Meno mosso
Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Andante assai
Concerto for Piano and Orchestra No. 1 in D-flat major, Op. 10: Allegro scherzand
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Andante - Allegro
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Tema. Andantino - Var. 1-5 - Tema. L'istesso tempo
Concerto For Piano And Orchestra No. 3 In C Major, Op. 26: Allegro ma non troppo
Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Allegro con brio
Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Moderato ben accentuat
Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Toccata. Allegro con f
Concerto for Piano and Orchestra No. 5 in G major, Op. 55: Larghetto
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.

Average customer rating:

An all-time great recording
Hard to avoid using the expression "The Best"
Great Performances, Indeed
Powerful Prokofieff!

Prokofiev: Piano Concertos Nos. 1 & 3

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000F6YW1W
Release Date: 2006-06-06

Tracks:

Concerto No. 3 in C Major for Piano and Orchestra, Op. 26; I. Andante - Allegro
Concerto No. 3 in C Major for Piano and Orchestra, Op. 26; II. Andantino (Tema con variazioni)
Concerto No. 3 in C Major for Piano and Orchestra, Op. 26; III. Allegro ma non troppo
Concerto No. 1 in D-flat Major for Piano and Orchestra, Op. 10; Allegro brioso - Poco piso - Tempo primo
Concerto No. 1 in D-flat Major for Piano and Orchestra, Op. 10; Meno mosso
Concerto No. 1 in D-flat Major for Piano and Orchestra, Op. 10; Andante assai
Concerto No. 1 in D-flat Major for Piano and Orchestra, Op. 10; Allegro scherzando - Poco pitenuto
Sonata No. 2 in D Minor for Piano, Op. 14; I. Allegro, ma non troppo
Sonata No. 2 in D Minor for Piano, Op. 14; II. Scherzo. Allegro marcato
Sonata No. 2 in D Minor for Piano, Op. 14; III. Andante
Sonata No. 2 in D Minor for Piano, Op. 14; IV. Vivace
Sonata No. 3 in A minor for Piano, Op. 28 "From Old Notebooks"

Customer Reviews:

An all-time great recording.......2007-02-26

I'm sometimes saddened by how quickly something good, sometimes even the very best, gets lost or is forgotten in this fast moving world. Have all those people who put Argerich first in this repertoire (mind you, her recording's a pretty fine choice!) even HEARD the to me (and many other Prokofiev lovers) obvious top three choices of his 3rd Piano Concerto, I usually wonder when I read reviews by Amazon customers and professional critics alike? They are and have been for a long time Byron Janis/Kyrill Kondrashin (1962) on Mercury, William Kapell/Leopold Stokowski (live in New York 1949) on Music & Arts, and this one. One might go into details over this and that, but then, I listen to all of these equally as often and wouldn't want to miss any (whereas I could do without that Argerich recording). Actually, there's a fourth recording I find deserves attention and which on the whole I even prefer to Kapell's RCA studio version with Dorati, the one by Julius Katchen/Istvan Kertesz (1968) on Decca. All of these recordings are so well-known to insiders and apparently so unknown to the public at large that I'm afraid I'm wasting my time typing these lines. I certainly wouldn't be without any of them, as they're the ones that have made my life richer.

As to the 1st Piano Concerto, there's no avoiding Sviatoslav Richter, tubby sound quality notwithstanding, but again, why not have this fine, better-sounding version in addition?

In short, get a copy before this again disappears in the vaults for decades. You won't regret it!

Greetings from Switzerland, David.

Hard to avoid using the expression "The Best".......2006-08-13

Argerich's recording of the Third is touted as the one to own but for my money no one has ever come close to this pairing of Szell and Graffman. This is electric on every level and the recording of the First is no less a thing. What makes this release an absolute joy is the sound--now better than ever--and the reappearance of the original album cover art, which, for anyone who ever loved the original LP release, is just icing on a dang fine cake. The cherry on top is the inclusion of the two piano sonatas which are played magnificently.

This new series by Sony--already with the sensational Ormandy Mahler Tenth (at long last!) and Craft's recordings of Schoenberg (ditto!)--is shaping up to be a classical music-lovers big event!

Great Performances, Indeed.......2006-07-08

These performances first appeared on LP during the 1960s. The Concertos and 3rd Sonata were reissued, first on LP and cassette, and later on CD, during the 1980s, as part of CBS's Great Performances reissue series. (Those of us past a certain age will remember our local record store bins filled with LPs that resembled newspaper front pages.) Sony has recently revamped its Great Performances series, and thrown in a few features from the Masterworks Heritage series that was begun in the 1990s - - original cover art and liner notes, and greater care with remastering.

Gary Graffman was one of the few aknowledged pupils of Vladimir Horowitz, and doubtless he worked on these pieces with the master. His First and Third Piano Concertos are authoritative and technically immaculate enough to make one regret he didn't record all five Concertos. One of the hallmarks of Graffman's playing is its clarity, so that Prokofiev's more dense configurations emerge with scintillating detail instead of mushiness. Szell, who touched Prokofiev only rarely (his Prokofiev Fifth Symphony is a must have) provides a dedicated accompaniment which serves as an object lesson in the difference between drive and haste.

The sound quality, particularly n the Concertos, is far superior to the earlier CD issue, and, of course, light years ahead of my old cassette tape. Going back to the original master tapes (the previous CD issue used the LP submasters, which were compressed and poorly mixed), the orchestral mix has been markedly improved and the dynamics have been opened up. The result is that you can hear many of the piano/orchestral interactions which were previously masked, and many of Prokofiev's harmonies are clarified. The improvement in the Sonatas is less obvious, and the sound remains dry, if a bit warmer.

This disc is a must for all Prokofiev enthusiasts.

Powerful Prokofieff!.......2006-06-15

Gary Graffman recorded the two piano concertos included on this disk when he was 38 years of age - Szell was 69. With over a hundred years' experience between the two, these performances sound incredibly youthful, full of exuberance and energy.

Sony Classical has done a remarkable job remastering this recording - its age doesn't show at all. The smoothly executed (an oxymoron for these pieces?) orchestral performance is so amazing - the ensemble playing could not be bettered, as usual with the Szell/Cleveland combination.

If you don't have these concertos already in your collection, get this recording at once! If you do have these concertos...well, get this recording anyway...you won't be sorry!

The perfect match to this disk? Lorin Maazel's complete recording of Prokofieff's Romeo and Juliet, made with the same Cleveland forces. The Szell influence on the orchestra was still there, with the added bonus of Maazel's youthful enthusiasm! Enjoy!

Prokofiev: The Piano Concertos; Violin Concerto No. 1

Average customer rating:

Indispensable Recordings from Leinsdorf's Masterful Prokofiev Series

Prokofiev: The Piano Concertos; Violin Concerto No. 1

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007VXZE0
Release Date: 2005-07-12

Customer Reviews:

Indispensable Recordings from Leinsdorf's Masterful Prokofiev Series.......2005-08-31

John Browning and Erich Leinsdorf first recorded a Prokofiev piano concerto (the Third) in 1960 for Capitol records. When Leinsdorf became music director of the Boston Symphony Orchestra two years later, he brought Browning to RCA and they recorded all five, the very first integral set anywhere. Some forty years later, it's still impressive as remastered by Testament. These are sharply projected, athletic performances that nevertheless do not scant Prokofiev's characteristically mordant lyricism. Analog sound quality is first-rate, in fact superior to what RCA managed to transfer to its original Lps. Neither Browning nor Leinsdorf are with us anymore and this set is a fine tribute to their memory. But it isn't just nostalgia that persuades me to recommend this set: even given its steep price and competition from the likes of Ashkenazy/Previn, Beroff/Masur and others, Browning and Leinsdorf's unique projection of machine-like power and lyric whimsy is essential to a full understanding of these wonderful compositions. As a bonus, Testament throws in a fine performance of the first Violin Concerto recorded by Leinsdorf, the BSO and Heifetz-protege Erick Friedman. Friedman's performance isn't in the Browning league, but it's splendidly assured and goes far to explain why Heifetz placed such high hopes in his future. Note: Leinsdorf recorded the second Violin Concerto at about the same time with a young Itzhak Perlman and that recording is also available on a BMG/RCA CD. In fact, Leinsdorf recorded quite a bit of Prokofiev in Boston for RCA and Testament apparently intends to release much of that series on CD over the next year or so. Good news for those of us who have been praying for a release of symphonies 2, 3, 5 and (especially) 6! One can only wonder why BMG/RCA have been so derelict in reissuing these fabulous (and fabulously well-recorded) recordings, while applauding Testament for its initiative. Leinsdorf's Boston tenure produced nothing more memorable than the stunning performances RCA captured in its Prokofiev series, and they're all 'must-buy' priorities for anyone who loves Prokofiev's music.

Sergei Prokofiev: Piano Concertos Nos. 2 & 4/Overture, Op. 34

Average customer rating:

Prokofiev 2nd - Surprised was not better
Amazon reviewer makes bold statement...
Lacklustre, indeed
lackluster but well recorded
Best Prokofiev Recording Available

Sergei Prokofiev: Piano Concertos Nos. 2 & 4/Overture, Op. 34

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Rachmaninov: Piano Concertos Nos. 2 & 3
Prokofiev: Piano Sonatas Nos. 1, 4 & 6
Prokofiev: Piano Sonatas Nos. 2, 3, 5 & 9
Beethoven: Piano Concertos 3 & 4

ASIN: B0000029KY
Release Date: 1994-10-04

Tracks:

Concerto For Piano And Orchestra No. 2 In G Minor, Op. 16: I. Andantino
Concerto For Piano And Orchestra No. 2 In G Minor, Op. 16: II. Scherzo. Vivace
Concerto For Piano And Orchestra No. 2 In G Minor, Op. 16: III. Intermezzo. Allegro moderato
Concerto For Piano And Orchestra No. 2 In G Minor, Op. 16: IV. Finale. Allegro tempestoso
Concerto For Piano (Left Hand) And Orchestra No. 4 In B Flat Major, Op. 53: I. Vivace
Concerto For Piano (Left Hand) And Orchestra No. 4 In B Flat Major, Op. 53: II. Andante
Concerto For Piano (Left Hand) And Orchestra No. 4 In B Flat Major, Op. 53: III. Moderato
Concerto For Piano (Left Hand) And Orchestra No. 4 In B Flat Major, Op. 53: IV. Vivace
Overture On Hebrew Themes For Clarinet, String Quartet And Piano, Op. 34

Amazon.com essential recording

This is the Prokofiev concerto cycle for the digital age. Yefim Bronfman relishes every steely flourish of this brilliant and angular music. His performance of the Second Concerto, Prokofiev's best but not most popular, really does achieve transcendent greatness. The first movement features a "cadenza from hell"--a solo section comprising almost half the movement--that has to be heard to be believed. Bronfman flies through it, fingers sweeping the keyboard to the point where you fear for the health of his piano. The Fourth Concerto is for left hand only and is the least well known of the five. Bronfman makes the best possible case for it, and the charming overture is a delightful bonus. --David Hurwitz

Customer Reviews:

Prokofiev 2nd - Surprised was not better.......2007-03-11

I purchased this mostly for the Prokofiev 2nd which is one of my favorites. I am not a big fan of the Prokofiev 4th, thus my comments are limited to the 2nd.

Prior to purchasing the CD, I had the chance to hear Bronfman play the Prokofiev 2nd at the Kennedy Center in Washington DC with the National Symphony Orchestra (with whom he also performed the 3rd on another date.) In the live performances, Bronfman's playing was far more vivacious and less studious than on this recording. As others have noted, Bronfman takes the piece too much in stride, and the orchestra also is just going through the paces. On the plus side, the quality of the recording is well balanced between orchestra and piano which is a challenge given the dynamics of the piece.

As for being the best available recording of the 2nd, I would put it behind the Gutierrez/Jarvi/Royal Concertgebouw recording still available on Chandos. Shura Cherkassky's performance with the London Philharmonic (BBC recording)is also available and more satisfying even if he does miss a few notes and invent a few others along the way (he was age 80+ at the time).

As for the best recording of the 2nd, my vote goes for Jorge Bolet's performance with the Cincinnati Orchestra which was issued on a Remington LP in the 1950's and (re-released on Turnabout in the 1970's). Bolet and conductor Thor Johnson provide a whirlwind performance that at times is over the top, but totally engaging from start to finish. I wish someone would rediscover those tapes and reissue it.

Amazon reviewer makes bold statement..........2005-12-10

....and is dead on; while Prokofiev's 2nd concerto lacks the sophistication and compositional genius of the 3rd it is superior for two reasons: 1) it is more idiomatic 2) it is more personal. The audience was utterly baffled at the premiere, the world shocked, why? just listen! who else writes like this? Not only is this a prime example of Prokofiev's iconoclastic style - a romp through a truly gothic sound world -- but it is also one of his most personal, a romantic concerto written by an anti-romantic in response to a friends letter that stated, "I've written to tell you the latest news: I've shot myself. The reasons are unimportant." It lacks sophistication because it is barbaric, raw and utterly tempestuous.

Bromfman is not a risk taker (Pogorelich), a method actor (Richter), nor a character actor (Rubenstein); Bromfman basically plays what's on the page like Ashkenazy albeit in this case with the requisite gravitas. It's unfortunate the demand for this concerto has not fueled more interpretation; for the time being this really is the only worthwhile recording.

Lacklustre, indeed.......2004-12-19

I used to like these performances, but over time it has begun to appear to me that they aren't that good. Bronfman's technique so easily matches Prokofiev's challenges that he sounds almost bored with them. I don't see why Hurwitz thinks Bronfman's piano is in danger, if you consider that he rips through the music so effortlessly and, indeed, with little interest. By contrast, try Alexander Toradze's hyper-furious take on the G minor. He makes things too elephantine perhaps, but it's more interesting than what we get here.

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

Best Prokofiev Recording Available.......2001-08-02

Yefim Bronfman & Zubin Mehta have joined forces to produce one of the best recordings of any Prokofiev work. In particular, the 2nd Piano Concerto is as fine a recording as you are ever likely to hear, of anything. Clear, clean, superbly performed and immaculately recorded, it is virtually flawless. Mr. Bronfman's cadenzas are nothing short of spectacular, and the piano as recorded is as clear as if you were playing it yourself. One of the great all-time discs, this is certainly the definitive version of these pieces, majestically paced and emotionally and technically perfect. Highly recommended.

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