Prokofiev: Piano Concerto No. 3; Piano Concerto No. 1
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Music CD Cover
Edition: Music CDCD Release Date: 1990-10-25
Music Label: Sony
Soundtracks:
- Concerto No.3 For Piano & Orchestra In C Major, Op.26: I. Andante; allegro
- Concerto No.3 For Piano & Orchestra In C Major, Op.26: II. Andantino
- Concerto No.3 For Piano & Orchestra In C Major, Op.26: III. Allegro ma non troppo
- Concerto No.1 For Piano & Orchestra In D Flat Major, Op.10: (Cnto #1) Allegro brioso
- Concerto No.1 For Piano & Orchestra In D Flat Major, Op.10: Andante assai
- Concerto No.1 For Piano & Orchestra In D Flat Major, Op.10: Allegro scherzando
- Sonata No.3 For Piano & Orchestra In A Minor, Op.28
Free Music Notes for Prokofiev: Piano Concerto No. 3; Piano Concerto No. 1
Free Music Review: Prokofiev with needlepoint precision from both artists
Hit: 5 Stars
In these vintage Sixties recordings Gary Graffman and George Szell exemplify what they stood for as performers: discipline, precision, clean lines, transparent textures. Prokofiev's brittle, often ironic idiom, which melted at moments into sweet, sentimental lyricism, suits their approach well. Graffman plays the solo part in Concerto #3 as if stitching needle-point filigree. He was a powerhouse in his prime (sadly cut short in 1979 by an injury to his right hand, not by a 'nervous condition' as David Hurwitz states. Hurwitz is also mistaken about Leon Fleisher, whose right hand was crippled by dystonia, a nerve condiiton--again not 'nervous'--affecting the muscles in the arm) but he makes no effort to overwhelm the music with crash-and-bang, even in the opening of the First Concerto, which all but demands it from most virtuosos.
Szell is in perfect sympathy, giving an display of absolute orchestral precision saved from coldness by his delicate touch and the lovely colors that the Cleveland musicians produce. Of any performance I've ever heard, this one sounds the most coordinated in achieving perfect transparency. There are other ways to play these works, naturally. In the First Concerto Richter is more viscerally thrilling and risky, Argerich more ardent and impetuous. Her Third Concerto shows how the work sounds when the keyboard is on fire. But in his cool way, Graffman is just as riveting.
There is a new remastering in the 'Great Performances' series that has excellent sound, detailed and close. The new issue also includes both the Second and Third Sonatas of Prokofiev instead of just the Third, as in this earlier CD. It's as hard for an American pianist to compete with Russians in Prokofiev as it is for them to compete in Gershwin. I am not an aficianado, but Graffman's two sonatas sound a bit cool and objective compared to Richter's total commitment. Even so, these are nimble, impressive readings without really speaking from the Russian soul.
Prokofiev: Piano Concerto No. 3; Piano Concerto No. 1 Poster
Here's a sad irony--two of the greatest pianists that George Szell worked with during the early '60s--Leon Fleischer and Gary Graffman--lost the use of their right hands due to the same nervous condition. The two had complementary repertoires. Fleischer specialized in the German classical and Romantic composers--Beethoven, Brahms, and Schubert--while Graffman had a strong affinity for the Russian Romantics. His Prokofiev was always exceptional, nowhere more so than in these enlivening and brilliant performances. Of course, Szell's accompaniments are the last word in sensitivity and precision. At mid-price, for a small investment you get a big return. --David HurwitzClassical Music CDs
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