The young Kissin was able to work wonders in Prokofiev–above all the Sixth Sonata (Kissin in Tokyo - Yevgeny Kissin). Regrettably, the mature Kissin recently delivered highly disappointing live performances of the Second and Third Concertos (Prokofiev: Piano Concertos Nos. 2 & 3), indeed, regardless of the predictable rave in the British press. This 1994 recording of the First and Third Concertos is unquestionably very good, especially the youthful First, although competition is very strong–from Graffman/Szell (Prokofiev: Piano Concertos Nos. 1 & 3) and Argerich/Dutoit (Prokofiev: Piano Concertos Nos. 1 & 3 / Bartok: Piano Concerto No. 3) in this coupling, and from the complete sets by Berman/Gutierrez/Järvi, Toradze/Gergiev and Krainev/Kitaenko.
In 1976, when the cold war was cold indeed, wrote the New York Times, Lazar Berman appeared virtually unannounced from behind the Iron Curtain and provided the West with an exotic glimpse of a secretive Soviet musical life. On his first United States tour, Mr. Berman made an overwhelming impression as a performer who did more than just overcome technical problems; he seemed to crush them into insignificance. Bermans recordings, though relatively few in number, confirmed that impression.
Berman’s first teacher was his mother, herself a pupil of Isabella Vengerova, but at an early age he had lessons from Savshinsky of the Leningrad Conservatory. Berman first played in public at the age of four, and at the age of seven he took part in a concert at the Bolshoi Theatre in Moscow, subsequently being asked to record Mozart’s Fantasy in D minor K. 397, and a composition of his own…
These are excellent performances of exceptionally interesting repertoire. Prokofiev himself arranged 19 numbers from his Cinderella ballet for solo piano, so he surely would not have objected in principle to their reworking for two pianos; nor in practice, I suspect, because Pletnev’s arrangements are fabulously idiomatic and the playing here has all the requisite sparkle and drive. Shostakovich’s Op 6 Suite is far too seldom heard. True, it is an apprentice piece and open to criticism – both the first two movements peter out rather unconvincingly and the blend of grandiosity à la Rachmaninov and academic dissection of material à la Taneyev is not always a happy or very original one. But as a learning experience the Suite was a vital springboard for the First Symphony a couple of years later and there is real depth of feeling in the slow movement, as well as intimations elsewhere of the obsessive drive of the mature Shostakovich. What a phenomenally talented 16-year-old he was!
This awaited release is the first disc in a series of Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu performing the Piano Concertos by Sergei Prokofiev. Without a doubt some of the most substantial twentieth century masterworks, Prokofievs piano concertos prove the composers brilliant piano skills. The composer premiered his First Piano Concerto in 1914. The Third Piano Concerto is the most popular of Prokofievs concertos. The piece took several years to complete, and premiered in Chicago in 1921. Prokofievs Fourth Piano Concerto (for the left hand) is the most rarely heard of the three concertos featured on this recording.
Oboe and English horn lead the lush Avalon Strings through Summertime, Love is Here to Stay, Someone to Watch Over Me and ten more Gershwin classics. Instrumentation includes English horn, oboe & strings.