Sarcastic Darkness

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Prokofiev: Piano Concertos Nos. 1 & 3 / Piano Sonata No. 3

Gary Graffman, piano / George Szell / The Cleveland Orchestra

Columbia MS 6925

Anybody who knows me knows I’m a Prokofiev freak. The Piano Concerto No. 2 reaches levels of virtuosity, poetry and lyricism that can’t be surpassed. And when you add in the Piano Sonatas, the 6th Symphony, Visions Fugitives, the string quartets and the violin concertos and the cello sonatas and the operas, you’ve got a body of work that touches on everything from romanticism to atonality with complete originality.

Of all the concertos, the 3rd (1921) is the most performed. As with so many of his works, Prokofiev offsets striking lyricism with sarcastic dissonances and little inside jokes, like some postmodern standup riffing on his own material. A sweet clarinet intro leads into an orchestral crescendo, which is augmented by bursts from the piano, turning quickly into a somewhat manic fantasia.

Later, lines and lines of octaves in triplicated rhythm force the pianists hands to practically play on top of each other. The opening is recapped in variously structured ways, which leads to a coda of triads and glissandi and incredibly nimble 16th-note arpeggios before ending with open C octaves that gives the piece that meta feel. And that’s just the first movement. Next up, the Andantino is basically a set of variations, while in the last movement, Prokofiev said, a fight breaks out between pianist and orchestra. Here and in the 1st Concerto, which also appears on this album, Prokofiev is a one man history of classical music, blending and bending classicism, neoclassicism, serialism and romanticism into a single intricate package.

Several excellent recordings of the 3rd have made their way onto vinyl, with Argerich/Abbado on DG from the 1960s near the top, along with performances by Gutierrez, Kissin and Bronfman more recently. For me, Graffman/Szell is the gold standard. The pianist digs in with a clarity and ferocity you wouldn’t believe possible considering the hyper-virtuosity needed to pull of these concertos.

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