PROKOFIEV: Piano Concertos Nos. 2 & 3 – Evgeny Kissin, piano/ Philharmonia Orchestra / Vladimir Ashkenazy – EMI 2645362, 61:48 Performance ***** Sound ****:
Prokofiev wrote his second piano concerto during 1912 and 1913 and performed it for the first time in August 1913 in Pavlosk, about twenty miles from St. Petersburg. It’s the product of a wild young man at work, and the audience was divided in its response to such modernist music. The score was lost in a fire during the Russian Revolution, and Prokofiev reconstructed it from memory and sketches; this second version made its first appearance in Paris in 1924 with Prokofiev playing and the orchestra under Serge Koussevitzky. Prokofiev stated it differed to an extent that it might be considered as another concerto.
The technical demands made on the pianist are some of the most Everest-like in the repertoire. Scampering passage-work needs a faultless touch, and the work needs this, balanced by a sensitive interpretation of the notes. Substantial cadenzas occur in the first and last movements, and it is here in this exposed territory that Kissin shows his utter mastery of the piece in this live recording from London in 2008. Dedicated to memory of Prokofiev’s friend Maximilian Schmidthoff who committed suicide in 1913 and who by all accounts was possessed of intelligence and an acerbic sense of humour, much of the work had been completed by this time. Whether or not the second version of the concerto is more inspired by this friendship one cannot tell; no matter, as the work needs no programme.
The cadenzas show off Kissin’s ability on the one hand, and the huge range of emotion just in that first movement, show how deeply considered this performance is. The variety in dynamic range, slowly built up and down, is spectacular, and the control breathtaking. Vladimir Ashkenazy, whose accounts of the solo parts are so recommendable, has enormous experience in this music and it shows in these performances. Ensemble is tidy to say the least! The scherzo is pretty well faultless, the Intermezzo with its hairpin changes of mood and dynamics carefully prepared to sound spontaneous, a difficult tightrope to tread. The last movement with its enormous cadenza takes the breath away. No recording of Prokofiev playing this concerto exists; in fact, the only concerto he recorded was the Third (on a Naxos Historical reissue, as well as EMI, Dutton Labs and a new Pristine Classical download), where through decent recording for its time we get an idea of how talented this pianist/composer was. The Third was completed a few years before the Second was rewritten, in 1921, though it does contain sketches originating from 1913. While writing the Second, Prokofiev was planning a more accessible, “something a little lighter”, but technically it is hardly less demanding the Second. Premiered in Chicago at the end of 1921 with Frederick Stock at the helm, the reception was cool; Daniel Jaffé in his excellent essay tells of Prokofiev’s referring to the Chicago critics as “dolts”. Time has proved the critics misguided, as the Third Concerto has become a staple of the concerto repertoire.
Kissin’s playing of the delicate writing in this concerto’s first movement with consummate control is among the best. It is true the catalogue has some terrific performances, Argerich’s and Janis’s to name but two, and I think Kissin’s joins these at the top of the list. The theme and variations brings plenty of opportunity for the wit to come to the fore, that almost glissando run up the piano quite amazing in its perfection. The listener may wonder whether a smile played across the pianist’s lips. Again, the variety in Kissin’s playing sounds quite natural in this environment. The last movement’s romp with an argument between pianist and orchestra, with some of the most difficult passages in this concerto is a complete success, as is the carefully choreographed ending with its controlled abandon.
The recording quality is very good without being outstanding; it is quite closely but naturally miked and the listener is closer here than with Kissin’s previous recording for DGG. Technically, the earlier recording has the piano occasionally disappear under the orchestra, and the lower end of the piano is not at all well caught. There are no problems of this kind in the new recording; indeed, the amount of orchestral detail is excellent and the piano is especially well recorded. As with the Berlin performance, applause is absent.
I do hope Kissin and Ashkenazy record the remaining concertos before too long!
— Peter Joelson
