[.ca] Piano Concertos No. 3

From Amazon.com:
With some trivial exceptions, mostly piano rolls, this disc compiles Prokofiev's complete recordings as a pianist. It's a pity there are so few of them, but we are fortunate to have any. The composer's brilliance in his own popular Third Piano Concerto has never been surpassed, not even by such contemporary virtuosi as Argerich and Toradze. The way he tosses off the showers of rushing chords just before the end of the last movement is a typical illustration of Prokofiev's amazing pianism. Even the sluggish playing of the LSO under the direction of Coppola, a company hack from French EMI, doesn't diminish the value or the thrills of this performance. The selection of piano music, brief as it is, reveals the contrasting facets of Prokofiev's style, and his playing reflects moods from the sarcastic brilliance of Suggestion diabolique to the touching poignance of the slow movement from the Fourth Piano Sonata. Superbly transferred by Mark Obert-Thorn, this listenable and compelling disc is a model of what historical reissues should be in both content and presentation. --Leslie Gerber

The composer as performer:
This is an excellent issue, enabling us to hear Prokoviev's own take on his music. He combines both dynamic excitement with lyricism, and the effect is at once powerful and relaxed. Excellent transfers. Once again a real winner for Naxos ...

Prokofiev is better a composer than a pianist:
I have to disagree with the editorial comment regarding to Prokofiev's playing of the 3rd Concerto is unsurpassed by Argerich. I don't know if Prokofiev was not playing at his best in this recording, but it sounds like he didn't have much control over his 3rd Concerto. In some virtuostic parts of the concerto, he slowed down tremendously, and that actually killed the continuity of the piece. Other times, he speeded up like crazy. I can sense that the orchestra had a hard time keeping up with him. I don't know if it's the recording, but the orchestra sounded very passive. In some critical parts where the woodwind is suppose to stand, you can't hear much. If you want to listen to excellent performances of this concerto, listen to Argerich (Abbado conducting Berlin Philharmonic)or Ashkenazy. The best performance I found is played by John Browning (Erich Leinsdorf conducting Boston Symphony), which I definately recommend (that is, if you can find one! The one I found is in LP!)The way Browning played is absolutely amazing. His control of the piece and the rhythm is unbelievable. Nevertheless, it is still nice to listen to composers performing their own works. I mean in many cases, they are not good at their own music because some music they wrote are beyond their ability. If you are a Prokofiev fan, I would recommend this CD to you. After you listen to it, you'll understand why Rachmaninoff is better known as a pianist than Prokofiev!

Definitive:
The line of great composer-pianists began with Mozart, included Beethoven and Chopin, and ended with Rachmaninoff and Prokofiev. We are fortunate indeed that these last two left behind recordings of their own works. This CD brings together Prokofiev's complete recordings. The composer recorded his most popular Piano Concerto, the Third in 1932. The performance, despite dated sound, remains extraordinary. Despite his reputation as a percussive pianist, Prokofiev brings more color and attention to phrasing here than most pianists would today. He was obviously an extraordinary technician, despite a few very minor finger slips. Contrary to the comments of the Amazon reviewer, Piero Coppola was no company hack. He was a respected conductor who specialized in opera and concertos, rather like Alfred Wallenstein and Josef Krips, who were Arthur Rubinstein's chosen accompanists two decades later. (He was also the grandfather of renowned filmmaker Francis Ford Coppola.) Considering that tape editing was not yet possible, and that Prokofiev's Third Concerto was not exactly the repertoire staple it is today, the London Symphony Orchestra provides a satisfactory accompaniment. Purists might quibble with the liberal use of string portamento, but the composer--who was not known for his tact--evidently had no objection. The solo works (particularly Suggestion diabolique) demonstrate Prokofiev's exuberance, command of tone color, and ability to shift gears, pianistically. Mark Obert-Thorn has done an excellent job restoring the original 78-RPM recordings. The sound is full and not overly filtered. This CD is not to be missed.

• Piano Concerto No. 3 in C
• Suggestion diabolique, Op. 4, No. 4
• Visions fugitives, Op. 22, No. 9: Allegro tranquillo
• Visions fugitives, Op. 22, No. 3: Allegretto
• Visions fugitives, Op. 22, No. 17: Poetico
• Visions fugitives, Op. 22, No. 18: Con una dolce lentezza
• Visions fugitives, Op. 22, No. 11: Con vivacita
• Visions fugitives, Op. 22, No. 10: Ridicolosamente
• Visions fugitives, Op. 22, No. 16: Dolente
• Visions fugitives, Op. 22, No. 6: Con eleganza
• Visions fugitives, Op. 22, No. 5: Molto giocosa
• Gavotte (from the 'Classical' Symphony, Op. 25)
• Andante assai (from Sonata No. 4, Op. 29)
• Conte de la vieille grand-mere, Op. 31, No. 2
• Conte de la vieille grand-mere, Op. 31, No. 3
• Gavotte, Op. 32, No. 3
• Etude, Op. 52
• Sonatine Pastorale, Op. 59, No. 3
• Paysage, Op. 59, No. 2