Repertoire: The IDEAL Prokofiev Piano Concerto Cycle

[@ce2167-n1t]

Dear Mr. Hurwitz. Your channel is one of the best things that happened this year. We desperately needed a great classical music critic to communicate with a wider public. I know that you did that for years on your site, but this raised your visibility to another level. We have Simon Schama for art/history, Roger Ebert for movies, and now you for music. A treasure to cherish. Thanks again.

[@UlfilasNZ]

Agreed with those names!

[@DavesClassicalGuide]

Thank you so much! That's very kind and I'm deeply touched.

[@quinto34]

So true! Also the Jazz Shepherd is very entertaining and informative if you like Jazz

[@francoisjoubert6867]

@@UlfilasNZ fftty

[@AdiMaco]

Prokofiev Piano Concerto nr. 2. What a masterpiece! It is from another world.

[@davidgoulden5956]

Agree. What a titanic piece.

[@RoboticsBay]

Extremely demanding on both sides

[@charlescoleman5509]

“Artists don’t matter. Works matter. Composers matter.” Speaking as a composer, you’ve just brought my self esteem up a notch. 😁

[@steps222]

I beg to demur. In the 3rd, William Kapell mattered.

[@fh854]

They do matter, just not as much as they think they do

[@jdistler2]

Wonderful list. However, I just reconnected with the Samson François Prokofiev Fifth with Rowicki conducting the Philharmonia Orchestra, and I have to say that I may well lean towards this one, not just because François is on great form, but the Philharmonia plays better for Rowicki than the Polish Radio Orchestra in the Richter recording. And as I wrote years ago about Katchen/Kertesz in the Third..."Argerich smokes....but Katchen inhales!". That probably would be my ideal Third. And I still think the Ancerl Second with Dagmar Baloghova as quite wonderful, but Bronfman/Mehta have the sonic advantage, of course. We are indeed spoiled for choice.

[@lowe7471]

This is a fantastic channel and service to music lovers. Thank you for doing this with such fervor and in-depth analysis. I have always struggled a bit with Prokofiev, but this review (along with the symphony cycle review) has made me want to go and listen to more of him and figure it out.. Really looking forward to and hoping you will get into some cello concertos soon...so many artists/pieces/orchestras/performances from which to choose...

[@francoisdesnoyers3042]

The number 5 is my favorite by far !! with S. Richter, its one of my favorite piano concertos of any composer. :-)

[@andrewgrimshaw4788]

I'm glad you talked about the magnificence of the G minor concerto; I always thought it a work of staggering genius, but you rarely hear anyone talking of it, alas. One version I was always really fond of was the elderly Cherkassky (sui generis) live on BBC Legends.

[@RabidCh]

This is something I've already thought about. Liming myself to recordings on commercial labels only: 1. Moravec, Ancerl (Supraphon) - This recording catches a young Moravec with ideal energy and signature piano tone. Not the greatest sound quality, but it doesn't hurt the performances in my opinion. 2. Gutierrez, Jarvi (Chandos) - Gutierrez brings out all the devastating colors and weight in this concerto, and lacks no technique whatsoever. 3. Francois, Rowicki (EMI originally) - There's a kind of measured swing and dry French tone that Francois has that really makes his interpretation unique with his attention to all the punchy rhythms amongst all the more straightforward performances. 4. Krainev, Kitaenko (Teldec) - Krainev just exudes elegance and lyricism in this recording, maybe I should say wonderous? 5. Toradze, Gergiev (Philips) - Richter is actually my ideal here, but Toradze's a lot of fun in this concerto. He plays all sorts of phrases and accents differently from other pianists that really multiples the work's humor.

[@Recolation]

Good choices!

[@armandodelromero9968]

For the second, my ideal interpretation would be a recent one: Yundi Li with Ozawa and the BPO. Incredible! Li is in full control and masters the cadenza like no one else.

[@AlexMadorsky]

I’ve been tremendously looking forward to this one Dave! Thanks for doing an ideal Prokofiev piano concerto cycle for your eager audience. I’m an oddball lover of leftie #4 myself, but I really do love the whole cycle. I think it’s the best piano concerto cycle in the 20th century (not that there are that many worthy composers who wrote 3 or more from 1900-2000). You’ve assembled a truly lovely cycle. Serkin and Ormandy is a wonderful #4. HOWEVER, my favorite is Mustonen and Lintu with the Finnish Radio Symphony. His 4th is imbued with both finesse and strength, and a great starting point for anyone who doesn’t think much of the work.

[@gavinaustin4474]

I love #4 as well. It has an airiness and lightness that is most beguiling.

[@SvenErik_Lindstrom3]

Go Olli and Hannu!

[@jameslee2943]

Current “ideal” list: 1. Gavrilov + Rattle (EMI): not quite as good as Argerich IMHO but very close. 2. Gutierrez + Järvi (Chandos): monumental cadenza 3. Janis + Kondrashin (Mercury): incredible clarity, which you can hear because the way Mercury miked Janis you are practically sitting on the piano bench next to him. Not that I’m complaining. 4. Paik + Wit (Naxos): to avoid having to lie about owning the Serkin… Paik’s complete cycle is excellent. 5. Samson François + Rowicki (EMI): Prokofiev with Gallic flair. Desert Island Prokofiev Piano Concerto Recording (one concerto recording only, forsaking all others): no. 3 with Argerich and Abbado.

[@joelvalkila]

I love the Kun Woo Paik cycle on Naxos. Artistically, it's surprisingly good !

[@DavesClassicalGuide]

I agree.

[@Highinsight7]

I LOVE Viktoria Postnikova.... very elegant and energetic... ALSO LOVE your channel, Dave... keep 'em coming... you gives us something to think about...

[@philscott6085]

Great choices. I don't know Kempf's concertos but I like him in the Prokofiev sonatas he has done for BIS. I've always loved the old EMI set from Michel Beroff and Masur (!): great energy, and my favourite No. 2. When it comes to the Third, it is hard to choose. I have a soft spot for Katchen, but I first got to know it on LP from a fabulous disc of Nos. 3 and 5 with Samson Francois (what a pianist he was). I think his conductor was Rowicki, same as in Richter's 5th. I've never managed to get that on CD but I suppose it's in a Warner Francois box? I am impressed by Mustonen's recordings - though his detached touch means he misses some of Prokofiev's lyricism. That matters less in No.4, so he and Lintu would be my ideal choice there (in spite of Serkin, Fleisher etc).

[@allthisuselessbeauty-kr7]

Ok had to have a little think about this and have a re-listen to some. So here goes for my choice: 1st Freire/Ahronovitch. A radio broadcast now on Decca that needs no apology in terms of playing or recording quality IMO. Miraculous technique from Freire, exciting and sensitive playing from all throughout particularly in the Andante assai movement. 2nd Ashkenazy/Previn. A charactful strong performance, very imposing (particularly in the Intermezzo). 3rd Katchen/Kertesz. The austere presentation of the clarinet and orchestral introduction to the 1st movement in this version has always struck me as perfect; an unfussy, poetic but also a terrifically exciting performance throughout. 4th Fleisher/Ozawa. They truly make it sound more substantial than it probably is! Wonderfully deft, humourous first movement and a particularly poignant 2nd. Oh and the Boston Symphony Orchestra are amazing. Original disc had great couplings too (Ravel & Britten). 5th Bronfman/Mehta. Stunning - the playing is alert, spirited and gorgeous (the Israel Phil amazing) recording quality magnificent. Thanks

[@ppfuchs]

Oh, I love Jorge Bolet on the Second Concerto. He brings an elegant edge to the whole thing.

[@neilford99]

Two live recordings of his have appeared on youtube, one in superb sound from Switzerland. Another with stoki.

[@kingconcerto5860]

My favorite cycle is a sleeper set- Michel Beroff with Kurt Masur conducting the Gewandhaus Orchester Leipzig on EMI.

[@alanmcginn4796]

Dave - rewatching this again - would love a BEST Prokofiev Piano Concertos video - would be fun. Just listening to Previn / Ashkenazy from my newly purchased Ashkenazy Concertos box.

[@estel5335]

My noob-level cycle so far: 1st: Argerich/Dutoit (need her ferocious virtuosity at least once here) 2nd: Baloghova/Ancerl (best sounding 2nd Concerto and pure poetry) 3rd: Graffman/Szell (it's going to make you search for more of Graffman and can't really describe this epic performance. It is intoxicating) 4th: Ashkenazy/Previn again... (sry, I had to pick them in the 2nd and here, there is no way around that. I need Previn's soft-edged, mellow accompaniment here.) 5th: Bronfman/Mehta (love the melody Mehta is getting here from the orchestra) -- Also have to plug Osborne's War Sonatas 6-8 here! They are epic!

[@keithcooper6715]

Thank You DAVE - A pleasure listening to YOU expound on music I Love

[@jfddoc]

Cto 1 Richter/Ancerl Cto 2 Henriot/ Munch (also includes a great Barber Medea) Cto 3 Graffman/Szell Cto 4 Fleisher/ Ozawa Cto 5 Ashkenazy/ Previn

[@davidhickey1182]

No. 1 Kissen/Abbado Berlin DG No. 2 Rana/Pappano Orchestra of Santa Cecilia Academy Warner No. 3 Van Cliburn/Hendl Chicago Symphony RCA No. 4 Bavouzet/Noseda BBC Philharmonic Chandos (you took my favorite; maybe take Serkin's Bartok 1 when the time comes?) No. 5 Hollander/Leinsdorf Boston Symphony RCA

[@Highinsight7]

I too was lucky enough to see Argiretch do Prokofiev Three with the BSO... the same week Leonard Bernstein left us... She was spectacular!

[@mickeytheviewmoo]

I agree that constant recording of mainstream works have a devaluing effect. Its criminal that there are so many composers that hardly get any attention. I love labels likes CPO, Hyperion, etc. that have a different philosophy

[@douglastaylor999]

Just heard this as I'm listening to more of your KZbin videos. I found the Freddy Kempf / Litton on KZbin and you are certainly right it is a sparkling performance! Never heard of the pianist before but Andrew Litton was here in Colorado for a few years and we did go down to Denver to here that concert which was memorable, that's for sure. First time my daughter and her husband had been to a real concert! Not to be nosy but you come across in these videos as having just listened to dozens of recordings to make your observations. But I don't think it's possible to listen to that much - do you have clear memories of listening to something once and are able to recall these details?

[@DavesClassicalGuide]

I do a LOT of listening, but I also have a very good memory for performances. It's part of the business. So it's a combination of the two.

[@Listenerandlearner870]

Yes. Yujah doing Turangalila is on KZbin before the cd of it.

[@arikaufman7543]

I watched the film “The Competition” laat night. Amy Irving aka Daniel Pollack does a blistering version of the Prokofiev 3rd! Have you done a video on great movies about classical music? This one has got to rank near the top!

[@DavesClassicalGuide]

No, I haven't.

[@fulltongrace7899]

Requesting the best recordings of the two Prokofiev violin concertos, which I love. Sorry but i have only heard Guiterrez on piano concertos 2 & 3, and the Naxos Kun Woo Paik on all 5, which I enjoy.

[@im2801ok]

I love the Paik-Wit cycle - I think it's one of the best out there. In particular, there's that cosmic moment at the end of the great cadenza of the second concerto's first movement (I, too, think it's Prokofiev's greatest), where the whole orchestra is thundering out the first theme of the movement, led by the low brass. Under Wit, it sounds as if all the vessels in the harbour are simultaneously sounding their horns as in some majestic honorary tribute. "Electrifying" cannot begin to describe the effect!

[@mickeytheviewmoo]

Guiterrez on piano concertos 2 & 3 with Jarvi is a great disc . One of my favourites

[@ThankYouKiwi]

Im just going to be honest. My favorite recordings of all 5 concerti is Ashkenazy's. Ive experimented a lot with different recordings but nothing matches their rythmic excitement and clarity. All of his pedaling and tempo choices just feel perfect to me.

[@DavesClassicalGuide]

Fair enough! I can't argue with the choice.

[@johnwright7749]

I have to agree with you, though I also have Argerich with 1 and 3 which I like equally well. Of course I never listen to 4, but was introduced to the concerto from Serkin/Ormandy’s recording that had the Bartok 1 with Szell on the flip side. I wore that side out, but could never warm up to the Prokofiev.

[@LeonFleisherFan]

My favorites over the years have been: 1. Richter/Ancerl, Richter/Kondrashin, Katz/Boult & Graffman/Szell 2. Baloghová/Ancerl & Vinnitskaya/Varga (studio and live) 3. Janis/Kondrashin, Kapell/Stokowski, Graffman/Szell, Katchen/Kertész & Kapell/Doráti 4. Fleisher/Ozawa, Serkin/Ormandy & Browning/Leinsdorf 5. Richter/Rowicki

[@brunoluong7972]

Waoh, my list would be identical to yours.

[@LeonFleisherFan]

@@brunoluong7972 Can't say I'm surprised, of course! Admittedly, I have lots of other recordings, but over the years, these are the ones I return to with regularity. The replies here make me think I'll give a listen to some I haven't listened to in a while, though, should be fun!

[@michelangelomulieri5134]

Would be interesting an ideal cycle for piano sonatas as well..

[@DavesClassicalGuide]

Don't push your luck!

[@michelangelomulieri5134]

@@DavesClassicalGuide ok Maestro!

[@billslocum9819]

@@michelangelomulieri5134 I agree, the sonatas are fertile ground for some in-depth round-the-bases analysis, though I think solo pieces are harder to treat this way because it almost boils down to rating musicians and how and when they were recorded.

[@michelangelomulieri5134]

@@billslocum9819 your point is grounded as well.. 👍

[@Recolation]

I think, for me at least, historical recordings hold importance when they offer something which is uniquely different from our own modern performances; i.e. they follow a tradition now lost, have a unique sound or interpretation to them not offered anywhere else, -- which in itself can be derived from tradition -- or are so heads and tails above the competition that no one has supplanted or equaled them in decades. That last case is extremely rare, though. You can't really find the unique timbral qualities of the old Concertgebouw or Conservatoire orchestras anymore, and so their historical recordings hold a lot of value for me. The same goes for unique pianists, conductors, string quartets, and so on; do they offer something which is wholly unique and hasn't been provided elsewhere in modern recordings? Then I think that they still matter. Of course, just because something is unique doesn't mean it's good, but, in a sense, I think even uniquely bad recordings still matter, since we can learn from them. I do agree, though, that many times interest in historical recordings can approach an unhealthy fetishism. I know of more than a few people who refuse to listen to modern recordings of anything, which is a real shame when there are still so many great artists.

[@DavesClassicalGuide]

That sounds entirely reasonable to me!

[@Don-md6wn]

How can you hear the unique timbral qualities of the Concertgebouw in 1930's recordings when the woodwinds sound like kazoos and there is not enough dynamic range for you to hear and feel the double basses? If a unique sound is there, with the historical recordings I've heard the listener has to imagine it.

[@Recolation]

@@Don-md6wn The variability depends on which recording we're talking about, but in just about every recording of the Concertgebouw -- from the 30s to the late 50s mono -- the tight brass is unmistakable. Woodwinds are another matter since their audibility can vary greatly depending on the recording, but in many of the live performances and Telefunken recordings I would say they're pretty decent. The Mengelberg Mahler 4th has a fairly wide dynamic range including some absolutely biting winds. Even the contrabassoon is quite audible, which ironically can't be said for some modern recordings which often bury it. The same holds true for the Conservatoire. Most of their recordings are mono, but I have no trouble picking out their unique qualities. Additionally I think it's rather arbitrary to bring up 1930 recordings. You don't have to listen to 1930 recordings to hear the Concertgebouw's unique timbral qualities, you can listen to a 1950s early stereo recording with van Beinum, or many of the recordings Haitink made in the 1960s. Both of which I would still define as "historical" recordings. Just because something is in stereo doesn't make it a modern recording. Speaking generally, of course -- I'm not suggesting that's your position.

[@Don-md6wn]

@@Recolation We have different definitions of historical recordings. I think of them pretty close to the mono/stereo divide, though I've heard some decent mono recordings from the 50's. There are plenty of very good sounding stereo recordings from the late 50's and the 60's so I'm not including them in historical recordings.

[@ohartnet81]

Terence Judd with Moscow/Lazarev gets my vote for No 3. I had so many favorites of no 3, Argerich, Janis, Beroff, etc and it was hard to pick one, and then I heard the Judd recording and … case closed for me!

[@arielespino151]

Thanks for this channel. My comment: I take issue with the bleak assessment of the 4th concerto, which I consider the third best by Prokofiev, after the 2nd and 3rd. It is strange and original, with great melodies. The highlight is the Andante, which is the longest movement of the concerto. A composer mostly known for his vertiginous music, Prokofiev wrote a handful of sublime, brooding, and extremely slow pieces, and this concerto has one of them. In his piano compositions, it only has parallels in the first movement of the 4th sonata and in the wonderfully marked “Tempo di valzer lentissimo” (3rd mov.) of the 6th sonata. It is meditative music, which is always on the verge of falling apart and dissolving in thin air.

[@DavesClassicalGuide]

Whatever floats your boat!

[@arielespino151]

Sorry, I should have said the 2nd movement of the 4th sonata...

[@mrktdd]

Terrific choices by DH - I agree with response below, one of the best things that happened this year. Here are some alternative choices - No 1 - Katz LPO Boult No 2 Cherkassky, Philharmonia, Menges No 3 Katchen LSO Kertesz No 4 Browning Boston Leinsdorf No 5 - well, of course DH's choice is the one to go for so here is a horror choice Brendel (19 yrs old) Vienna Sternberg. Brendel tried unsuccessfully to get the CD reissue banned. Can I ask David Hurwitz if you have ever thought of doing a presentation of the most unlikely couplings of artist and work - my top choice so far would be Carlos Kleiber conducts George Butterworth English Idyll No 1 - however did it happen? It would be interesting to have a presentation of some such unlikely couples.

[@DavesClassicalGuide]

That would be amusing, but I don't know if it's a whole talk. My personal favorite was always Tennstedt's EMI "Eroica" coupled to Mussorgsky's "A Night on Bald Mountain." Now there's a natural pairing!

[@albertcombrink3717]

Please can I adopt you? I enjoyed this so much and I would love to spend an evening listening and talking recordings with you!

[@DavesClassicalGuide]

You are so kind.

[@noblekime5912]

I saw Vadym Kholodenko play #2 in San Diego. A visit from another dimension. He recorded it, but I haven't heard the disc.

[@stevenmsinger]

You'll have to take my word for it, but I actually did make an ideal list of Prokofiev Piano Concertos a few years ago on my iTunes Playlists. The reason was it was just so obvious. I had a clear favorite in each piece and none of the cycles were 100% satisfactory (though the Bronfman is also my favorite). So here's what I came up with: No. 1 - Gavrilov No. 2 John Browning No. 3 Kapell No. 4 Fleisher No. 5 Richter I know. I know. You picked Richter, too, but he's the obvious best choice.

[@stevenmsinger]

So I listened to your Rudolf Serkin recommendation for the Prokofiev 4th Concerto. It was surprisingly good, but the real shocker was his performance of Bartok's first piano concerto. It was one of the best I have ever heard! It absolutely knocked my socks off! Who would have ever thought Serkin would be an amazing Bartok player!? Thanks for the recommendation!

[@tippettt]

Bronfman is great for Concerto no 2 but I like better Evgeni Kissin with Philharmonia and V. Ashkenazi - the rithms are great and the cadenza is absolutely fabulous. For the first I would chose Bronfman with Israel PO and Mehta and for the third Martha Argerich with Berlin PO and Abbado. The rest are history! :))))

[@alighieroalighieri404]

What are your thoughts on Girgiev and Toradze for the 3rd piano concerto on Philips?

[@DavesClassicalGuide]

Please check out reviews on ClassicsToday.com.

[@leslieackerman4189]

You should update this assessment. Focused on Amazon, some out of print recordings sell at extra-top price. Why?!

[@DavesClassicalGuide]

No need to update. Great recordings are great recordings, and if they aren't available now, they will come back eventually.

[@jgesselberty]

Was this about Prokofiev Concerti or a rant about historic performances and the plight of the recording industry? LOL Your tangents are entertaining.

[@williamfarr8807]

Alfred Hitchcock compared actors to cattle (tongue in cheek no doubt). I agree, it is the directors and possibly the writers that really make great films. I think it is the same for performers vs. composers, and singers and songwriters as well.

[@saraband2004]

I wish David could talk more about his love-hate relation with Sviatoslav Richter. Richter has a cult following, as much as Furtwangler. I hope David could dismiss some myth around Richter just as he did in Furtwangler's Nazi 9th.

[@jimyoung9262]

1. Graffman/Szell 2. Ashkenazy/ Previn 3. Argerich/Abbado 4-5 could care less

[@miketackett4283]

Hey - that’s *my* list!

[@shingosanada4396]

Yes, Ashkenazy's 2nd is the most devastatingly compelling version

[@tylerknowlton]

We need you to do the piano sonatas!

[@DavesClassicalGuide]

Do what to them?

[@johnburlinson6697]

Only one from a cycle. 1. Graffman/Szell -- soloist and conductor in perfect sympathy 2. Rana/Pappano -- full of vitality and exuberance 3. Cliburn/Hendl -- tempi are invariably just, not pushed. No percussive bravura here, just clarity and refined musicianship. 4. Fleisher/Ozawa -- you get some great couplings, too: Ravel and Britten 5. El Bacha /Ono -- mordant when it needs to be, deeply expressive when it can be. RE: Artists don't matter. Callas didn't matter? Toscanini?

[@DavesClassicalGuide]

As I said, except to the extent they did something unique. As soon as Sutherland came along and did the same repertoire, Callas mattered a lot less. You get the point, I'm sure.

[@johnburlinson6697]

@@DavesClassicalGuide Yes, I think I get your point, but I'm not sure I agree. To my mind, as soon as Sutherland (and others) came along doing the same repertoire, Callas mattered a lot more. If they hadn't, Callas wouldn't be considered to have pioneered the performance of this repertoire; she would just have been a distinctive singer who liked to perform minor, esoteric fare. She opened the door -- that made her important. If others hadn't followed through the door, then she would have been less important. Toscanini ditto -- except that his door-opening wasn't so much repertoire as it was performance style.

[@DavesClassicalGuide]

@@johnburlinson6697 As I said, except to the extent that they did something unique...it's a general point. There will always be exceptions and it isn't difficult to find them.

[@maudia27]

In nº1 - Better than Argerich and Dutoit only Argerich and Rabinovitch-Barakovsky - serious