Prokofiev 'Other' Symphonies

[gurnemanz]

If this thread is going to go OT, perhaps it would be interesting to consider Prokofiev's 'other' piano sonatas. Apart from the 'war trilogy' (6, 7 & 8) these nine works are remarkably little known, at least in the West.

I remember first being hooked by Prokofiev solo piano when I heard (and recorded to cassette from R3) the Tales of an Old Grandmother about 40 years ago. But I still only got to know a few works and only remedied the situation quite recently when I acquired the thoroughly recommendable 4CD set from Matti Raekallio on Ondine.

[Richard Barrett]

the thoroughly recommendable 4CD set from Matti Raekallio

Good to know; I've been wondering about a way to get properly acquainted with his piano music.

[Bryn]

Good to know; I've been wondering about a way to get properly acquainted with his piano music.

Just ordered the set for somewhat less via an Amazon marketplace supplier in Greece. I have most of the Boris Berman but the recommendation of this set was difficult to resist.

[ahinton]

Good to know; I've been wondering about a way to get properly acquainted with his piano music.

I'd certainly recommend that set as well and I'm sure that you'll find the voyage of discovery rewarding. But are these works so very neglected? I don't know, but I'd not have thought so - not so much so as the sonatas of his elder compatriot composer/pianist Medtner (at least until recently). Carlo Grante was going to record all the Prokofiev sonatas years ago but he seems never to have gotten around to it.

[Pulcinella]

Ok. I'm putting 2,3,4 back on to my todo list for the next few weeks.
I'll also revisit Shostakovich 2 and 3.

This thread has encouraged me to do the same!
Listening to Shostakovich 4 as I write.

I have Murray McLachlan doing the piano sonatas (three Olympia CDs); no idea how they 'rate'.
Anyone else got/know these performances?

[richardfinegold]

This thread has encouraged me to do the same!
Listening to Shostakovich 4 as I write.

I have Murray McLachlan doing the piano sonatas (three Olympia CDs); no idea how they 'rate'.
Anyone else got/know these performances?

Richter virtually 'owns' the 3 'War Sonatas'. I think many other Pianists were discouraged from recording them due to his presence

[Pulcinella]

The Christmas edition of BBC Music Magazine, just arrived, makes the Bergen/Litton BIS recording of Prokofiev 4 (1947 version) and 7 (with both endings) its Orchestral Choice.
Five red stars for both performance and recording.

[BBMmk2]

Ah, iare these artists doing a cycle? I rather like how Litton interprets generally.

[Pulcinella]

Ah, iare these artists doing a cycle? I rather like how Litton interprets generally.

Looks like they might be, Bbm.
These already available.

http://www.prestoclassical.co.uk/advsearch.php?composer=Prokofiev&work=&performer=Litton&medium=all&label=&cat=

[richardfinegold]

Ah, iare these artists doing a cycle? I rather like how Litton interprets generally.

I have their recording of the 5th and it's great. Interestingly I listened to a High Rez 2 channel version streamed from ClassicsOnline and in comparison found my multichannel SACD to be much more satisfying. The extra ambience of the multichannel version makes the music seem less claustrophobic.
I didn't find the Bergen/Litton 6th as streamed from Apple to be nearly as interesting.
Just arrived in the mail yesterday is the Ormandy set from cdJapan. The remastering is stunning. I only listened to the disc containing 6&7. 7 is in mono but there is barely any difference between it and the full, rich sonic of 6. I also think Ormandy has a feel for 6; there is an ebb and flo in I that makes more sense out of the movement than either Litton or Rostropovich, my two most recent listens, have accomplished. I will try to listen again tonight

[BBMmk2]

I have their recording of the 5th and it's great. Interestingly I listened to a High Rez 2 channel version streamed from ClassicsOnline and in comparison found my multichannel SACD to be much more satisfying. The extra ambience of the multichannel version makes the music seem less claustrophobic.
I didn't find the Bergen/Litton 6th as streamed from Apple to be nearly as interesting.
Just arrived in the mail yesterday is the Ormandy set from cdJapan. The remastering is stunning. I only listened to the disc containing 6&7. 7 is in mono but there is barely any difference between it and the full, rich sonic of 6. I also think Ormandy has a feel for 6; there is an ebb and flo in I that makes more sense out of the movement than either Litton or Rostropovich, my two most recent listens, have accomplished. I will try to listen again tonight

I must try out these Japanese imports. Are they more expensive though?

[richardfinegold]

I must try out these Japanese imports. Are they more expensive though?

you check the cdjapan site and see. This Prokofiev 3 CD set was about 3700 yen including shipping which I think was about $18.00 US at the time I placed the order

[BBMmk2]

you check the cdjapan site and see. This Prokofiev 3 CD set was about 3700 yen including shipping which I think was about $18.00 US at the time I placed the order

Ah right, thanks! :)(Not a bad price!)

[Jonathan]

I remain unconvinced by Prokofiev's symphonies - I can't abide the 1st (i've probably heard it too many times) and the others seem to be uninteresting to my ears. Maybe I should give them another go?

[jayne lee wilson]

You could see Prokofiev 5-7 as a War Trilogy - thesis-antithesis-synthesis of triumph, tragedy and bittersweet reflection. (cf. DSCH 7-9).
The subtle and enigmatic 7th is an iconic work for me. I find the last pages devastating, as the old musical magus, after looking back at a lifetime of dance, romance and fantasy (the shades of Cinderella and Romeo & Juliet seem often to pass across the symphony) accepts his fate in a twilit, stoical coda, grimly resigned at the end of his final haunting fairytale.

I’m surprised that the similarities between the finales of 6 and 7 aren’t remarked upon more often. Both begin with jaunty little tunes (just a little too jaunty) which soon become wilder and darker, spinning almost out of control before a stasis; a powerful climax on a main thematic idea is followed by a tragic coda: stark catastrophe in the 6th, gloomily funereal in No.7.

As for the suite-symphonies…. the 1930 4th is the most cogent, almost the perfect neoclassical symphony, taking its place with those of Honegger, Roussel or Martinu. (And it has one of the all-time irresistible openings, when the questingly melodious slow intro is followed by that swaggering, driving allegro - marvellous!). The 3rd seems more a series of brilliant moments, more suite than symphony perhaps, but no less compelling for that, with stunningly imaginative ideas and orchestral textures (the tweeter-busting ending of the agitato - wow!). As for the “extended play” version of the 4th, well….Prokofiev was trying to capitalise on the success of the 5th, but the clashingly metallic nature of the double-length 1st movement seems more a take-up of the 2nd Symphony’s machine-music. It retains your interest if you know 4/1930 well, but sometimes feels more like the instrumental b-side of a 12-inch hit single. It makes a bigger noise, so conductors tend to like it. It’s the only Prokofiev symphony I don’t really look forward to, but - always worth another try, especially if the listener avoids 4/1930 while she soaks it up.

No.2 grew out of the Russian Constructivist movement http://www.visual-arts-cork.com/hist...tm#development (***), an obsession with machines, steel and glass, but Prokofiev is too subtle a composer to write merely a symphony-mécanique, so after the teeming, pulverising ben articolato (always musically subtler & more varied than you remember, especially in Karabits’ recording), the variations are often lyrical, dreamlike, evocative. The final one effects an unexpected rapprochement between the symphony’s main elements in a mechanistic, staccato version of the lovely oboe theme. Compelling piece, which often seems to remain just out of reach, like the 7th - so all the more fascinating to return to.
(In a 2006 Gramophone interview, Gergiev said he'd take a few bullets from a Kalashnikov and still claim the greatness of 2,3 and 4 with his dying breath. No wonder Putin likes him so much.)

(No.1 - an instant pop classic - you fall in love with it, can’t get it outta your head, and then it’s over. There before you came, there after you’ve gone, for the nextgen of musiclovers to get a big crush on).

((***) a century later, an inspiration to Mr. R. Barrett too...)