Piano Concerto No. 3 (Prokofiev)
Sergei Prokofiev composed his Piano Concerto No. 3 in C Major, opus 26 from 1917 to 1921, the first performance took place on December 16, 1921 in Chicago with Prokofiev as soloists instead.
The Piano Concerto No. 3 is considered the easiest to understand and Prokofiev's Piano Concerto, since, in contrast to the 2nd Piano Concerto dispense with the excessive use of dissonance and is rich in musical ideas. To date, it enjoys great popularity ( for example, this concert was performed by the two highest ranked pianists in the finals of Tchaikovsky Competition 2007). The first performance in Chicago was incorporated behave, until the Paris premiere of 1922 ( conductor Sergei Aleksandrovich Koussevitzky, pianist Prokofiev ), the work was received by the public.
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Occupation
The work is scored for the following orchestra:
Woodwind player
Brass
Striking mechanism
Strings
Music
First Set
The first movement opens with a lyrical melody, played by the clarinet and then taken over by the strings, and then converted into a staccato run for piano use. From then on, the music exudes a strong rhythmic vitality. After a continuous increase in the power ebbs away; the grotesque side issue is introduced by the oboe and repeatedly taken up by the piano and varied. Instead of the return of the main theme there is a relatively short passage, which leads to the implementation.
This always starts becoming quieter with the re- presented by the orchestra lyric initial thoughts, but this time fortissimo. After a single presentation of this topic by the orchestra is a romantic processing thereof by the piano one, after which transferred to a section of relatively simple harmonic arpeggios. The same staccato reconciliation as at the very beginning is now transferred to the piano and leads to the recapitulation.
This differs, however, very quickly from exposure now and again assumes grotesque. Finally, the staccato passage leads through to the end of the first sentence.
Second sentence
The second set ( E minor ) is a theme with five variations and return of the theme at the end, in which, for a slow middle movement surprising outweigh the rapid variations.
The introduction of the topic is made by flutes and oboes in the form of a gavotte. In this purely orchestral episode Prokofiev's genius comes in terms of instrumentation particularly well.
After the presentation of the theme by the orchestra followed by a slow, very romantic processing held by the piano in the first variation, which begins running with a kind of reconciliation in the form of a long trill followed by a glissando -like. This introduction must be considered as a model of the clarinet introduction of George Gershwin's Rhapsody in Blue.
The second variation consists mostly of very rapid scales and Oktavzerlegungen for the piano while the orchestra handled the topic.
The third variation, throughout along rugged and dissonances still caused by a syncopated emphasis in further unrest, divides the subject so that it is hardly recover.
In the fourth variation (Andante meditativo ) the piano reflects on the main theme in a free dialogue with the orchestra. Falling thirds with the performance indication freddo (cold ) to create the mystical harmonies in this variation, an ethereal mood. The piece ebbs away in pianissimo, from which rises the fifth variation.
This is actually two parts: The first part is like a grotesquely funny dialogue that alternates between playful and effervescent proposals arpeggios; the second part handles the theme mirrored in large chord circumferences.
A series of runs, which embraced the whole keyboard, leads back to the topic, which is accompanied by the piano in pianissimo and staccatissimo chords. The pace of the coda is indeed due to the continuous increase in pace of the previous sentences twice as at the beginning, but also the note values are the double, resulting in the impression that the theme would be played exactly as slow as at the beginning.
Third set
The third movement is marked by brilliant, continuously increased virtuosity. After a particularly virtuosic beginning followed by a thoughtful episode and shortly afterwards a very romantic middle part, which is reminiscent of the middle part of the last sentence of the 2nd Piano Concerto of Prokofiev. This is followed by a recapitulation, which again takes up the theme, thereby increases continuously and finally culminates a a furious finale.
Discography
The third is by far the most frequently bought and rehearsed concert Prokofiev. It is the only concert that the composer himself as a pianist in 1932 with the London Symphony Orchestra conducted by Piero Coppola for His Master's Voice, grossed. Another early recording, with William Kapell Antal Dorati 1949, also held up to this day in the catalog. Van Cliburn recording with Fritz Reiner and the Chicago Symphony Orchestra 1960 was the first recording of the concert in the Chicago Orchestra Hall, where the first performance took place in 1921. Byron Janis ' Moscow 1962 recording was the first shot in the Soviet Union, which was supervised by non-Russian sound engineers. Martha Argerich played the concert twice; In 1967 with the Berlin Philharmonic under Claudio Abbado, Charles Dutoit in 1997. The latter recording was awarded a Grammy. The inclusion of Terence Judd at Tchaikovsky Competition in 1978 under Alexander Lazarev was released on LP and CD and is available today. Yevgeny Kissin brought it so far even on three shots; the last under Vladimir Ashkenazy also won a Grammy. Among the complete recordings of all five piano concertos are Ashkenazy ( with Previn ), Alexander Toradse ( with Gergiev ), Vladimir Krainew ( with Kitajenko ), Yefim Bronfman ( with Mehta ), Michel Béroff ( with Masur and the Leipzig Gewandhaus Orchestra ) and Horacio Gutierrez in common total recording with Boris Berman ( under Neeme Järvi ) call.