Sergei Prokofiev: Complete Piano Music, vol. 1

Sergei Prokofiev Sonata no. 6 in A-major, Op.82 1. Allegro moderato 2. Allegretto 3. Tempo di valzer lentissimo 4. Vivace 5. Dumka Visions Fugitives, Op. 22 6. I. Lentamente 7. II. Andante 8. III. Allegretto 9. IV. Animato – Più sostenuto 10. V. Molto giocoso 11. VI. Con eleganza 12. VII. (Arpa) Pittoresco 13. VIII Commodo – Meno mosso 14. IX. Allegretto tranquillo 15. X. Ridicolosamente 16. XI. Con vivacità 17. XII. Assai moderato 18. XIII. Allegretto 19. XIV. Feroce 20. XV. Inquieto 21. XVI. Dolente 22. XVII. Poetico 23. XVIII. Con una dolce lentezza 24. XIX. presto agitatissimo e molto accentuato 25. XX. Lento Sonata no. 7 in B-flat major, Op. 83 26. I. Allegro inquieto – Andantino 27. II. Andante caloroso 28. III. Precipitato Sergei Prokofiev Piano Works © The gradual undermining of traditional tonal relationships that characterises late 19th century music from Wagner through Liszt to Richard Strauss, Mahler and Debussy, presaged the complete breakdown of tonality in the works of Schönberg and his pupils. This crisis may be seen as the logical outcome of increasingly highly charged Romantic expression and it created particular problems for the Romantic instrument par excellence, the pianoforte. What the visionary Liszt had already demonstrated in his exploratory late piano works became clear to composers in the first decades of this century: dense textures and traditional keyboard virtuosity were incompatible with the new refined tonal language. The realization spawned several parallel schools: uninhibited by a strong national tradition, Debussy forged a totally new approach  o piano composition and keyboard colour, elegantly avoiding the issue altogether; other composers sought refuge beneath the umbrella of neo-nationalism, an eclectic approach in which classical/romantic techniques could be adopted to individual needs (Rachmaninoff, Ravel, Albeniz etc.); others sought to impose the grand keyboard approach with some modifications on the extended harmonic language (Berg, Scriabin, Busoni); others still reacted by reducing expressive means to a bare  inimum (Webern, late Schonberg). SERGEI PROKOFIEV conformed to none of these trends – and to all of them. Though his often percussive use of the keyboard may be considered anti-Romantic per se, he does not shun traditional large forms bristling with notes that demand a highly virtuoso piano technique. On the other hand he is capable of the conciseness and extreme abstractions of the minute ‘Sarcasm’ and ‘Vision Fugitives’. Yet his entire output is characterised by the brilliant sonorities and incisive rhythm typical of many of the ‘neo-nationalists’. RELEASE DATE: AUGUST 1995 CATALOGUE NUMBER: DACOCD 391 EAN: 5709499391006 Download BOOKLET (PDF) Related