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Prokofiev: Piano Concertos Nos. 1 - 5 (2CD)
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Sergey Prokofiev
Andre Previn, London Symphony Orchestra, Vladimir Ashkenazy
Zoznam skladieb
Prokofiev: Piano Concerto No. 1 in D flat major, Op. 10
Work length15:38

Vladimir Ashkenazy (piano)
London Symphony Orchestra
André Previn

1. Allegro brioso
Track length6:52

2. Andante assai
Track length4:34

3. Allegro scherzando
Track length4:12

Prokofiev: Piano Concerto No. 4 in B flat major, Op. 53
Work length23:18

Vladimir Ashkenazy (piano)
London Symphony Orchestra
André Previn

1. Vivace
Track length4:25

2. Andante
Track length8:56

3. Moderato
Track length8:22

4. Vivace
Track length1:35

Prokofiev: Piano Concerto No. 5 in G major, Op. 55
Work length24:47

Vladimir Ashkenazy (piano)
London Symphony Orchestra
André Previn

1. Allegro con brio
Track length5:20

2. Moderato ben accentuato
Track length4:43

3. Toccata
Track length1:53

4. Larghetto
Track length7:28

5. Vivo
Track length5:23

Prokofiev: Piano Concerto No. 2 in G minor, Op. 16
Work length32:34

Vladimir Ashkenazy (piano)
London Symphony Orchestra
André Previn

1. Andantino
Track length12:08

2. Scherzo (Vivace)
Track length2:36

3. Intermezzo (Allegro moderato)
Track length6:22

4. Finale (Allegro tempestoso)
Track length11:28

Prokofiev: Piano Concerto No. 3 in C major, Op. 26
Work length28:33

Vladimir Ashkenazy (piano)
London Symphony Orchestra
André Previn

1. Andante - Allegro
Track length9:45

2. Tema con variazione
Track length9:12

3. Allegro ma non troppo
Track length9:36
While it's true that the Prokofiev piano concertos are an uneven body of work, there's enough imaginative fire and pianistic brilliance to hold the attention even in the weakest of them; the best, by common consent Nos 1, 3 and 4, have stood the test of time very well. As indeed have these Decca recordings. The set first appeared in 1975, but the sound is fresher than many contemporary digital issues, and Ashkenazy has rarely played better. Other pianists have matched his brilliance and energy in, say, the Third Concerto, but very few have kept up such a sure balance of fire and poetry. The astonishingly inflated bravura of the Second Concerto's opening movement is kept shapely and purposeful and even the out-of-tune piano doesn't spoil the effect too much. And the youthful First has the insouciance and zest its 22-year-old composer plainly intended. Newcomers to the concertos should start with No 3: so many facets of Prokofiev's genius are her, and Ashkenazy shows how they all take their place as part of a kind of fantastic story. But there are rewards everywhere, and the effort involved in finding them is small.
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