On Saturday, October 22, 2022 at 3:58:00 PM UTC-7, Ed Presson wrote:
I recently listened again to 2 sets of Prokofiev's Piano Concertos. Both have
merit even though they seem to me to be polar opposites. Both 2 CDs.
Vladimir Krainev/Dmitri Kitaenko/Frankfurt Radio Symphony Orchestra
Teldec 9031-73257
Jean-Efflam Bavouzet/Noseda/BBC Philharmonic.
Chandos 10802
Krainev seems to deeply engaged with these concertos, both in their structure
and their emotions (although that may the wrong word with these works). Kitaenko had been called an "exciting" conductor by the American Record Guide
editor. I would demur, I find him blunt and powerful. The resulting performances do
have both excitement and "bottom."
Bavouzet and Noseda deliver very "French" performances: they stress
clarity,
emotional restraint, transparency, and lightness of touch. The sound also short-
changes the bass that is always an important part of Prokofiev's orchestration.
The result, to me, seems like "Prokofiev Lite."
I can enjoy both sets, but neither contains a favorite performance of a concerto.
From my limited shelf, I prefer Argerich in Cto 1,
Cto 2, Frager/Liebowitz and Yundi Li and Ozawa. Liebowitz brings out the sweet/sour
contrast of the orchestral contribution, and Ozawa sounds like he woke up. Cto 3, Argerich, Janis, and Browning.
Cto 4 & 5. I don't have enough alternatives to have a preference.
What are your favorite sets, if any?
Ed Presson
Have you heard the earlier Krainev/Kitayenko on Melodiya? That one, for me, is the one to beat in terms of power and nerve; qualities augmented by the expressive, "hot" Moscow Philharmonic winds and brass. The Prokofiev PC 2 on that is superb. Toradze/
Gergiev share many of these qualities on their set.
I'll also add another vote for Browning with the BSO and Leinsdorf. Browning is his usual magisterial self, gilding Prokofiev's motor rhythms and brawny chords with enough golden warmth to remind one that, behind the jokes and bluster, the composer's
heart lay in the 19th century. The BSO, still preserving the tangy Gallic sound they had cultivated under Munch and Koussy, pair wonderfully with his playing. Leinsdorf, who often just bulldozed (or simply dozed) through other composers' music, is on top
form here.
Bavouzet and Noseda do prioritize textural transparency, but I don't find it "lite." In fact, it was the acid sting of their reading of Prokofiev PC 5 which compelled me to purchase their set. They really lean into the dissonances and asymmetric rhythms;
if Browning was gold, Bavouzet is the polished chrome on an art deco skyscraper.
Never understood why Béroff/Masur was for a long time the go-to recommendation. Whatever insights Béroff could have imparted is lost in EMI's dull, flat, and soulless production; while Masur is lousy, muddy, and misguided. Why Western record companies
doted on him and ignored his far more talented DDR colleagues (e.g. Kegel, Bongartz, Rögner, et al) will always be a mystery to me.
--- SoupGate-Win32 v1.05
* Origin: fsxNet Usenet Gateway (21:1/5)