Prokofiev Donohe

When Russian composer Sergei Prokofiev visited Hollywood in the late 1930s, his friend and American champion, maestro Leopold Stokowski, was recording The Sorcerer’s Apprentice, to be used in Fantasia. Prokofiev was indelibly impressed by Walt Disney’s work. He saw how the Disney artists made their animation efforts adhere closely to pre-recorded music tracks; he experienced the click track, a device developed by Disney to ensure that sight and sound were closely coordinated. He then returned to Russia to work with Sergei Eisenstein on the epic film Alexander Nevsky.

Canadian pianist Stewart Goodyear, in a seminal year approaching his debut at the BBC proms, presents his new album of works by Sergei Prokofiev, alongside the BBC Symphony Orchestra under Andrew Litton. Proclaimed "a phenomenon" by the Los Angeles Times and "one of the best pianists of his generation" by the Philadelphia Inquirer, Stewart Goodyear has carved out a formidable international reputation as both concert pianist and composer, with an impressive catalogue of recorded repertoire to date.

The three works gathered here date from Sergei Prokofiev's last years. Despite his declining health as well as the oppressive political climate, the composer could count on the support of great musicians, in particular the cellist Mstislav Rostropovitch. The relationship contributed to the writing of works for cello. The first was the Symphony-Concerto, an improved reworking of a much earlier cello concerto.

Pianist Lise de la Salle has a big tone and a strong technique, but while she is surely up to the technical requirements of Prokofiev's and Shostakovich's first piano concertos, she seems out of her depth in their interpretive demands. She can pound her way through the muscular rhythms and massive sonorities in the outer movements of Prokofiev's concerto but appears immune to the lyrical poetry in the legato lines of the work's central Andante assai.

Études are primarily intended as exercises to train musicians in specific techniques, but since the Romantic era they have become associated with other miniature forms, such as the prelude and the intermezzo, and frequently regarded as evocative character pieces or tonal pictures. Garrick Ohlsson's album of piano études by Claude Debussy, Sergey Prokofiev, and Béla Bartók offers a brief survey of the genre in modern practice, and demonstrates the blending of pedagogy and poetry in these works. Ohlsson has become internationally known as an exquisite interpreter of the music of Frédéric Chopin, and much of the subtlety and atmosphere found in his previous recordings is present here. Ohlsson's finesse and humor are perhaps most evident in Debussy's Études, L. 143, which have a lighter character than Prokofiev's Études, Op. 2, which tend toward the sardonic side, and Bartók's Études, Op. 18, which are intensely virtuosic and mysterious. Hyperion's recording captures the nuances of Ohlsson's playing, and the piano is close enough to hear every detail, while the acoustics lend it a pleasant natural aura.

Violinist Kyung-Wha Chung's highly intense compelling performances especially in the Prokofiev Concerti here have made them favorites in Decca's catalogue for years. Rather than purely dwell on the technical rigor these works demand (as many violinists often do), Chung instead focuses more on Prokofiev's lyricism in an effort to draw out the full and varied range of emotional qualities in the score. Conductor Andre Previn and the London Symphony Orchestra couldn't be more understanding and supportive collaborators and Decca's sound, while spotlighting Chung slightly, is quite good.

Prokofiev’s chamber music is stimulating, hugely varied, and impregnated with his distinctive brand of melody. Take the two Violin Sonatas – the First intensely dramatic, by turns rhetorical and contemplative, epic in its content; the Second altogether cosier, a reworking of a slightly earlier Sonata for the flute. Bell and Mustonen are well attuned to this music, their interpretations thoughtful and persuasive.

Janine Jansen releases her first concerto album in nine years, pairing the iconic Violin Concertos of Sibelius & Prokofiev. Janine is joined by Klaus Mäkelä and the Oslo Philharmonic Orchestra for this album, forming the ultimate classical dream team. “The highlight of the program was the Sibelius Violin Concerto, in the hands of the Dutch Janine Jansen… Jansen and Mäkelä recorded this concert together last summer… and it promises to be a true reference, based on what was heard in Oslo.” - Platea