Album available // Prokofiev: Piano Concerto No. 5 by Sviatoslav Richter 🎧 Qobuz (Hi-Res) cutt.ly/meE06L0T Tidal (Hi-Res) cutt.ly/3eE06YGu 🎧 Apple Music (Lossless) cutt.ly/2eE063UY Deezer (Hi-fi) cutt.ly/BeE2quPt 🎧 Amazon Music (Hi-res) cutt.ly/eeE2ql3L Idagio (Hi-fi) cutt.ly/VeE2qQXe 🎧 Spotify (mp3) cutt.ly/6eE2qKux UA-cam Music (mp4) cutt.ly/DeE2qMoE 🔊 Download the album (Hi-Res Master - Wav uncompressed / CMRR Website): classicalmusicreference.com/ Sergueï Prokofiev / Сергей Сергеевич Прокофьев (1891-1953) Piano Concerto No. 5 00:00 I. Allegro con brio (2023 Remastered, Studio 1959) 05:02 II. Moderato ben accentuato (2023 Remastered, Studio 1959) 09:03 III. Toccata. Allegro con fuoco (più presto che la prima volta) (2023 Remastered, Studio 1959) 11:00 IV. Larghetto (2023 Remastered, Studio 1959) 17:42 V. Vivo (2023 Remastered, Studio 1959) Piano: Sviatoslav Richter Warsaw Philharmonic Orchestra Conductor: Witold Rowicki 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon cutt.ly/ZezaldhI The Fifth Concerto is a somewhat problematic work, practically never performed, except by the composer himself, whose comments on how it took shape are particularly revealing. "In 1932, I wrote the Fifth Concerto. If we disregard the Fourth, for one hand only, more than ten years had passed since the Third. I saw form with a fresh perspective, and a number of new ideas came to me... In the meantime, I had gathered many fascinating themes in my notebook. At first, I had no intention of writing a difficult concerto; I even thought of calling it 'Music for Piano and Orchestra,' partly to avoid confusion in the numbering of the concertos. But as it turned out, despite my intentions, the work became very complex, a common phenomenon in all my compositions of that period." This last sentence hints at Prokofiev's dissatisfaction with the work, ultimately inseparable from his decision to stop "following his own path" on the international scene and to return to his native Russia. It wasn't the complexity itself that troubled him, but the suspicion that it masked a lack of personal commitment, a fundamental sense of uprootedness. I find it difficult to ignore this context when listening to the Fifth Concerto. Four of the five movements are entertainments, sorts of toccatas reminiscent of ballet, brilliantly accomplished but characterized by a dry and brittle ostentation. The Larghetto is both broader and deeper; at the beginning, there is a veiled anticipation of the more intimate passages of Romeo and Juliet. This movement has a touch of the warmth and tenderness that Maxim Gorky would later urge Prokofiev to adopt, and its presence here tends to highlight the overall coldness of the rest. From a modernist perspective, the Fifth Concerto is one of the pinnacles of Prokofiev's innovative writing for the piano, but from a more general perspective, it reveals the inherent crisis in the composer’s later modernism. Several factors will naturally determine which of these two views will predominate, certainly including the quality of the interpretation and performance. Even today, relatively few pianists play this work. The first performance, as with all his other concertos except the Fourth, was given by Prokofiev himself. It took place in 1932, in Berlin, under the direction of Furtwängler. Other Album available // Schumann: The Piano Works by Sviatoslav Richter 🎧 Qobuz (Hi-Res) cutt.ly/PegkI0ew Tidal (Hi-Res) cutt.ly/VegkOxET 🎧 Apple Music (Lossless) cutt.ly/xegkOH1K Deezer (Hi-Fi) cutt.ly/pegkPlSr 🎧 Amazon Music (Hi-Res) cutt.ly/6egkPOok Spotify (mp3) cutt.ly/AegkP3ng 🎧 Idagio (Hi-Fi) cutt.ly/5egf3JrW UA-cam Music (mp4) cutt.ly/YegkAfOR 🔊 Download the album (Hi-Res Master) cutt.ly/Classical-Music-Reference-Recording-Website-Schumann-SRichter Serguei Prokofiev PLAYLIST (reference recordings): ua-cam.com/video/VirqB7Ckdoo/v-deo.html
The Fifth Concerto is a somewhat problematic work, practically never performed, except by the composer himself, whose comments on how it took shape are particularly revealing. "In 1932, I wrote the Fifth Concerto. If we disregard the Fourth, for one hand only, more than ten years had passed since the Third. I saw form with a fresh perspective, and a number of new ideas came to me... In the meantime, I had gathered many fascinating themes in my notebook. At first, I had no intention of writing a difficult concerto; I even thought of calling it 'Music for Piano and Orchestra,' partly to avoid confusion in the numbering of the concertos. But as it turned out, despite my intentions, the work became very complex, a common phenomenon in all my compositions of that period." This last sentence hints at Prokofiev's dissatisfaction with the work, ultimately inseparable from his decision to stop "following his own path" on the international scene and to return to his native Russia. It wasn't the complexity itself that troubled him, but the suspicion that it masked a lack of personal commitment, a fundamental sense of uprootedness. I find it difficult to ignore this context when listening to the Fifth Concerto. Four of the five movements are entertainments, sorts of toccatas reminiscent of ballet, brilliantly accomplished but characterized by a dry and brittle ostentation. The Larghetto is both broader and deeper; at the beginning, there is a veiled anticipation of the more intimate passages of Romeo and Juliet. This movement has a touch of the warmth and tenderness that Maxim Gorky would later urge Prokofiev to adopt, and its presence here tends to highlight the overall coldness of the rest. From a modernist perspective, the Fifth Concerto is one of the pinnacles of Prokofiev's innovative writing for the piano, but from a more general perspective, it reveals the inherent crisis in the composer’s later modernism. Several factors will naturally determine which of these two views will predominate, certainly including the quality of the interpretation and performance. Even today, relatively few pianists play this work. The first performance, as with all his other concertos except the Fourth, was given by Prokofiev himself. It took place in 1932, in Berlin, under the direction of Furtwängler. Other Album available // Schumann: The Piano Works by Sviatoslav Richter 🎧 Qobuz (Hi-Res) cutt.ly/PegkI0ew Tidal (Hi-Res) cutt.ly/VegkOxET 🎧 Apple Music (Lossless) cutt.ly/xegkOH1K Deezer (Hi-Fi) cutt.ly/pegkPlSr 🎧 Amazon Music (Hi-Res) cutt.ly/6egkPOok Spotify (mp3) cutt.ly/AegkP3ng 🎧 Idagio (Hi-Fi) cutt.ly/5egf3JrW UA-cam Music (mp4) cutt.ly/YegkAfOR 🔊 Download the album (Hi-Res Master) cutt.ly/Classical-Music-Reference-Recording-Website-Schumann-SRichter
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Album available // Prokofiev: Piano Concerto No. 5 by Sviatoslav Richter
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Sergueï Prokofiev / Сергей Сергеевич Прокофьев (1891-1953) Piano Concerto No. 5
00:00 I. Allegro con brio (2023 Remastered, Studio 1959)
05:02 II. Moderato ben accentuato (2023 Remastered, Studio 1959)
09:03 III. Toccata. Allegro con fuoco (più presto che la prima volta) (2023 Remastered, Studio 1959)
11:00 IV. Larghetto (2023 Remastered, Studio 1959)
17:42 V. Vivo (2023 Remastered, Studio 1959)
Piano: Sviatoslav Richter
Warsaw Philharmonic Orchestra
Conductor: Witold Rowicki
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon cutt.ly/ZezaldhI
The Fifth Concerto is a somewhat problematic work, practically never performed, except by the composer himself, whose comments on how it took shape are particularly revealing. "In 1932, I wrote the Fifth Concerto. If we disregard the Fourth, for one hand only, more than ten years had passed since the Third. I saw form with a fresh perspective, and a number of new ideas came to me... In the meantime, I had gathered many fascinating themes in my notebook. At first, I had no intention of writing a difficult concerto; I even thought of calling it 'Music for Piano and Orchestra,' partly to avoid confusion in the numbering of the concertos. But as it turned out, despite my intentions, the work became very complex, a common phenomenon in all my compositions of that period."
This last sentence hints at Prokofiev's dissatisfaction with the work, ultimately inseparable from his decision to stop "following his own path" on the international scene and to return to his native Russia. It wasn't the complexity itself that troubled him, but the suspicion that it masked a lack of personal commitment, a fundamental sense of uprootedness. I find it difficult to ignore this context when listening to the Fifth Concerto. Four of the five movements are entertainments, sorts of toccatas reminiscent of ballet, brilliantly accomplished but characterized by a dry and brittle ostentation. The Larghetto is both broader and deeper; at the beginning, there is a veiled anticipation of the more intimate passages of Romeo and Juliet. This movement has a touch of the warmth and tenderness that Maxim Gorky would later urge Prokofiev to adopt, and its presence here tends to highlight the overall coldness of the rest.
From a modernist perspective, the Fifth Concerto is one of the pinnacles of Prokofiev's innovative writing for the piano, but from a more general perspective, it reveals the inherent crisis in the composer’s later modernism. Several factors will naturally determine which of these two views will predominate, certainly including the quality of the interpretation and performance. Even today, relatively few pianists play this work. The first performance, as with all his other concertos except the Fourth, was given by Prokofiev himself. It took place in 1932, in Berlin, under the direction of Furtwängler.
Other Album available // Schumann: The Piano Works by Sviatoslav Richter
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🎧 Apple Music (Lossless) cutt.ly/xegkOH1K Deezer (Hi-Fi) cutt.ly/pegkPlSr
🎧 Amazon Music (Hi-Res) cutt.ly/6egkPOok Spotify (mp3) cutt.ly/AegkP3ng
🎧 Idagio (Hi-Fi) cutt.ly/5egf3JrW UA-cam Music (mp4) cutt.ly/YegkAfOR
🔊 Download the album (Hi-Res Master) cutt.ly/Classical-Music-Reference-Recording-Website-Schumann-SRichter
Serguei Prokofiev PLAYLIST (reference recordings): ua-cam.com/video/VirqB7Ckdoo/v-deo.html
What a wonderful remastered edition of this giant Prokofiev's concerto!
Thanks for this very beautiful post.
A marvelous concerto! 😎🎹
For me , music is like a velvet for my brain and my soul ! Thank you Brilliant Classics for sharing this beautiful ! 😊😊😊😊😊❤❤❤❤❤
Is Classic music reference actually part of Brilliant Classics?
12:57 & 14:19.....NOT OF THIS WORLD........BRAVO from Acapulco!
“All the good music has already been written by people with wigs and stuff.”
― Frank Zappa
🤢🤡🙈😾😾😾😾
The Fifth Concerto is a somewhat problematic work, practically never performed, except by the composer himself, whose comments on how it took shape are particularly revealing. "In 1932, I wrote the Fifth Concerto. If we disregard the Fourth, for one hand only, more than ten years had passed since the Third. I saw form with a fresh perspective, and a number of new ideas came to me... In the meantime, I had gathered many fascinating themes in my notebook. At first, I had no intention of writing a difficult concerto; I even thought of calling it 'Music for Piano and Orchestra,' partly to avoid confusion in the numbering of the concertos. But as it turned out, despite my intentions, the work became very complex, a common phenomenon in all my compositions of that period."
This last sentence hints at Prokofiev's dissatisfaction with the work, ultimately inseparable from his decision to stop "following his own path" on the international scene and to return to his native Russia. It wasn't the complexity itself that troubled him, but the suspicion that it masked a lack of personal commitment, a fundamental sense of uprootedness. I find it difficult to ignore this context when listening to the Fifth Concerto. Four of the five movements are entertainments, sorts of toccatas reminiscent of ballet, brilliantly accomplished but characterized by a dry and brittle ostentation. The Larghetto is both broader and deeper; at the beginning, there is a veiled anticipation of the more intimate passages of Romeo and Juliet. This movement has a touch of the warmth and tenderness that Maxim Gorky would later urge Prokofiev to adopt, and its presence here tends to highlight the overall coldness of the rest.
From a modernist perspective, the Fifth Concerto is one of the pinnacles of Prokofiev's innovative writing for the piano, but from a more general perspective, it reveals the inherent crisis in the composer’s later modernism. Several factors will naturally determine which of these two views will predominate, certainly including the quality of the interpretation and performance. Even today, relatively few pianists play this work. The first performance, as with all his other concertos except the Fourth, was given by Prokofiev himself. It took place in 1932, in Berlin, under the direction of Furtwängler.
Other Album available // Schumann: The Piano Works by Sviatoslav Richter
🎧 Qobuz (Hi-Res) cutt.ly/PegkI0ew Tidal (Hi-Res) cutt.ly/VegkOxET
🎧 Apple Music (Lossless) cutt.ly/xegkOH1K Deezer (Hi-Fi) cutt.ly/pegkPlSr
🎧 Amazon Music (Hi-Res) cutt.ly/6egkPOok Spotify (mp3) cutt.ly/AegkP3ng
🎧 Idagio (Hi-Fi) cutt.ly/5egf3JrW UA-cam Music (mp4) cutt.ly/YegkAfOR
🔊 Download the album (Hi-Res Master) cutt.ly/Classical-Music-Reference-Recording-Website-Schumann-SRichter
Yes!!!