Fun fact: All 6 of these pieces are actually just piano transcriptions that Prokofiev made of his other pieces. 1, 2, and 3 are all from Prodigal Son, 4 is from his 5 Melodies for Violin and Piano, 5 is from his first string quartet, and 6 is from his sinfonietta
The 5 Melodies for Violin and Piano are in fact themselves an arrangement of his 5 songs without words. In my opinion the version for violin does work better, but I’m still dreaming of a performance of the songs on theremin!
No 2 is also from Symphony no 4, Op.47, 3rd mvt. It's played here slower like in the revised Op.112 Symphony No.4. Such a delightful gem in any version - no wonder he used it so often!
I well remember the report of his death in 1952, I think. Great big headline “STALIN DEAD” then, in a tiny entry at the bottom of the page: Prokofiev death is announced. I would have been nineteen. I had known his music for a large part of my life: both violin concertos, ballet music et al.
From my CD Notes specifically about this Opus 52 set: The first recording of Prokofiev’s complete works for piano, made in the sixties by György Sándor, omitted all the transcriptions, including Romeo & Juliet and Cinderella, reflecting the prevailing attitude toward “non-original” works. The Six Pieces of Opus 52 were also overlooked, giving away their “transcription” status. Prokofiev never specified that the six pieces formed an organized whole, and the fact that each bears an individual title and dedication would suggest that this is a collection of unrelated works. Nevertheless, there is definitely a dramatic sequence to the movements of this “suite”: 1) a formally complicated opening movement filled with urgency (dedicated to Alexander Borovsky, a reworking of the opening scenes of The Prodigal Son); 2) a quirky, coquettish interlude (also from The Prodigal Son, and arranged as part of the Fourth Symphony; dedicated to Arthur Rubinstein); 3) a fleeting scherzo (from the same ballet, dedicated to Vladimir Horowitz); 4) another, shorter interlude (one of the five Songs without Words, for Nicolas Orloff); 5) the dramatic Andante, in the role of slow movement (the closing movement of the first String Quartet); 6) and ending with a violent Rondo (from the youthful Sinfonietta, dedicated to Horowitz). Prokofiev’s dedications to famous pianists of the time was a calculated attempt to guarantee some sort of public exposure, especially in the Soviet Union, where Prokofiev’s star was dimming. In addition, he sent copies to other Russian pianists with the hope “during this period when the attitude toward me has soured, to improve relations by means of these easily playable pieces.” That wish must have been made with some tongue in cheek, given the highly virtuosic demands of these works. The piano versions are sometimes denser in polyphony and detail than the originals! Even the simplest piano transcription is transcendental in some way , since the performer is asked to transcend the instrument - to recreate a non-pianistic sound, texture, color. But all of Prokofiev’s transcriptions manage to be transcendental and idiomatic all at once, thanks to his performance-level technique and his habit of composing at the instrument. Prokofiev felt, for example, that the Andante of the first String Quartet, which he also arranged for string orchestra, “being for the most part melodious, ought to sound richer in the orchestra, but it is in fact better as a quartet.” Ironically, the movement sounds more natural on the piano, as the fifth piece of Opus 52!
Amazing thanks for the insight! And really, bravo for all of your amazing Prokofiev recordings like this one! They truly do mean a lot to the big Prokofiev fans out there
@@ThankYouKiwi I'm delighted that you are sharing these obscure but compelling pieces (and I can only hope the same be said of the recordings as well!) with your added value of providing the score. We are all dealing the deplorable state of the recorded music industry, where people's expectations are now set in concrete: recorded music MUST be FREE! In the face of that, I applaud you and encourage you to continue to explore and share this great music. I have highlighted your videos to my Patreon community as well, under my tongue-in-cheek "Pirate of the Week" posts! And I encourage anyone who is deep enough into listening to these treasures to be reading this - please join my FCXFC Patreon project! It is the only way for artists to know their work is being supported, and to actually get any kind of revenue from their creations. And if you don't want to join MY patreon, please join ANYONE's patreon! Recorded music CANNOT BE FREE! Please do your part.
Although born in Ukraine, Sergei Prokofiev is considered a Russian composer, and he was also a fantastic pianist. These compelling, virtuosic pieces are worth listening to and following the score. I have a deep appreciation for pianists who can play them as Frederic Chiu so admirably does!
Sorry, but you are so much wrong... Prokofiev was not born in "uk rain", the Composer was born in the Russian-cultured lands close to Donetsk that were completely within the very big and entire Russian Empire.😊 The bolsheviks made them to get CALLED as "ukrainian Soviet socialist republic", no more than that.😊 Political casus, not judicially clean at all.
They're all scary!!! I don't remember who said it. But, the quote was, Prokofiev was tough. And could knock you out. I believe it. Considering the muscle it takes to play most of his works for the instrument. The concertos as well. The 3rd in C major particularly. These works however call to mind his 5th concerto. Difficult to read if nothing else. Learn these ( guys ). And there's nothing in the world of piano you'll not be able to handle. But, believe it or not. There is stuff out there even more ( or as ) hard to play than these monsters..like Kaikhosru Sorabji.
@@arthurhogan3047 Sorabji is another beast. Prokofiev dominates the standard repertoire, but once you leave the standard rep... there's a whole other world of monstrous piano music that is unbelievably difficulty
@@user-sw5pw3cs4w Absolutely,... But actually. I was speaking of Prokofiev's physical strength. As some have witnessed his vicious performance of his 3rd concerto. I was referencing a quote from a person who knew him personally. We don't think of professional pianist as boxers. Or engaging in fisticuffs. But, I'll quote Abram Chains, in his book, ' On Speaking of Pianist ' . Who said. " There are woodsmen who can break the hand of any concert pianist ". But, back to the subject at hand: Yes, you are correct. I'm discovering stuff, modern works that are fiendishly difficult. But these guys are playing them. As for Mr. Kaikhosru S. Sorabji. '' Maddening difficulties. And only a dude like John Ogdon tackled his works that I know of. There is a video by a guy. An Organist. On. ' the most difficult works for Pipe Organ ' . And included in the works he references. Is one by Sorabji. That is not only crazy. But lasts well over an hour to perform. Check it out. Some of the other composers he speaks of and plays snippets of their works. I've never heard of. Certainly not Durufle ( s ). Or even Julius Reubke. He does include Max Reger from my recollection. One more thing, that is if you love the Pipe Organ as do I ?. There is a woman named Haas. Who's dexterity at the instrument. Is no less brilliant. Than Martha Argerich's genius at the piano. For the life of me. I couldn't remember this lady's first name. Just Haas. I lost the recording years ago. But, if you find it, referencing her last name. You'll see, hear what I mean. Peace, and good study and listening.
1. Интермеццо 0:06
2. Рондо 04:33
3. Этюд 10:19
4. Скерцино 12:10
5. Анданте 13:50
6. Скерцо 25:32
Fun fact: All 6 of these pieces are actually just piano transcriptions that Prokofiev made of his other pieces. 1, 2, and 3 are all from Prodigal Son, 4 is from his 5 Melodies for Violin and Piano, 5 is from his first string quartet, and 6 is from his sinfonietta
The 5 Melodies for Violin and Piano are in fact themselves an arrangement of his 5 songs without words. In my opinion the version for violin does work better, but I’m still dreaming of a performance of the songs on theremin!
No 2 is also from Symphony no 4, Op.47, 3rd mvt. It's played here slower like in the revised Op.112 Symphony No.4. Such a delightful gem in any version - no wonder he used it so often!
I can't imagine these being played better than this. Chiu captures Prokofiev's mercurial wit and mischief to perfection.
These are almost a century old, crazy!
Yet, as a Gen Z, crazy that this man was living, breathing, and composing on this Earth less than a hundred years ago!
I well remember the report of his death in 1952, I think. Great big headline “STALIN DEAD” then, in a tiny entry at the bottom of the page: Prokofiev death is announced. I would have been nineteen. I had known his music for a large part of my life: both violin concertos, ballet music et al.
@@DavidSmith-kc4hz Haha OLD
Wow what a cool set of pieces, Prokofiev is the man! Thanks for sharing this wonderful recording!
Thank You Kiwi , you are really kind I would like to see op 52 note for a long time. Thanks a million.
Incredible playing! Hats off!!
Great pieces and great playing!
I love number 4 the most and I also love the rest of these pieces.
The ending of the first is amazing.
From my CD Notes specifically about this Opus 52 set:
The first recording of Prokofiev’s complete works for piano, made in the sixties by György Sándor, omitted all the transcriptions, including Romeo & Juliet and Cinderella, reflecting the prevailing attitude toward “non-original” works. The Six Pieces of Opus 52 were also overlooked, giving away their “transcription” status. Prokofiev never specified that the six pieces formed an organized whole, and the fact that each bears an individual title and dedication would suggest that this is a collection of unrelated works. Nevertheless, there is definitely a dramatic sequence to the movements of this “suite”:
1) a formally complicated opening movement filled with urgency (dedicated to Alexander Borovsky, a reworking of the opening scenes of The Prodigal Son);
2) a quirky, coquettish interlude (also from The Prodigal Son, and arranged as part of the Fourth Symphony; dedicated to Arthur Rubinstein);
3) a fleeting scherzo (from the same ballet, dedicated to Vladimir Horowitz);
4) another, shorter interlude (one of the five Songs without Words, for Nicolas Orloff);
5) the dramatic Andante, in the role of slow movement (the closing movement of the first String Quartet);
6) and ending with a violent Rondo (from the youthful Sinfonietta, dedicated to Horowitz).
Prokofiev’s dedications to famous pianists of the time was a calculated attempt to guarantee some sort of public exposure, especially in the Soviet Union, where Prokofiev’s star was dimming. In addition, he sent copies to other Russian pianists with the hope “during this period when the attitude toward me has soured, to improve relations by means of these easily playable pieces.” That wish must have been made with some tongue in cheek, given the highly virtuosic demands of these works. The piano versions are sometimes denser in polyphony and detail than the originals!
Even the simplest piano transcription is transcendental in some way , since the performer is asked to transcend the instrument - to recreate a non-pianistic sound, texture, color. But all of Prokofiev’s transcriptions manage to be transcendental and idiomatic all at once, thanks to his performance-level technique and his habit of composing at the instrument. Prokofiev felt, for example, that the Andante of the first String Quartet, which he also arranged for string orchestra, “being for the most part melodious, ought to sound richer in the orchestra, but it is in fact better as a quartet.” Ironically, the movement sounds more natural on the piano, as the fifth piece of Opus 52!
Amazing thanks for the insight! And really, bravo for all of your amazing Prokofiev recordings like this one! They truly do mean a lot to the big Prokofiev fans out there
@@ThankYouKiwi I'm delighted that you are sharing these obscure but compelling pieces (and I can only hope the same be said of the recordings as well!) with your added value of providing the score.
We are all dealing the deplorable state of the recorded music industry, where people's expectations are now set in concrete: recorded music MUST be FREE!
In the face of that, I applaud you and encourage you to continue to explore and share this great music. I have highlighted your videos to my Patreon community as well, under my tongue-in-cheek "Pirate of the Week" posts!
And I encourage anyone who is deep enough into listening to these treasures to be reading this - please join my FCXFC Patreon project! It is the only way for artists to know their work is being supported, and to actually get any kind of revenue from their creations. And if you don't want to join MY patreon, please join ANYONE's patreon! Recorded music CANNOT BE FREE! Please do your part.
確かに彼のピアノ作品は超越的だ
wow! breathtaking interpretation
This is fascinating. I never heard these before
yes gorbachev
As an argentinian I recommend the 1 american preludes by Ginastera with a clear polytonal influence from Prokofiev.
Aguante Messi y ginastera ndeaaa
@@alanleoneldavid1787 Megadeth, Megadeth, Aguante Megadeth!
As a pianist terrible this is slow shock nonsens.
But like number 2 concert.
I love how the second one starts in B minor but only 4 measures later says "let's forget about key signatures and let's cadence in B-flat major".
00:06
04:33
10:19
12:10
13:50
25:30
Thanks a ton! Sorry I forgot
@@ThankYouKiwiPIN the comment
В топ
Anyone know if there exists a recording where Horowitz is performing the pieces dedicated to him?
Although born in Ukraine, Sergei Prokofiev is considered a Russian composer, and he was also a fantastic pianist. These compelling, virtuosic pieces are worth listening to and following the score. I have a deep appreciation for pianists who can play them as Frederic Chiu so admirably does!
Sorry, but you are so much wrong... Prokofiev was not born in "uk rain", the Composer was born in the Russian-cultured lands close to Donetsk that were completely within the very big and entire Russian Empire.😊
The bolsheviks made them to get CALLED as "ukrainian Soviet socialist republic", no more than that.😊 Political casus, not judicially clean at all.
oh nice! 13:56 is the piano version of the final movement of his first string quartet
Yes!! Wow
i wonder other than Fred Chiu, who else had the complete recording of ALL of Prokofiev's solo piano work?
Boris Berman. I much prefer Chiu though
The etude is overwhelming me.
10:23
No 1 is really scary.
They're all scary!!! I don't remember who said it. But, the quote was, Prokofiev was tough. And could knock you out. I believe it. Considering the muscle it takes to play most of his works for the instrument. The concertos as well. The 3rd in C major particularly. These works however call to mind his 5th concerto. Difficult to read if nothing else. Learn these ( guys ). And there's nothing in the world of piano you'll not be able to handle. But, believe it or not. There is stuff out there even more ( or as ) hard to play than these monsters..like Kaikhosru Sorabji.
@@arthurhogan3047 no 4 is lovely but really contrast with hardness,too.
@@arthurhogan3047 Sorabji is another beast. Prokofiev dominates the standard repertoire, but once you leave the standard rep... there's a whole other world of monstrous piano music that is unbelievably difficulty
@@user-sw5pw3cs4w Absolutely,... But actually. I was speaking of Prokofiev's physical strength. As some have witnessed his vicious performance of his 3rd concerto. I was referencing a quote from a person who knew him personally. We don't think of professional pianist as boxers. Or engaging in fisticuffs. But, I'll quote Abram Chains, in his book, ' On Speaking of Pianist ' . Who said. " There are woodsmen who can break the hand of any concert pianist ". But, back to the subject at hand: Yes, you are correct. I'm discovering stuff, modern works that are fiendishly difficult. But these guys are playing them. As for Mr. Kaikhosru S. Sorabji. '' Maddening difficulties. And only a dude like John Ogdon tackled his works that I know of. There is a video by a guy. An Organist. On. ' the most difficult works for Pipe Organ ' . And included in the works he references. Is one by Sorabji. That is not only crazy. But lasts well over an hour to perform. Check it out. Some of the other composers he speaks of and plays snippets of their works. I've never heard of. Certainly not Durufle ( s ). Or even Julius Reubke. He does include Max Reger from my recollection. One more thing, that is if you love the Pipe Organ as do I ?. There is a woman named Haas. Who's dexterity at the instrument. Is no less brilliant. Than Martha Argerich's genius at the piano. For the life of me. I couldn't remember this lady's first name. Just Haas. I lost the recording years ago. But, if you find it, referencing her last name. You'll see, hear what I mean. Peace, and good study and listening.
@@somchaisaelee328 Also correct. But, no. 4 is for the Left hand only. Right??
.
It almost wants to sound tonal.
It is tonal.......
психопат
Who??
@@l.w.paradis2108 your mum
@@l.w.paradis2108I’m assuming Prokofiev
sounds like a thousand cats walking or running on a piano back and forth
In a really synchronized and harmonious manner
Saying that, you are instantly positioning yourself in the ignorants and stupid people
Sounds like you're one of the uneducated ignoramus...
If only my fingers could be those cats . . .
Ok