Prokofiev’s distinctive style, blending rapid and percussive playing with liquid lyricism and pungent harmonies, makes his music almost instantly recognizable. You will hear pre-echoes of his wonderful Romeo and Juliet ballet score (1935-36) in this Concerto, which the composer himself introduced in Chicago, and would do so later in Los Angeles.
The first movement opens with a haunting theme in the clarinets that is soon displaced by energetic activity in the strings, making way in turn for the piano’s entry.
The staccato passagework required of the soloist is of the most exciting type. An interlude for oboe leads to a development of the opening melody, then more fireworks for the soloist and orchestra.
The second movement is in the form of theme and variations, alternately poetic, dazzling and dynamic.
The third and final movement returns to the brilliant style of the first, uniting the composer’s reference for luscious melody and brittle, machine-like rhythmic energy.
Here is Martha Argerich as soloist:
