Sergei Prokofiev
Sonata no. 6 in A-major, Op.82
1. Allegro moderato
2. Allegretto
3. Tempo di valzer lentissimo
4. Vivace
5. Dumka
Visions Fugitives, Op. 22
6. I. Lentamente
7. II. Andante
8. III. Allegretto
9. IV. Animato – PiĆ¹ sostenuto
10. V. Molto giocoso
11. VI. Con eleganza
12. VII. (Arpa) Pittoresco
13. VIII Commodo – Meno mosso
14. IX. Allegretto tranquillo
15. X. Ridicolosamente
16. XI. Con vivacitĆ
17. XII. Assai moderato
18. XIII. Allegretto
19. XIV. Feroce
20. XV. Inquieto
21. XVI. Dolente
22. XVII. Poetico
23. XVIII. Con una dolce lentezza
24. XIX. presto agitatissimo e molto accentuato
25. XX. Lento
Sonata no. 7 in B-flat major, Op. 83
26. I. Allegro inquieto – Andantino
27. II. Andante caloroso
28. III. Precipitato
Sergei Prokofiev Piano Works Ā©
The gradual undermining of traditional tonal relationships that characterises late 19th century music from Wagner through Liszt to Richard Strauss, Mahler and Debussy, presaged the complete breakdown of tonality in the works of Schƶnberg and his pupils. This crisis may be seen as the logical outcome of increasingly highly charged Romantic expression and it created particular problems for the Romantic instrument par excellence, the pianoforte.
What the visionary Liszt had already demonstrated in his exploratory late piano works became clear to composers in the first decades of this century: dense textures and traditional keyboard
virtuosity were incompatible with the new refined tonal language. The realization spawned several parallel schools: uninhibited by a strong national tradition, Debussy forged a totally new
approachĀ o piano composition and keyboard colour, elegantly avoiding the issue altogether; other composers sought refuge beneath the umbrella of neo-nationalism, an eclectic approach in which classical/romantic techniques could be adopted to individual needs (Rachmaninoff, Ravel, Albeniz etc.); others sought to impose the grand keyboard approach with some modifications on the extended harmonic language (Berg, Scriabin, Busoni); others still reacted by reducing expressive means to a bareĀ inimum (Webern, late Schonberg).
SERGEI PROKOFIEV conformed to none of these trends – and to all of them.
Though his often percussive use of the keyboard may be considered anti-Romantic per se, he does not shun traditional large forms bristling with notes that demand a highly virtuoso piano technique. On the other hand he is capable of the conciseness and extreme abstractions of the minute ‘Sarcasm’ and ‘Vision Fugitives’. Yet his entire output is characterised by the brilliant sonorities and incisive rhythm typical of many of the ‘neo-nationalists’.
RELEASE DATE: AUGUST 1995
CATALOGUE NUMBER: DACOCD 391
EAN: 5709499391006