“To the World President of Music […] To Prokofiev”, this is how the communist poet Mayakovsky called the Russian composer (as found in a copy of his book The War and the World dated 1918), and although Prokofiev opposed the various movements of his time, both artistic and political, he is surely a child of 20th-century Russia. His music brings together all aspects of the last century, both confidence in the future and existentialism, nostalgia for the good old times and mysticism (V. Buttino, 2000). His Slavic soul is also present in the Piano Concerto No. 3 in C major, Op. 26, the third of five piano concertos by Prokofiev. In fact, the musical themes of this work are borrowed from Russian popular melodies, combining some dissonances typical of the early century with an opulent yet bright orchestration. The resultant work is truly unique and singular! “The cardinal virtue of my life has always been the search for originality. I hate imitation. I hate hackneyed methods. I do not want to wear anyone else’s mask. I want to always be myself,” affirmed Prokofiev.
Просмотреть записи Концерт для фортепиано с оркестром № 3 до мажор, Op. 26
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Piano Concerto No. 3, Op. 26 is perhaps Prokofiev’s most cherished composition, renowned for its demanding virtuosity and technical difficulty. According to the Russian composer himself, the public “didn’t understand it at all, but they still supported him”. That is how André Prévin talked about Martha Argerich’s performance of Prokofiev’s Piano Concerto No. 3, one evening in May 1977: “It is with no doubt the most popular piano concerto of the post-Romantic period, and for good reason: it is very fast, very Russian, and terribly difficult”. In fact, the musical themes are borrowed from Russian popular melodies, combining speed and virtuosity with an opulent yet bright orchestration. Listen to the best interpretations of this masterpiece with medici.tv’s online music streaming experience!