Though the performance here of the Second Sonata is not as extrovert or exciting as some I have heard recently (I think of Lill on ASV or Douglas on RCA) it is nevertheless fine and well projected, and one that I am sure will not disappoint followers and admirers of this series. The slightly lower voltage approach is, of course, most noticeable in the Scherzo and vivace movements, where Berman seems less pliant than his rivals and inclined toward a slightly more austere and punctilious approach. There's much to be enjoyed however, not least in some extremely deft pedalling and nimble finger-work.
Of the remaining items we find two rarities: not much is known about the undated piece Dumka (which here receives its 'official' world premiere), though as DJF points out in the booklet-notes it is most probably an early work (possibly intended as an orchestral piece) dating from Prokofiev's final years of study at the St Petersburg Conservatory. Its meditative, folk-song-like melody has great beauty and memorability and is certainly deserving of more frequent hearings in the future. The pot-pourri of Schubert Waltzes dates from 1920 and originates from Prokofiev's touring years as a pianist when he was required to include classical works in his recitals. Although they shed little light on our understanding of Prokofiev as a composer the textural pianistic details that he lavished on the score certainly add to our knowledge of Prokofiev the pianist.
In truth, the Three Pieces, Op. 59, are not Prokofiev at his most inspired—both the ''Promenade'' and ''Paysage'' display a certain routineness in construction—though the gentle Gallic charm and lyricism of the ''Sonatina Pastorale'' has rightly earned itself a small life outside the set. After these, it is a pleasure to encounter Prokofiev's third and final series of transcriptions of items from the ballet Cinderella which include, among others, the two beguiling waltz episodes—''Cinderella and the Prince'' and ''Cinderella's departure for the Ball''—and the gently ecstatic ''Amoroso'' with which the ballet concludes. As in the previous volumes, Berman's consummate skill at picture-painting can be heard to great effect. Well recorded.'