Prokofiev Piano Sonatas 2, 7 & 8

Record and Artist Details

Composer or Director: Sergey Prokofiev

Label: DG

Media Format: CD or Download

Media Runtime: 69

Mastering:

DDD

Catalogue Number: 457 588-2GH

Tracks:

Composition Artist Credit
Sonata for Piano No. 2 Sergey Prokofiev, Composer
Mikhail Pletnev, Piano
Sergey Prokofiev, Composer
Sonata for Piano No. 7 Sergey Prokofiev, Composer
Mikhail Pletnev, Piano
Sergey Prokofiev, Composer
Sonata for Piano No. 8 Sergey Prokofiev, Composer
Mikhail Pletnev, Piano
Sergey Prokofiev, Composer
Mikhail Pletnev gives strong, well-turned performances of these three Prokofiev sonatas. All are delivered with the pristine clarity that we have come to expect from Pletnev’s playing and each is imbued with some very fine and subtle tonal coloration. They are also, thankfully, free of the idiosyncrasies that so often mar performances of Prokofiev’s piano music.
The coupling of these particular sonatas could well prove a drawback for all but the dedicated Pletnev fan, however, as the strength of the competition in each of these works is great indeed. In the Seventh Sonata, Pletnev is up against Pollini’s classic 1971 account on DG, and there are strong interpretations from Yefim Bronfman (CBS, 2/89 – nla) and Gavrilov also. Pollini, my preferred choice here, is considerably faster in the first movement – nearly two minutes faster in fact. Both speeds work I think (Pletnev’s give it a more martial character) but Pollini’s dynamic and tonal control throughout is even more impressive than his new rival and there is a litheness to his performance that has not been surpassed.
In the Second Sonata (the weakest of Pletnev’s readings here) my preference would be for Bronfman’s scintillating account on Sony Classical. The latter is more shapely in his overall projection and Pletnev does not really attain the power, agility and tonal colour that Bronfman achieves either. I found Pletnev most impressive in the Eighth Sonata. This is a thoughtful, exceedingly well-crafted reading with some beautifully projected sonorities, especially in the first and second movements, while the Vivace finale has considerable vigour and rhythmic drive and some very subtle playing indeed. Here, however, he comes into contention with the late, great Sviatoslav Richter, whose classic 1961 live recording is available on a mid-price DG reissue – a pretty unassailable performance despite its less than ideal recorded sound.
So, a disc that all admirers of Pletnev’s playing will want, and one that, especially in the case of the Eighth, I can recommend if the competition is not to your liking.'

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