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Prokofiev : Sonates pour piano n° 2, n° 3, n° 5 et n° 9 Import


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Page Artiste Yefim Bronfman


Détails sur le produit

  • Interprète: Yefim Bronfman
  • Compositeur: Serge Prokofiev
  • CD (23 janvier 1996)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B0000028XH
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9448ca98) étoiles sur 5 5 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x94491be8) étoiles sur 5 Superb music 4 janvier 2011
Par G.D. - Publié sur Amazon.com
Format: CD Achat vérifié
This is another splendid installment in Bronfman's cycle of the Prokofiev sonatas. Bronfman's approach to all works is deeply considered, thoughtful and individual though with an unerring understanding of the style and what makes these sonatas work. The performances are technically impeccable, the melodic lines excellently articulated and the overall conception of the individual works entirely convincing - still, there is no shortage of color and range of expression. In short, this is among the most convincing cycles of Prokofiev piano sonatas out there, and although I wouldn't want to be without certain other especially individual performances this is a superb choice for the whole cycle.

The second is very finely done, although it may perhaps lack a little bit in momentum and forward drive. In the third, however, Bronfman's play with lights and shadows and realization of the layered textures is unsurpassed - the phrasing is absolutely stunning, and the overall narrative structure impressively sustained. The lightness of touch, especially in the faster parts, is almost breathtaking.

Yet the truly outstanding performance here is probably the fifth (the earlier version is used), where the range of colors and moods is absolutely marvelous, especially in the sarcastic and (for lack of a better term) deranged final movement. The ninth is very convincing as well, even though Bronfman chooses a lighter (but completely convincing) approach than some; this is a rather gently lyrical account, but not without humor and sparkle. These performances are, in short, major contenders in the repertoire, and they receive very good sound; strongly recommended.
13 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x944917a4) étoiles sur 5 Breathtaking! 17 janvier 2004
Par Un client - Publié sur Amazon.com
Format: CD Achat vérifié
This is an absolutely fantastic collection of interpretations. The nuances are so brilliantly, yet subtly, incorporated, and Bronfman's tone is amazing. My favorite is probably the second sonata ... in the first movement he produces such a fantastic, eerie sensation in the second theme. The last movement was so exciting and involved, carefully thought through in every way, yet played with a delightful abandon. I've listened to this CD over and over again and highly recommend it to anyone looking for an absolutely spectacular performance of these sonatas.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x94550324) étoiles sur 5 Prokofiev's Piano Sonatas at their best 15 septembre 2012
Par Christoffer Kofler - Publié sur Amazon.com
Format: CD
There is an opinion that Prokofiev's compositions distinctly deteriorated after his return in 1936 from the West to the USSR , where he was subject to strong political pressure. Stravinsky stated that Prokofiev decided to return because he was politically naïve and also because he had not met with all that much success in America: "Prokofiev's return to Russia", he said, "was a sacrifice to the bitch goddess." However, the compositions of Prokofiev's certainly has not lost its value. His Piano Sonata No. 9 op.103 written in 1947, is one of many proofs.
The music of the 9th Piano Sonata requires from the listener an active perception or in other words complete concentration and attention . Prokofiev composed this Sonata with a deep vision of moods.
The main theme of the first movement is somehow idyllic, perhaps inspired by the composer's life in a countryside, away from the city hustle and bustle. It is elegantly cut and restrained, bright and clear, set up without any modernistic tricks. Almost the whole movement is imbued with a clear serenity. Subtle melodic threads stretch across this movement and its textured woven fabric is subtle and full of beautiful and very economical combination of voices
The second movement is like cut out of the handbook of Prokofiev's themes: sprawling, slightly grotesque melody with rhythmically aggressive dynamic pulsation. It is a medley of a march and a song served as if two fast melody lines chased each other in an energetic motion.
The third movement is difficult in its figurative content. At first you hear the lyrical chant, in which the exposition contains many interesting textural details. The contrast is brought in the Allegro sostenuto episode with its vibrant duplicated melody against a uniform motion of sixteenths. In the reprise of the theme the composer describes this episode differently - in the deep bass, amidst murmuring chord figurations, and finally the theme appears more dazzling in the upper register.
In the finale the notes in the first theme are in rapid motion and the themes are full of humor. It reminds of a typical Prokofiev's scherzo. In the middle of the movement a slow episode (Andantino) emerges with so typical for the composer light and quiet lyrics with interesting texture presentation gripping almost the entire range of the piano register. Finally, against the background murmuring of fifths appears a reminiscence of the first theme of the Sonata in the upper register and based on softly applied shifts of the harmony, leading at the end to a deep sounding C major chord in the bass in the last bar.
The lyrics of the 9th sonata perceives as sophisticated, however at the end it bears an imprint of the elusive fatigue, perhaps, composer's one last look at the beauty of nature. That matches perfectly to the beautiful ending of the cycle of Prokofiev's sonatas.

Yefim Bronfman seems to have Prokofiev in his blood and maybe even in his genes. His decisive blow and articulation, sense of lyricism and motility and most importantly Prokofiev's musical humor, qualifies him for the exemplary performing of the composer's music. Bronfman plays the Sonatas of Prokofiev at the right pace and with ideal bravado.
21 internautes sur 28 ont trouvé ce commentaire utile 
HASH(0x94544b1c) étoiles sur 5 Worth buying for a gorgeous ninth, but as for the rest... 30 juin 2000
Par ebrinkma - Publié sur Amazon.com
Format: CD
This is a mixed bag. Yefim Bronfman approaches the ninth with just the right amount of naivete and humility, but he does become a bit too clangorous in his versions of the second and third. I think that the extroversion of these pieces as opposed to the quietude of the 9th leads Bronfman to lose some of the nuances that he creates in the ninth. The fifth is fine, though he plays the original version (Prokofiev revised it at the end of his careeer), which is seldom played, so it caught me off guard.
HASH(0x94552840) étoiles sur 5 Bronfman excels in Prokofiev sonatas 7 novembre 2014
Par jt52 - Publié sur Amazon.com
Format: CD Achat vérifié
This release is another very strong installment in Yefim Bronfman’s three-CD series of Sergei Prokofiev piano sonatas, containing four fine and often very different compositions, the post-romantic 2nd (from 1912, when the author was just 21), the stormier, post-Scriabin 3rd (1917), the Francophile 5th (1923) and the late 9th (1947), a contemplative, relatively peaceful sonata.

Bronfman is very good in all of the works and often he is quite a bit better than that. One of Bronfman’s skills is presenting, in what is technically-demanding solo piano writing, the different strands of music distinguished through different colors and touch. The final pages of the 9th sonata’s finale forms one of the disc’s high points, both in terms of composition and Bronfman’s playing. This spiritual sonata comes to a close with the restatement of the sonata’s opening theme high in the treble accompanied by a rustling left hand accompaniment, followed by the same theme varied and presented over rolled chords. Bronfman’s succeeds just brilliantly in separating the strands and playing each with subtly varied colors.

The second theme of the 2nd sonata’s opening Allegro ma non troppo is also particularly memorable. Bronfman effectively presents the theme, the minor sixth of the scale adding a sense of mystery and suspense to a passage artfully contrived out of both an ascending sequence and a descending sequence superimposed over the each other. Elsewhere, Bronfman ably shifts gears to present the 5th, a lighter, more “objective” conception that shows Prokofiev being influenced by the neoclassicism of other western European composers in his sojourn outside of native Russia. I have a marginal preference for US pianist Barbara Nissman’s fine playing of the 5th over Bronfman’s, but it is a close contest.

The disc isn’t perfect. I found Bronfman’s one-movement 3rd sonata, unified by the idea of the chromatic scale, to be bangy, with an emphasis on the percussive side a bit excessive. The recorded sound is merely pretty good, not exceptional. But those minor drawbacks haven’t prevented me from enjoying what are stellar Prokofiev performances. This is likely the single best Prokofiev solo piano disc in my collection. Warmly recommended.
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