Prokofiev: Concerto No.2 for piano & orchestra op 16 in g. minor. Vladimir Ashkenazy. Andantino Part 1

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Uploaded by on Jan 8, 2009

Prokofiev: Concerto No.2 for piano & orchestra op 16 in g. minor. Vladimir Ashkenazy.
Andantino (Part 1)

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Uploader Comments (FabioThePianist)

  • excellent!

  • Yeah I love this concerto I hope more people will listen it =)

Top Comments

  • The section at 3:15 is one of the reasons that prokofiev is my favourite composer. Grotesqueness of the intensest, more penetrating kind, all in the midst of beauty and lucid orchestral flourishes. It's his severity combined with his delicacy that makes him so addictivel

  • That melody beginning on 0:51 is just so beautiful.

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All Comments (42)

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  • @FabioThePianist I agree. This (and his fourth) are not played enough. Unfortunately, the fourth is sometimes dismissed as a novelty because it's for left hand, but it is melodically and harmonically very inventive (of course--it's Prokofiev).

  • excellent

  • This concerto is impossible! I love Gutierrez's no 2 and no. 3, his cadenza in no 2 is incredible!

  • 66 likes, 0 dislikes; normally I don't make dumb comments like this but... coincidence? Or SATAN?

  • cof cof .... shostakovich.. cof cof. 

  • its strange how so much of prokofiev's music is strangely pastoral, before he excellently ruins the scene with wonderful dissonant harmonies. Contrast this with the opening to his 3rd concerto - and to bartok's 3rd concerto. It's odd.

  • @jezmuff I'm relatively new to appreciation of classical music, but listening to this for the first time not long ago, I couldn't help but be entranced by it. Such complex rhythms of dissonance and harmony, delicacy and brutality, all swimming together. The emotional range is vast enough to wind you.

  • Grazie Fabio!

  • @Flutist11 and if anyone had a right to be angry, it was the countless geniuses being compromised and harassed by the political movement of the day! But you're right, the emotion in music is its own world...it's a shallow view that reads it as the composer's nature.

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