Prokofiev · Piano Concerto No. 3
The premiere of the Third Piano Concerto by Sergei Prokofiev took place in America, while the concerto itself was completed in France. However, most of the themes were composed in Russia. It is one of Prokofiev’s most Mozartian compositions: it reflects the boundless youthful energy of a man who knows no obstacles. For me, few composers are so strongly associated with Mozart in terms of lightness and freedom in the creative process. It seems as if Prokofiev composed music immediately, without altering anything during the process, didn’t search, but found at once. Of course, this is just an impression.
The concerto opens with a Russian chant melody, which Prokofiev, the great combinator, soon transforms from the initial chant melody into a retrograde variant, to the main theme in a very fast movement. Composing this is an example of amazing mastery. There is little slow music in the concerto, but it makes this music bright and remarkable. The development is unexpectedly based on the Russian chant theme: it represents a lyrical digression, which is quite unusual. In the second part, only the fourth variation seems truly slow, representing a transition into the Prokofiev’s amazing mysticism, which suddenly finds an outlet in the most youthful and powerful energy.
In the concerto, there are references to some ancient genres. For example, the theme of the second part could be called a gavotte, which Prokofiev loved: you can find a gavotte both in the First Symphony by a still very young Prokofiev, and in his ballets… It is worth saying, that the second theme of the first part also resembles a gavotte. However, the theme with variations of the second part is a gavotte with incredibly diverse contrasting variations. The lyrical center of the concerto is in an unusual place: from the middle of the finale, after the elastic energy of the exposition and the mysterious, referring to his Visions Fugitives, incredibly expressive lyrics begin. Even for Prokofiev it seems very, very saturated - it’s what can be called Tchaikovsky of Prokofiev style.
Unlike the Second Concerto—where the gigantic scale of the piano sound at times overshadows the orchestral sophistication, reducing the orchestra's part to a subordinate role of accompaniment—in the Third Concerto the orchestra lives its incredibly multicolored life and there is full parity with the piano. This is one of Prokofiev's most perfect compositions, where inspiration, technique and expression stand at absolutely equal heights. It is the most joyful piano concerto that I know.
Nikolay Lugansky
