PnoKc>FIEV

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Sergei Prokofiev 0se1 - 1es3) Sonata no. 6 in A-maj or, Op.82 zz,za [1 ] i AllegromoderatoS.00 [ 2 ] ii Allegretto 4i3.l [ 3 ] iii Tcmpo divalzerlentissimo8rTS [ 4 ] iv Vivace 6:29 Is]Dumkaiio8 Visions Fugitives, Op. 22 zt, s [6]I LentamenteT.'28 [ 7 ] ll Ardante 7.'15 [ 8 ] III Allegretto 0.'53 [ 9 ] IV Arimato - Pii sostenuto li07 il01 V Molto giocoso 0.21 [1U VI Con eleganza 0iJ1 [12] \/II (Arpa) Pittoresco 2]08 [13] VIII Commodo - Menomosso 7r75 [14] IX Allegrettotranquillor]s8 [15] X Ridicolosamente 7r0J [16] Xl Con vivaciti 7:04 [17] XII Assai moderato 7:39 [18] XIII Allegretto 1156 [19] XMcroce 0rSS [20] XV Inquieto 0i,13 [21f XVI Dolelte2:oo [22] XVII Poetico /116 [23] XVIII Con una dolce lentezza l:23 [24] )(JX Presto agitatissimo e molto accenfiato 0:37 [25] XX Irnto 2i-t1 Sonata no. 7 in B-flat major, Op. 83 ra,to 126l i Allegro inquieto - Andantino 252 [27] ii Andante caloroso 7:12 [28] iii Precipitato 3:21 Oleg MarsheY, Piano 2
lfhe gradual undermining of traditional tonal relationships that characterises late 19th century music from Wagner through Liszt to Richard Strauss, Mahler and Debussy, presaged the complete breakdown of tonality in the works of Schtinberg and his pupils. This crisis may be seen as the logical outcome of increasingly highly charged Romantic expression, and it created particular problems for the Romantic instrument par excellence, the pianoforte. What the visionary Liszt had already demonstrated in his exploratory late piano works became clear to composers in the first decades of this century: dense textures and traditional keyboard virtuosity were incompatible with the new refined tonal language. The realization spawned several parallel schools: uninhibited by a strong national tradition, Debussy forged a totally new approach to piano composition and keyboard colour, elegantly avoiding the issue altogether; other composers sought refuge beneath the umbrella of neo-nationalism, an eclectic approach in which classical/romantic techniques could be adopted to individual needs (Rachmaninoff, Ravel, Albdniz etc.); others sought to impose the grand keyboard approach with some modifications on the extended harmonic language (Berg, Scriabin, Busoni); others still reacted by reducing expressive means to a bare minimum (Webern, late Schonberg). SERGEI PROKO<strong>FIEV</strong> conformed to none of these trends - and to all of them. Though his often percussive use of the keyboard may be considered anti-Romantic per se, he does not shun traditional large forms bristling with notes that demand a highly virtuoso piano technique. On the other hand he is capable of the conciseness and extreme abstractions of the minute 'Sarcasm' and'Vision Fugitives'. Yet his entire output is characterised by the brilliant sonorities and incisive rhythm typical of many of the'neo-nationalists'. He shares allthese characteristics with his great contemporaries 86la Bart6k and Igor Stravinsky; together they are responsible for giving new impetus to piano music in the 20th
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Page 7 and 8: Born in Baku in 1961, OLEG MARSHEV
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