“Prokofiev was especially active as a pianist during his years in the United States. The titles of numerous reviews seem to refer as much to his compositions as to his performances: “A titan of a pianist,” “Volcanic eruption at the keyboard,” “Russian chaos in music,” among others.”

— Boris Berman

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

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Boris Berman 16

Russian/American musician 1948

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Conclusion

“It was this indifference to the quality of his material that earned Liszt the contempt of his most distinguished contemporaries and of many of the most respectable critics and historians of posterity. It was, nevertheless, his greatest strength. It made it possible for him to manipulate the material ruthlessly, to concentrate on effects of realization with unprecedented intensity, and to integrate styles and techniques of performance into composition in a new way. His invention of novel keyboard effects and his mastery of musical gesture have always been undervalued, especially by pianists of the German school who prefer the kind of music that can be executed while soulfully regarding the ceiling. On the whole, the most genuine understanding of his music has been displayed by musicians of eastern Europe, and he may almost be considered as the founder of Russian pianism.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 8 : Liszt: On Creation as Performance

“The playing of Soviet pianists of the younger generation differed significantly from the composer’s performing style, as discussed above. (Here I am referring to the generation of Richter and Gilels or younger, as opposed to Prokofiev’s coevals such as Neuhaus and Samuil Feinberg, who also had Prokofiev’s works in their repertoires.) Since we know that Prokofiev appreciated their playing, does it mean that he accepted their approach? Should we regard the new generation’s playing as a distortion of the composer’s intentions or as a natural evolution of interpretive style?
I believe that Prokofiev, having been exposed to the new performing style of the Soviet pianists, accepted at least some of its qualities. We can mention assertive muscular playing, open expressivity, and a gripping commitment to the music among those traits that brought recognition to Soviet pianists and assured their success in the international arena. These characteristics were concordant with the evolving compositional style of Prokofiev, whose later works became both more virile (often heroic) and expressive in a warmer and more open way.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

“The piano plays a central role in Prokofiev’s oeuvre. Not only are his works for piano solo or piano with orchestra numerous, but they also rank among his more important compositions. The piano was the first instrument Prokofiev heard and the only one he mastered.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

“I was like a well trained pianist who knows which note to hit, but can't make the music his own.”

David Benioff book City of Thieves

Source: City of Thieves

“Prokofiev was not alone among the leading composers of the twentieth century in changing his style repeatedly in the course of his career: Stravinsky, Schoenberg, Bartók, and others modified their musical language drastically at various stages of their creative lives. In Prokofiev’s case, he always maintained certain stylistic facets throughout the transformations of his musical language.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

“Of the Russian pianists I like only one, Richter. Gilels did some things well, but I did not like his mannerisms, the way he moved around while he was playing.”

Emil Gilels (1916–1985) Soviet pianist

Vladimir Horowitz, quoted in Harold C. Schonberg, Horowitz: his life and music

“Of the Russian pianists I like only one, Richter. Gilels did some things well, but I did not like his mannerisms, the way he moved around while he was playing.”

Vladimir Horowitz (1903–1989) American classical pianist and composer

quoted in Harold C. Schonberg, Horowitz: his life and music

“Rose water and raw spirit…weird amalgam of the bearded star gazer and the red haired pianist pounding away at her keyboard.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

Malcolm Muggeridge who had an serious affair with her in The Triumph of Modernism: India's Artists and the Avant-garde, 1922-1947, page=46

“Just meeting Rubinstein was a thrill for any pianist. He was a real link to tradition in western piano music. He was a friend of Rachmaninoff and he knew Debussy. The man was an inspiration to three generations of pianists.”

Arthur Rubinstein (1887–1982) Polish-American classical pianist

Emanuel Ax — reported in Joseph McLellan (December 21, 1982) "Concert Pianist Arthur Rubinstein Dies at 95", The Washington Post, p. A1.
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“Prokofiev was especially active as a pianist during his years in the United States. The titles of numerous reviews seem to refer as much to his compositions as to his performances: “A titan of a pianist,” “Volcanic eruption at the keyboard,” “Russian chaos in music,” among others.”

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