“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

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

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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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“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.”

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