“Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, … They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist.”

—  Boris Berman

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

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Boris Berman 16
Russian/American musician 1948

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“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

“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

Ivo Pogorelić photo

“First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.”

Ivo Pogorelić (1958) Croatian pianist

Ivo Pogorelić about the most important things Aliza Kezeradze taught him, Die Zeit, Ich möchte gern mein Publikum sein, Hans Josef, Herbort, May 15, 1981, June 30, 2015 http://www.zeit.de/1981/21/ich-moechte-gern-mein-publikum-sein, (in German language)

“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

“Liszt has never needed revival; his music has always been an important part of the concert repertoire. Nevertheless, he has appeared to need rehabilitation.”

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

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

“With his masterclass on piano playing, László Gyimesi helps to preserve the great romantic tradition of piano playing. A relaxed piano technique without unnecessary tensions allows us to express our thoughts and feelings almost directly. Every pianist can come closer to this ideal. His masterclass is extremely valuable in that respect – it can unleash great potential in every pianist.”

László Gyimesi (1948) Hungarian musician

Martin Stadtfeld ( Hungarian Piano Tradition http://onlinepianomasterclass.com)
About

“Prokofiev had a lifelong love of the sonata form. Ever since learning the basic rules during his childhood years, he strove to master them; … In 1941, describing his Sonatinas op. 54 (1931), he remarked, “I liked the idea of writing a simple work in such a superior form as sonata.” One can learn a lot about the composer’s growth by tracing his progress from the early sonatas, which cautiously dare to bend the textbook rules, to the masterful treatment of the form in his late works.”

Boris Berman (1948) Russian/American musician

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

“Young Prokofiev was attentive to new musical trends. We can find traces of various influences in his early compositions. Some of the piano works from the set Visions fugitives, op. 22 (1915–17), are reminiscent of Debussy; the Andante assai section of the First Piano Concerto, op. 10 (1911–12), sounds like Rachmaninov; and the harmonies of the symphonic poem Osen neye(Autumnor Autumnal Sketch), op. 8 (1910), harken back to Scriabin. These, however, were rather passing influences. Others proved to be more enduring.
One of them was the fairy-tale streak in Russian music. Russians have always been fond of fairy tales, which to this day continue to be an important part of every child’s upbringing. …
Another significant influence was the Classical style.”

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

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“The visit to Mysore was a fantastic experience. The Maharajah was a young man, not yet thirty. In one of his palaces he had a record library containing every imaginable recordings of serious music, a large range of loud speakers, and several concert grand pianos….”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

Walter Legge, who was invited to Mysore by the Maharaja. Quoted in "Medtner, Music & a Maharaja"

“It is essential that a pianist meticulously observe the composer’s indications regarding tempo, dynamics, and articulation. These are all crucial in creating full characterizations of individual themes and passages. Far too often one hears unidiomatic performances of Prokofiev’s music in which speed and loudness seem to be the only parameters that matter to the pianist.”

Boris Berman (1948) Russian/American musician

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

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