“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

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

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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), 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

“The mental imagery involved with pianistic tactilia is not related to the striking of individual keys but rather to the rites of passage between notes.”

Glenn Gould (1932–1982) Canadian pianist

review of Payzant, Glenn Gould Reader p445

“Prokofiev had a particular talent for creating a fully identifiable mood within the first notes of a piece, passage, or theme.”

Boris Berman (1948) Russian/American musician

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

“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 (1948) Russian/American musician

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

“During prohibition I observed the law meticulously, but I came gradually to see that laws are only observed with the consent of the individuals concerned and a moral change still depends on the individual and not on the passage of any law.”

Eleanor Roosevelt My Day

My Day (1935–1962)
Context: I was one of those who was very happy when the original prohibition amendment passed. I thought innocently that a law in this country would automatically be complied with, and my own observation led me to feel rather ardently that the less strong liquor anyone consumed the better it was. During prohibition I observed the law meticulously, but I came gradually to see that laws are only observed with the consent of the individuals concerned and a moral change still depends on the individual and not on the passage of any law. (14 July 1939)