Sergei Prokofiev: Piano Sonatas Nos. 2, 4 & 7 – Evgeni Koroliov


1 CD 

Κλασική Μουσική 

Pan Classics

9 Ιουλίου 2024

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Sergei Sergeievitch Prokofiev:Piano Sonata No. 2 in D minor, Op. 14Piano Sonata No. 4 in C minor, Op. 29Piano Sonata No. 7 in B flat major, Op. 83


Evgeni Koroliov (Piano)

Evgeni Koroliov, born in 1949 in Moscow, although doubtless an outstanding phenomenon in the international pianists’ scene, still remains an insider tip, albeit one who has long enjoyed cult status. With his recording of the 2nd, 4th and 7th Piano Sonatas of Sergei Prokofiev, we can now finally obtain an item that was not available for a long time.

The 2nd Sonata, composed in 1912, is characteristic of Prokofiev’s formally strict and sonically original personal style. It is marked by a modern aesthetic; numerous elements take up futuristic ideas of the period that “idolise speed and sing praises of modern machines”, supporting the hypothesis that there is “a beauty of noises” as described in the magazine Muzika, the voice of the Moscow avantgarde consortium shortly after this Sonata was composed. The 4th Sonata of 1917 has a completely different character, its first movement beginning with restrain and archaic grace – the oppressive sounds are explained by the dedication to a friend who had recently committed suicide. After many years abroad, Prokofiev returned to the Soviet Union in the early 1930s with a downright naive optimism. The 7th Sonata was composed there a decade later, about which Glenn Gould had the following to say: “The first movement not only contains some of Prokofiev’s best music, but is, in open disregard of the Soviet musical maxim of direct accessibility, perhaps the closest to an atonal harmonic plan he ever applied.”


BBC Music Magazine May 2013

“There is plenty of raw energy and rhythmic bite in Evgeni Koroliov’s rough-around-the-edges Prokofiev. At times exciting, the results are mixed. – 3 out of 5 stars

Gramophone Magazine April 2013

“Koroliov surely underlines a link rather than a break with the past, favouring much romantic leeway and rhythmic elasticity, with any opportunity to linger savoured to the full.