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Prokofiev: Piano concerto No.3 / Yekwon Sunwoo · Chiyong Chung · Korean Symphony Orchestra

코리안심포니오케스트라 'Classic Hero I'
(2019.07.19 20:00)
Korean Symphony Orchestra 214th Subscription Concert 'Classic Hero I'

세르게이 프로코피예프 | 피아노 협주곡 3번 다장조, Op. 26
S. Prokofiev | Piano Concerto No.3 in C Major, Op. 26

지휘 ㅣ 정치용 Chiyong Chung(Conductor)
협연 ㅣ 선우예권 Yekwon Sunwoo(Piano)
연주 ㅣ 코리안심포니오케스트라 Korean Symphony Orchestra

This is the official YouTube page of the Korean Symphony Orchestra.

Since its establishment in 1985, Korean Symphony Orchestra (KSO) has been working to elevate the standing of Korean symphonic music for the past 30 years both domestically and abroad through more than 90 performances annually.

Since concluding an exclusive contract with the National Theater of Korea in 1987, the orchestra has held regular joint productions with the Korea National Opera, the Korean National Ballet, and the National Chorus of Korea as part of its repertoire.

Currently numbering 100 orchestra and staff members, including two composers-in-residence, KSO continues to work together for the advancement of Korea’s artistic and performance culture.

Sergei Prokofiev - Piano Concerto No. 3

- Composer: Sergei Sergeyevich Prokofiev (23 April 1891 -- 5 March 1953)
- Orchestra: Cleveland Orchestra
- Conductor: George Szell
- Soloist: Gary Graffman
- Year of recording: 1966

Piano Concerto No. 3 in C major, Op. 26, written in 1917-1921.

00:00 - I. Andante - Allegro
08:56 - II. Theme and Variations. Andantino
18:28 - III. Allegro, ma non troppo

For his third concerto for piano and orchestra, Prokofiev looked to the past for inspiration: this concerto incorporates material derived from sketches made between 1911 and 1918. The first movement contains two themes that were written in 1916, plus a chordal passage first sketched in 1911; the second movement contains a theme and variations that was written in 1913, while the final movement uses thematic material from a discarded string quartet begun in 1918. When he began composing this concerto during a holiday in Brittany, Prokofiev wrote, "I already had all the thematic material I needed except for the third theme of the finale and the subordinate theme of the first movement."

The Third Piano Concerto is perhaps Prokofiev's best known essay in this genre, and approaches Tchaikovsky and Rachmaninov in popularity and frequency of performance. Its opus number places it just after the "Classical" First Symphony of 1917, and the concerto is, in its way, similar to the First Symphony is a number of ways: both works are lively, acerbic, with brilliant orchestration and a certain transparent texture. Both pieces are also clearly the work of a deft young composer of considerable technical skill; however, the two works differ greatly in regards to their reception. The "Classical" Symphony was reasonably well received in Russia, where it was performed only once before Prokofiev emigrated to the United States. Subsequent performances of the symphony in America were very successful. The Third Concerto, on the other hand, did not fare so well, and after a good premiere in Chicago (along with the opera Love for Three Oranges) in 1921, the work was roundly denounced in New York.

The concerto displays much of the "harmonic liveliness," in Nancy Siff's words, of the mid-period symphonies, with its sudden shifts from key to key and chromatic harmony. The sophistication and bravura generally associated with Prokofiev's music is ever present, as is the humor found in many of his orchestral works. The concerto is in a traditional three-movement concerto form (the only one of Prokofiev's five piano concertos to use the traditional form), beginning and ending with fast movements that flank a slow middle movement. Each movement is about the same length, and the thematic weight and interest is distributed evenly throughout the movements.

The work begins with a vivacious opening movement, which includes a humorous march underlined by castanets, followed by the five variations of the second movement, and concludes with a grandiose display of colorful harmonies and virtuosic orchestration. The solo writing for the piano is also virtuosic, and at times quite percussive.

Martha Argerich Plays Prokofiev Piano Concerto No.3 | Singapore International Piano Festival 2018

Legendary pianist Martha Argerich, as part of her long-awaited Singapore debut, performed her signature Prokofiev Piano Concerto No.3 at the 25th Singapore International Piano Festival (SIPF) 2018.

SERGEI PROKOFIEV (1891 - 1953)
Piano Concerto No. 3 in C major, Op. 26
00:45 I. Andante – Allegro
10:20 II. Tema con variazioni
20:09 III. Allegro, ma non troppo
30:30 Applause

Martha Argerich, piano
Darío Alejandro Ntaca, conductor
Singapore Symphony Orchestra

Recorded live at the Esplanade Concert Hall, Singapore, on 13 June 2018.

For more information on the next SIPF, please visit https://sso.org.sg/sipf

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