Horacio Gutiérrez, Neeme Järvi - Prokofiev: Piano Concertos Nos. 2 & 3 (1990)

This 1990 Chandos disc of Prokofiev piano concerti is rightly being praised highly here on Amazon. I have been listening to a number of different recordings of these concerti recently and this Horacio Gutierrez/Neeme Jarvi performance of the famous 3rd concerto (1921) may be the finest single performance I’ve yet sampled.

A cerebral and highly intelligent man, Prokofiev has a tendency to turn off his heart and write with this brain only. His finest results occur when he infuses emotion or atmosphere into his creativity. The same rule applies to really outstanding performances of his music – they need to extend past the required virtuosity and into the heart. I’m happy to report that Gutierrez and Jarvi realize this blend in what is a thrilling 3rd: at times barnburning, at times emotional, at times laden with instrumental effects and atmosphere. This is particularly gratifying because Jarvi, a conductor with a list of recordings as long as my arm, often is distracted and inattentive; but here he is fully committed. An example is the dotted-rhythm-upbeat variation 4 in the Andantino, done with lush sound and rich sentiment. The succeeding variation 5 features solo playing from Gutierrez that extends beyond the virtuoso piano writing to create with the orchestra a sense of mystery. The fortissimo recap of the opening in the initial Allegro is one passage that I always use to evaluate Prokofiev 3rds (at about 4’ in, rehearsal number 26) – it has the potential for emotional weight, a sense of return laden with nostalgia. Gutierrez and Jarvi bring out this feeling, elevating the music beyond the pyrotechnics that initially impress in this very entertaining, but ultimately deep, allegro.

Right now, I consider this Gutierrez 3rd the finest interpretation in my collection. It betters the classic Graffman/Szell performance (Szell is sleek and elegant but the pianism is strident), Bronfman/Mehta (the opposite, excellent pianism, average orchestral accompaniment) the Kapell/Dorati (wonderful playing but old 1940s sound), the Beroff/Masur (humdrum). I have yet to listen to Martha Argerich’s recordings, so the discography is incomplete, but so far the Gutierrez is notably excellent.

The 2nd concerto from 1913 is I think at times a stunningly beautiful work, but it isn’t as consistent as the 3rd. The Intermezzo (the third movement) is what I take to be program music illustrating the machine age, but not in the celebratory fashion of certain later Soviet composers; the factory is depicted as a threatening, unstoppable engine. Portions of the opening allegro are also very beautiful. My comparison of the concerti as music I think carries over to the performances by Gutierrez and Jarvi. While their playing of th 3rd is incandescent, their 2nd is simply very good. Gutierrez seems at times too impressed with his own technique here, rather than being absorbed with what the music is saying like he is in the 3rd. Despite some quibbles, this is a successful and fine rendition.

Sound is very good. This is a very strong and enjoyable release. Recommended.