These two energetic and audacious concertos by Prokofiev [1912 and 1913 (rev. 1923)], respectively] show off the iconoclastic Russian composer for his colors and percussive treatment of the piano. P used the Concerto No. 1 in D, Op. 10 to enter and win the Anton Rubinstein Prize in 1914. The Concerto is relatively succinct, but vibrates with dazzling color and clashing effects. The two outer mvmts rely on fast, virtuoso staccato (jabbing) and glissando (sliding) passages and great orchestral synchronization. The middle mvmt is dreamy, a sweet song in the middle of a brash carnival atmosphere. Typical of French composers of the time, P brings back the 1st mvmt themes and rhythm to tie off his finale.
The Piano Concerto No. 2 in G Minor, Op. 16 is in four mvmts, giving it a “symphonic” dimension. The Concerto depends much more than P’s First Concerto on dissonance and striking sound clusters. Within the 1st mvmt, with its martial, ironic and tragic atmosphere, the piano has a huge, massive cadenza. The orchestra responds with a huge Tutti (together) to conclude the mvmt. The 2nd mvmt Scherzo is blazingly brief, a relentless toccata for both hands. The Intermezzo 3rd mvmt is a musical grotesque, filled with clashing instruments and colors while the music walks and sidles along. The Finale mixes rhythms unmercifully between 7/8 and 4/4, a challenge to the performers. Beside the leaping main theme, P creates a lullaby counter-theme, a moment of respite in the midst of emotional frenzy that catapults to end on a decisive G.