- Andante-Allegro
- Tema con variazioni
- Allegro, ma non troppo
From its first sketches in 1913 to its completion in 1921, Sergei Prokofiev produced his famous and highly acclaimed Piano Concerto #3 in C Major. Although he was using earlier material as inspiration for this concerto, Prokofiev did not entirely focus on writing this concerto until he spent the summer in Etretât, Britany, France, in 1921, during his self-imposed exile from Russia. Seeking greater freedom and international recognition, he was disillusioned by the chaos and restrictions of post-revolutionary Russia, which was experiencing political instability and financial hardship following the Revolution. Completed in October of that year, he dedicated the Piano Concerto #3 in C Major to his neighbor, Russian émigré poet Konstantin Balmont, a testament to his global aspirations.
This concerto received a lukewarm premiere in Chicago, Illinois, on December 16, 1921, with the Chicago Symphony orchestra, Frederick Stock as conductor, and Prokofiev as soloist. A month later, the performance of the concerto was booed by the audiences and critics in New York. However, the Piano Concerto #3 in C Major later received a highly praised reception in Paris under the baton of Serge Koussevitzky in 1922. This performance marked a turning point in the concerto’s reception, leading to its eventual recognition as one of Prokofiev’s most significant works.
Andante-Allegro
Opening with a lyrical clarinet solo, the first movement of the Prokofiev 3rd takes the listener on a journey with the orchestra expanding on the gentle and introspective solo, leading to a burst of energy as the soloist begins to play. As the movement progresses, it leads the audience on a musical rollercoaster beginning with grace, taking them through chaos, and ending with triumph.
Tema con variazioni
After the triumphant end of the first movement, the concerto leads the audience into the quiet and emotional depth of the lyrical, somewhat playful, nostalgic yet pensive second movement.
Allegro, ma non troppo
The third movement takes the audience through an energetic and playful exchange between the piano and orchestra, as the soloist showcases their virtuosity with octave runs, rapid scales, and leaps across the piano keyboard.