Sergei Prokofiev - Op.16 Piano Concerto No.2 in G minor (1912-3, re-written 1923) (Score, Analysis)

Концерт № 2 для фп. с оркестром g-moll/Concerto No.2 for Piano and Orchestra
Sergei Sergeyevich Prokofiev (Сергей Сергеевич Прокофьев/Sergey Sergeyevich Prokofiev) (1891-1953) was a Russian/Soviet composer, pianist, and conductor. His works range from piano sonatas to operas, and he is regarded as one of the most important composers of the 20th century.
The second concerto, arguably my favorite piano concerto of all time. This concerto is dedicated to the memory of Maximilian Schmidthof (a friend of Prokofiev who killed himself in 1913).
The premiere was on 23 August 1913 in the concert hall of the Pavlovsky Railway Station, with the composer at the piano and A. P. Aslanov as the conductor. The reception was harsh and cold. Many at the audience hissed, and people did not appreciate the “futuristic” piece. Nevertheless, there was enthusiasm, including a comment from V. Karatygin (a leading music critic at the time), “the most significant creations of modern Russian music”. It kind of parallels Rite of Spring in my opinion, which had a well-known riot at the premiere, also in 1913 (just 3 months earlier than this concerto). B. Asafiev (composer) described the concerto as “stunning” and “rich in content”. The original score is lost, and whlie Prokofiev did say that the thematic material is entirely the same for the piano part, it is now known how much of the current concerto is from the original.
Anyway, the new version was first performed by the composer in Paris on 8 May 1924, with Koussevitsky as the conductor. It was quite successful, and it was a favorite of Prokofiev, too. He played this regularly in concerts.
(0:00) Mov.1 Andantino - The first movement is a modified sonata form. The introduction gives the first motif (M1), a descending 3rds in string pizzicatos.
(0:11) Piano enters with a wistful theme (M2)
(0:22) M3, a rising string figure.
(0:53) M1-3 combined (M2 on left hand, M3 in middle voice, M1 on top)
(1:37) M3 in piano, M2 in woodwinds
(1:53) Modulated M2 + M3
(2:15) Transition (M3), followed by M1 in orchestra + M2 in piano
(2:55) Transition 2 (M3 in chromaticism)
(3:12) Second theme (M4), a playful yet ironic melody characteristic of Prokofiev.
(3:34) A varied version of M4 played on piano, with orchestra stating M4
(3:59) M4 on woodwind
(4:25) M4 distorted, barely recognizable.
(4:45) Gradual transition to lyricism
(5:11) Transition
(5:45) Development, which is a 5-minute cadenza from solo. It has every element that appeared in the first part of exposition.
(6:25) M3
(7:22) M2 in harsh dissonance
(7:50) M1
(8:08) M2, in tortuous climax
(8:44) Arpeggiated section - with main melody reminiscent of M1
(9:15) M3 and M2 combined.
(9:37) M1 appears…
(9:50) Culminating here and setting up for…
(10:22) Recapitulation, where the introduction theme occurring in a “sound mass”.
(10:55) A sudden end - and we are back to the calm M2 - but unlike a traditional sonata, we do not get the second theme, nor a real coda.
(11:58) Mov.2 Scherzo: Vivace - A movement that can make its argument as a toccata, its witty atmosphere contrasts greatly with the first movement.
(12:13) Modulated version
(12:45) Middle section, where the theme is modified with introduction of different theme, etc.
(13:08) Modulation
(13:33) Theme
(14:20) Mov.3 Intermezzo: Allegro moderato - The key figure is the string ostinato.
(14:54) Piano entrance, and music immediately gains more speed.
(15:21) Aggression
(15:58) Lyrical theme
(16:29) String ostinato
(17:00) Aggression
(17:49) Lyricism. Notice how the string ostinato is never completely gone, even during these lyrical sections.
(18:29) Ostinato (in piano bass line)
(19:08) Aggression
(19:38) Start of climax
(20:21) Ostinato return in full force
(20:36) A gradual cool-down with woodwinds
(20:57) Mov.4 Finale: Allegro tempestoso - The finale is also in a modified sonata form. The first theme is very witty and lively.
(21:35) Change in tonality
(22:02) Variant
(22:24) A brief halt
(22:57) T2, a lullaby-like theme. Personally one of my favorite themes of all time.
(23:14) Solo
(24:40) Piano now as accompaniment
(25:18) Climax
(25:53) Development. On top of the T2, we see intervals from T1.
(26:03) Solo
(27:00) Cadenza - Elements of T1 and T2 mix together
(29:20) T2
(30:00) Climax, with piano playing T1, yet the main melody is T2.
(30:43) Transition (T2)
(31:19) Recapitulation, T1 - The appearance of T1 is rather very sudden, and brief. Without even mentioning any T2, it simply ends the piece, just like in the first movement.
Source: English/Russian Wikipedia, original research
Recording by Evgeny Kissin, Philharmonia Orchestra, Vladimir Ashkenazy
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[@lightspeed174]

Another great recording of a fantastic piano concerto. Prokofiev at his best. Thank you again for another magnificent recording.

[@thejokingwizard]

thank you for the brilliant analysis. one of my most favorite concertos too

[@Mildau30]

This is one of the best piano concertos. Just that apocalyptic orchestral climax after cadenza in the 1st movement is enough to prove it.

[@DemirSezer]

WOOHOOO!!

[@dmachine07]

One thing I might add: The motif at 22:24 is at the coda 32:15.

[@ZewenShifu]

based