There’s no question that Pieter Wispelwey delivers an exceptional performance of Prokofiev’s strange and occasionally awkward Sinfonia concertante. The work’s odd structure–two andantes enclosing a monstrously long central allegro–poses no problems for either the soloist or the conductor, and Wispelwey’s consistent energy and attractive tone is all the more remarkable given the fact that this is a live performance. He handles the atrocious technical difficulties with ease, particularly in that central allegro and the last movement’s loony conclusion. For most listeners, I suspect, the main issue will be the couplings, which are typically interesting and adventurous, even if only marginally connected to the Prokofiev (if at all).
In particular, it’s great to have such a fine performance of the Crumb sonata, a major early work that sounds nothing like the composer we know and love today (the notes speak of his interest in Bartók in the 1950s, and that’s pretty evident), while the Tcherepnin is an attractive (and short) novelty. I’m amazed at the quality of the sound in the Prokofiev: recorded live, with hardly any audience noise, it’s perfectly balanced and phenomenally realistic in all formats–much better, in fact, than just about any other studio recording of this piece in terms of atmosphere and naturalness. So if the program appeals, go for it. [10/12/2009]
