Prokofiev: Piano Concerto No. 4 in B flat major, Op. 53 ((for the left hand))

“Berman is incisive in Prokofiev's Concertos Nos 1, 4 and 5, but the highlight of this set is Horacio Gutiérrez's hair-raising playing in Concertos Nos 2 and 3. Terrific orchestral support.” BBC Music Magazine, August 2009 *****

“…Cuban-American Gutiérrez unleashes some of the most thrilling virtuosity on record, storming the Second Concerto's first movement development/cadenza in a manner that will make lesser pianists tremble. He is no less stunning in the less obviously demanding Third Concerto where once again his ebullience is complemented by flawless technique and musicianship. Berman (Boris, not Lazar) may offer less supercharged vitality but all three of his performances alternate poise and exuberance to a most stylish and musical degree. Järvi works hand in glove with his soloists and the result is a triumph. No recorded collection of the complete concertos, whether deleted or available, comes within distance of this.” Gramophone Magazine, September 2009

“An outstanding bargain.” Classic CD

“While it's true that the Prokofiev piano concertos are an uneven body of work, there's enough imaginative fire and pianistic brilliance to hold the attention even in the weakest of them; the best, by common consent Nos 1, 3 and 4, have stood the test of time very well. As indeed have these Decca recordings. The set first appeared in 1975, but the sound is fresher than many contemporary digital issues, and Ashkenazy has rarely played better. Other pianists have matched his brilliance and energy in, say, the Third Concerto, but very few have kept up such a sure balance of fire and poetry. The astonishingly inflated bravura of the Second Concerto's opening movement is kept shapely and purposeful and even the out-of-tune piano doesn't spoil the effect too much. And the youthful First has the insouciance and zest its 22-year-old composer plainly intended.
Newcomers to the concertos should start with No 3: so many facets of Prokofiev's genius are her, and Ashkenazy shows how they all take their place as part of a kind of fantastic story. But there are rewards everywhere, and the effort involved in finding them is small.” Gramophone Classical Music Guide, 2010

“Ashkenazy is a commanding soloist in both the First and Second Concertos, and his virtuosity in the First is quite dazzling...Throughout, Previn and the LSO accompany sympathetically...as a complete, consistent set this remains unbeatable.” Penguin Guide, 2011 edition