S. Prokofiev: Toccata op. 11 (Rahman el Bacha)

The franco-lebanese pianist Abdel Rahman El Bacha performs Sergueï Prokofiev's Toccata op. 11.

Wikipedia about the toccata:

Prokofiev's Toccata starts off with a persistent repetition of the note D, interchanged between the right hand (which plays the single note) and the left hand (which plays the same note but with the lower octave as well). After a brief development, there are chromatic leaps in the left hand while the right hand plays a repeated figuration. The two hands soon switch positions, although the leaps still continue for a while.
A series of split chromatic thirds leads upwards until a descending melody (in A) with chromatic third accompaniments begins, with the left hand traveling in contrary motion upwards. This leads back to the main repetition 'theme' before a very short pause. Both hands soon play a weaving series of the right hand's repeated figuration from the start, before the split chromatic thirds pattern reappears. This leads more violently to the descending melody pattern, but this time in D, before the D repetition 'theme' reappears, this time in alternating octaves in both hands. The Toccata slows down and halts temporarily before a chromatic rising scale leads to octave exhortations, followed by a glissando sweep up the keyboard to end on the top D.
This particular piece is an extremely difficult showpiece that is very popular with virtuoso pianists and has been recorded by many. According to the biography of the composer by David Gutman, Prokofiev himself had trouble playing it because his technique, while good, was not quite enough to master the piece. However this fact is not universally accepted and his performance as reproduced in 1997 for the Nimbus Records series The Composer Plays is certainly virtuosic. Additionally none of the leading biographies of Prokofiev, those written by Harlow Robinson, Victor Seroff, and even Israel Nestyev, mention any technical problems with the piano past his childhood born poor performance techniques which were later rectified through years of study after his graduation from the St. Petersburg Conservatory.

[PointyTailofSatan]

Maybe I am crazy, but I always get the feeling that Prokofiev was laughing like a madman when he wrote this.

[markfowlermusic]

this is how to play a crescendo - 4:10

[empireentertainmentevents]

Rahman el Bacha played this way better than any Pianist I heard. Even Yuja cant play this as good as him. She and other pianists tend to rush and show off their technique, but Rahman el Bacha paid respect to the piece by showing so much more details that were missing from other pianists. It is not how fast you can play this...but how much you can evoke out of it.
Well done Rahman el Bacha !

[mistertornado]

I'm surprised Prokofiev actually left a key signature for this piece.

[VDEDRME]

Dentist: Prokofiev, my clients have a problem opening their mouths for 4 mins 30 secs straight.
Prokofiev:

[terryp]

Every note is so distinct. Incredible.

[marcsmith]

Fantastic, clear performance. Not too sped up, either. Relatively restrained and beautifully articulated. Phenomenal.

[SordidGuy]

I actually performed this piece last night in Berlin. When I woke up, I was on the floor banging my hands against the foot board after falling off the

[GarySchmidtPianist]

I can't think of a more exciting "toccata" in the piano literature.

[camilorojas]

I can imagine prokofiev sitting at the piano improvising this and having fun. What I can't even think about is him writing it down for the pianists to come

[chrislimnios]

It is clear to me that 99% of the interpretations I have heard thus far are pianists who play this piece much too quickly. In this recording, Abdel brings out many many subtle nuances that are unfortunately just not present in other renderings, which is a real disservice to the composer, and ultimately to the listener. This interpretation is spectacular.

[emanuelegiuseppemilazzo]

THE best performance of this song I've ever heard, I think it perfectly reflects the way prokofiew wanted it to be played.Incredible

[remsan]

This is as crisp and as clear as the first winter's morning.
Even his trills are distinct.
This has to be one of the best three. (The others are by Horowitz & Argerich. Each has unique quality that I like. Horowitz for the basses. Argerich for her ferocity)

[elinah.]

Потрясающее исполнение, никакой гонки, респектище за такую выдержку и то, что ниточка не пгтерялась до самого конца.

[ShaunakDesaiPiano]

Took me years (I played this, not too well, at 15) to realise that this is in sonata form wow. Here is my analysis, where M stands for motif:

Exposition
0:00 - Title screen
0:07 - Introduction (D minor)
(0:07 - M1)
0:34 - Subject 1 (D minor)
(0:34 - M2; 0:43 - M3)
1:08 - Transition;
(1:08 - M4; 1:19 - M5; 1:25 - M4)
1:33 - Subject 2 (C major)
1:55 - Closing with M1

Development
2:12 - M2
2:27 - M3
2:31 - M2

Recapitulation
2:50 - Transition (yes, no recapitulation of the first subject)
(2:50 - M4; 3:09 - M5; 3:13 - M4; 3:17 - short burst of M2)
3:23 - Subject 2 (D major)
3:46 - Closing with M1

Coda
4:10 - M1
4:13 - M3
4:21 - M2 in augmented triads
4:25 - glissando to the end.

[lizs]

The beginning could be the beginning of a boss battle theme.

[GarySchmidtPianist]

I was at a local piano competition last week and out walks this small frail looking 12 year old Japanese kid. Sits down and knocks the socks off this thing. it didn't break him in half I have no idea. (maybe not quite as good as this interpretation but still very very good).

[xeshing]

2:11 sounds so great! It's like walking in the woods at night!

[jjmcoupebmw]

Hot damn what a performance.. I'm just amazed at the clarity of his playing. A lesser being would turn this into a wall of sound but he maintains his composure throughout.... impressive to say the least!

[gubgubbubbub]

I love the clarity and precision. Often the trills and accuracy are sacrificed in favor of speed, but this piece is so much more effective this way. Will definitely be listening to more el Bacha.