Prokofiev Concerto No.3 Third Movement - Coda

[invictious]

Been listening to this again (I remember back then I used to listen to this movement over and over again), now this time with the score.

Of course, Prokofiev's immense genius can be condensed into the coda, i.e. after the slower middle section in the third movement of the third piano concerto. If I had to represent Prokofiev with one passage, it would be that. It will be so many years before another genius comes and composes something as brilliant as that (Shostokovich's first cello concerto and E flat MAJOR).

I just have a few questions after watching a few pianists perform it with 'ease', out of curiosity.

The score does not look that complex, but I imagine bringing it up to tempo would be very difficult. This is true for one who is not accustomed to Prokofiev's manner of composition. The awkward left hand also adds to the problem.

The brioso parts, e.g. scales/arpeggios, where some performers usually just approximate with glissandos, I imagine having fat fingers would definitely help.

After that it is RELATIVELY straightforward, with more fat-finger-passages, octave work for both hands.

The tricky part again would be the page before the last, with "chord-bashing", reminiscent of Rachmaninov's Prelude op.3 no.2 in C# minor.

Anyone who has learned this concerto, or at least this section? Care to share how you tackled your worst nightmares?

[nearenough]

I am assuming by "fat fingers" you are pointing out the doublet scales near the end which require execution by means of hitting 2 white keys together as a doublet with certain fingers, on the way up and down, with the intent of accuracy and smoothness. This is an unusual finger disciple which I have not encountered in other works. It is not indicated as a glissando. How does a professional play it authentically? I can't help thinking that hit or miss and so it goes is the philosophy.

[rob47]

I am assuming by "fat fingers" you are pointing out the doublet scales near the end which require execution by means of hitting 2 white keys together as a doublet with certain fingers, on the way up and down, with the intent of accuracy and smoothness. This is an unusual finger disciple which I have not encountered in other works. It is not indicated as a glissando. How does a professional play it authentically? I can't help thinking that hit or miss and so it goes is the philosophy.

one solution is what 'pianodaria' suggested way back here:
https://www.pianostreet.com/smf/index.php?topic=12873.msg138043#msg138043