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Dixon, Gavin. "St Petersburg, Shostakovich Hall: Gabriel Prokofiev's Cello Concerto". Tempo 67, nr 266 (październik 2013): 78–79. http://dx.doi.org/10.1017/s0040298213000922.
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When Gabriel Prokofiev first came to prominence in the UK, comparisons were inevitably made with his famous grandfather. Gabriel has since forged a distinctive musical identity for himself, making the shared name all but irrelevant. But in Russia that name carries even greater significance, so it was little surprise that the world première of Gabriel's Cello Concerto in Saint Petersburg, on 18 May, was in a concert that included at least two Prokofievs. In fact, a third Prokofiev was also featured, as the event began with poetry by Oleg: Gabriel's father and Sergei's son.
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Kondakov, Igor V. "SERGEI PROKOFIEV OPERA HOUSE: A CYCLE OF BINARY MACROSTRUCTURES". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, nr 7 (2022): 138–52. http://dx.doi.org/10.28995/2686-7249-2022-7-138-152.
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The S. Prokofiev Theater is today considered one of the pinnacles of the world musical theater of the 20th century. This article is devoted to the opera theater of S. Prokofiev and its philosophical overtones. It is important to understand the features of the formation and development of such a theater as a whole, to comprehend the design of the Prokofiev theater as a system of separate theatrical works in the creative mind of the author. The logic of the composer’s theatrical creativity, which in a peculiar way refracted the philosophy of Kant and Schopenhauer, required that each new work of this genre be created in contrast with the previous one. As a result, the entire array of Prokofiev’s operas appears in the form of a system of philosophical antinomies embodied in the form of a cycle of opera dyads. Thus, Prokofiev managed to present in the form of binary macrostructures of his musical theater the inconsistency of the surrounding reality and the insolubility of ideological disputes about it, which are formed as a set of “theses” and “antitheses” that are not subject to synthesis. Considering the cycle of Prokofiev’s operas as a system of semantic antinomies makes it possible to present the corpus of his musical and theatrical works as a single text (hypertext) - in all the variety of intertextual connections and philosophical overtones.
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Barker, Michael K., Nancy L. Chabot, Erwan Mazarico, Matthew A. Siegler, Jose M. Martinez-Camacho, Colin D. Hamill i Stefano Bertone. "New Constraints on the Volatile Deposit in Mercury’s North Polar Crater, Prokofiev". Planetary Science Journal 3, nr 8 (1.08.2022): 188. http://dx.doi.org/10.3847/psj/ac7d5a.
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Abstract We present new high-resolution topographic, illumination, and thermal models of Mercury’s 112 km diameter north polar crater, Prokofiev. The new models confirm previous results that water ice is stable at the surface within the permanently shadowed regions (PSRs) of Prokofiev for geologic timescales. The largest radar-bright region in Prokofiev is confirmed to extend up to several kilometers past the boundary of its PSR, making it unique on Mercury for hosting a significant radar-bright area outside a PSR. The near-infrared normal albedo distribution of Prokofiev’s PSR suggests the presence of a darkening agent rather than pure surface ice. Linear mixture models predict at least roughly half of the surface area to be covered with this dark material. Using improved altimetry in this crater, we place an upper limit of 26 m on its ice deposit thickness. The 1 km baseline topographic slope and roughness of the radar-bright deposit are lower than the non-radar-bright floor, although the difference is not statistically significant when compared to the non-radar-bright floor’s natural topographic variations. These results place new constraints on the nature of Prokofiev’s volatile deposit that will inform future missions, such as BepiColombo.
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Berman, Anna A. "Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage". Cambridge Opera Journal 26, nr 3 (13.10.2014): 215–38. http://dx.doi.org/10.1017/s095458671400007x.
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AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera acceptable for the Soviet stage. Moving away from Tolstoy’s family ideal inPeace, with its basis on intimate sibling bonds, Prokofiev shifted the family toWar, turning it into a national Russian family of Father Kutuzov, Mother Russia and their children – the Russian people. The opera uses choral glorification of these heroic parents to foster on a national scale the type of intimacy Tolstoy had advocated in the home.
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Ляхович, Артём Владимирович. "Prokofiev and Fairy Tale". Музыкальная академия, nr 1(777) (31.03.2022): 96–105. http://dx.doi.org/10.34690/221.
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Статья посвящена образной сфере сказки в творчестве Прокофьева, которая трактуется как ключевой локус его поэтики. Эта сфера рассмотрена в двух планах: сказочность как нарратив (в аспекте музыкально-инструментальной литературности, уподобления инструментального произведения литературной притче) и сказочность как творческий метод (в аспекте музыкального языка Прокофьева, его принципиальной установки на оригинальность и, соответственно, на необычность, остранение, чудо). Со вторым планом связана и сфера детства в музыке Прокофьева, тождественная миру, увиденному «как впервые». Нарратив трактуется двояко: в широком смысле - как комплекс взаимосвязанных музыкально-структурных и ассоциативных систем, восходящих к моделированию литературных форм и смыслов; и в узком - как звукоизображение рассказа, где Прокофьев по-новому продолжает «балладную» традицию романтиков. С литературностью прокофьевского нарратива резонирует роль театра в его творчестве и эстетике. The article is devoted to the figurative sphere of fairy tales in the work of Prokofiev, which is interpreted as the key locus of his poetics. This sphere is considered in two modes: a fairy tale as a narrative (in the aspect of musical-instrumental literary, assimilating an instrumental work to a literary parable) and a fairy tale as a method of creation (in the aspect of Prokofiev's musical language, his fundamental attitude to originality and, accordingly, to uniqueness, defamiliarization, miracle). The second mode is also associated with the sphere of childhood in Prokofiev's music. It is identical to the world seen “as for the first time.” Narrative is interpreted in two ways: in a broad sense-as a complex of interrelated musical-structural and associative systems, ascending to the modeling of literary forms and meanings; and in the narrower sense, as a sound representation of the story, where Prokofiev continues the “ballad” tradition of composers of Romantism. The role of the theater in his work and aesthetics resonates with the literary nature of Prokofiev's narrative.
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Prokofiev, Artem M., i Carsten Zorn. "Review of the Mimela species of the Dalat Plateau in southern Vietnam (Coleoptera, Scarabaeidae, Rutelinae)." Beiträge zur Entomologie = Contributions to Entomology 66, nr 2 (20.12.2016): 329–46. http://dx.doi.org/10.21248/contrib.entomol.66.2.329-346.
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Zwölf Arten der Gattung Mimela wurden im Gebiet des Dalat-Plateaus in Südvietnam gefunden. Zehn von ihnen werden als neu für die Wissenschaft beschrieben. Die Mehrzahl der Arten scheint endemisch zu sein und hat Verwandte in der Sino-Himalaya-Region.StichwörterColeoptera, Scarabaeoidea, Scarabaeidae, Rutelinae, Anomalini, Mimela, Vietnam, Dalat, new species, taxonomy, Oriental region.Nomenklatorische Handlungenamphichroma Zorn & Prokofiev, 2016 (Mimela), spec. nov.campyloclados Zorn & Prokofiev, 2016 (Mimela), spec. nov.dalatocoerulea Zorn & Prokofiev, 2016 (Mimela), spec. nov.galbinata Zorn & Prokofiev, 2016 (Mimela), spec. nov.germana Zorn & Prokofiev, 2016 (Mimela), spec. nov.indosinica Zorn & Prokofiev, 2016 (Mimela), spec. nov.krasava Zorn & Prokofiev, 2016 (Mimela), spec. nov.langbianica Zorn & Prokofiev, 2016 (Mimela), spec. nov.pacholatkoi Zorn & Prokofiev, 2016 (Mimela), spec. nov.vietnamensis Zorn & Prokofiev, 2016 (Mimela), spec. nov.
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MURDY, EDWARD O. "Corrections and clarifications to the descriptions of Biendongella and Sovvityazius (Perciformes: Gobiidae)". Zootaxa 4276, nr 1 (9.06.2017): 127. http://dx.doi.org/10.11646/zootaxa.4276.1.7.
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Prokofiev (2015a) described two new genera and species of Amblyopinae and reported new amblyopine records from waters off Indonesia, the Philippines, and Vietnam. In reviewing Prokofiev’s figures and reading the descriptions of his new genera, Biendongella Prokofiev, 2015 and Sovvityazius Prokofiev, 2015, it appeared likely that these new taxa were based on species also under examination by Koichi Shibukawa and me. However, some differences existed between our specimens and those described by Prokofiev in the pterygiophore formula (DF), the presence/absence of hypural 5, and the number of epurals. The data and information on these characters were not abundantly clear from the text and clarification was needed. For example, on page 786 of Prokofiev (2015a) the following diagnostic feature of Biendongella was provided, “DF 3 1221, vacant interneural gap between spined and soft parts of D present; two first pterygiophores of soft part of D each located in its interneural gap…”. Similar wording exists for Sovvityazius on page 789, “DF 3 1221, vacant gap between spined and soft parts of D present; two first pterygiophores of soft part of D each in its interneural space…”. As for hypural 5 and the number of epurals, the same statement is given for both Biendongella and Sovvityazius on pages 786 and 789, respectively, “Hypural 5 and epural 2 absent.” These character states struck me as remarkable as they are atypical for amblyopines. With respect to the DF character above, amblyopine gobies with a pterygiophore formula of 3-1221 have no interneural gap and the interneural space immediately posterior to the pterygiophore of the ultimate spinous ray contains two pterygiophores (Murdy 2011). As for the latter characters, hypural 5 and two epurals are present in amblyopine gobies (Shibukawa and Murdy 2012). In a detailed email to Prokofiev, I asked for clarification of these discrepancies and whether Biendongella and Sovvityazius have the amblyopine synapomorphy of the ultimate pterygiophore supporting a single ray (Murdy & Shibukawa 2001), which was not mentioned in the description of either genus.
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PROKOFIEV, ARTEM M. "New species and records of Maechidius Macleay, 1819 from New Guinea (Coleoptera: Scarabaeidae: Melolonthinae)". Zootaxa 5205, nr 5 (10.11.2022): 445–62. http://dx.doi.org/10.11646/zootaxa.5205.5.3.
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Seven species of Maechidius Macleay, 1819 from New Guinea are described, namely M. addarcis Prokofiev, new species, M. astrolabius Prokofiev, new species, M. bombycinus Prokofiev, new species, M. echinoides Prokofiev, new species, M. macrosoma Prokofiev, new species, M. penicilliger Prokofiev, new species, and M. telnovi Prokofiev, new species. Males of M. interruptocarinulatus Heller, 1914 and aedeagus of M. seriepunctatus Moser, 1920 are described for the first time. Key to the Indonesian and New Guinean species is amended for inclusion of the newly described species.
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RIFKIN, DEBORAH. "The Quiet Revolution of a B Natural: Prokofiev's ‘New Simplicity’ in the Second Violin Concerto". Twentieth-Century Music 6, nr 2 (wrzesień 2009): 183–208. http://dx.doi.org/10.1017/s1478572210000162.
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AbstractThis essay explores changes in Prokofiev's compositional style that occurred in the mid-1930s, around the time that he was making his decision to return to his homeland. In his diary Prokofiev wrote about a desire for a ‘new simplicity’, a style that featured simple melodies and comprehensible form. Compared to the avant-garde aspirations of his earlier works, his ‘new simplicity’ features a self-conscious return to Classical precedents. Prokofiev believed his new lyricism would be a uniquely modern yet accessible music for the Soviet people. Many of his most popular works, including Lieutenant Kijé (1933), Romeo and Juliet (1935–6), and Peter and the Wolf (1936), are written in the style associated with this ‘new simplicity’. The style is distinctive because of its sudden and markedly trangressive chromatic swerves to distant harmonic areas. By invoking and then thwarting tonal conventions, Prokofiev creates a compelling tension between Classicism and modernism. This essay presents the first movement of his Violin Concerto no. 2 (1935) as an exemplar of his ‘new simplicity’. The fractured musical surface is interpreted as a musical narrative, as an ironic satire of sonata form.
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Савкина, Н. П. "More About Gorchakov, Prokofiev’s Secretary". OPERA MUSICOLOGICA, nr 2 (1.05.2021): 70–89. http://dx.doi.org/10.26156/om.2021.13.2.004.
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Цель статьи — представить новые сведения о секретаре Сергея Прокофьева Георгии Николаевиче Горчакове (1902–1995), сосредоточенные в неизвестных документальных материалах. Это был музыкант, который расшифровывал музыкальные и литературные рукописи Прокофьева, писал под его диктовку, в течение нескольких лет был проводником литературной и музыкальной мысли композитора, довел до стадии завершения несколько крупных прокофьевских партитур. Их связывало и общее вероучение, которому оба были привержены: Христианская наука. Письма Горчакова — его рассказы Прокофьеву о себе — обновляют знание о повседневном существовании обычных людей русской эмиграции. Они затрагивают не только мир музыкальный, но и непарадную сторону жизни Лазурного берега, «мореходную» тему, неизвестный прежде мотив скаутского движения: оно, оказывается, интересовало Прокофьева, у которого подрастали сыновья. Конечно, картинки общения Прокофьева и Горчакова не могли обойтись без зарисовок каждодневной прозаической жизни музыкального издательства, волнений по поводу грядущего концерта, для которого прислали не все оркестровые партии, других колоритных подробностей. Событием в прокофьевской историографии можно считать уточнение сроков выхода в свет «Вещей в себе». The aim of the article is to present a new information about Prokofiev’s secretary — Georgiy Nikolaevich Gorchakov in the analysis of previously unknown documentary materials. He was the musician, who deciphered Prokofiev’s sheet music and literary manuscripts, and who took his dictation. For years he was an agent of the composer’s musical and literary ideas and he brought to completion some large-scale Prokofiev’s scores. Besides, they were bound by the same belief — Christian Science. Gorchakov’s letters — his narrations to Prokofiev about himself — update the knowl edge about ordinary Russian people’s immigration experience. They tackle not only the world of music, but also Côte d’Azur’s everyday life: navigation and scouting, in which Prokofiev — a father of growing boys — appeared to be interested. Certainly the descrip tion of Prokofiev and Gorchakov’s communication wouldn’t be complete without outlining the mundane everyday life of the music publishing house and nerve-wracking preparations for the coming concert which was missing some orchestral parts, and other colorful details. A more accurate date for the publication of Things in Themselves could be considered a significant discovery in Prokofiev’s historiography.
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Robinson, Harlow. "“My Second Son”: The Collaboration of Sergei Prokofiev and Sergei Diaghilev". Experiment 17, nr 1 (2011): 140–54. http://dx.doi.org/10.1163/221173011x611879.
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Abstract Russian composer Sergei Prokofiev (1891-1953) and Sergei Diaghilev collaborated on three ballets (Chout, Pas d’Acier, Prodigal Son) for the Ballets Russes, and maintained a crucial personal and artistic relationship for fifteen years during a formative period in Prokofiev’s artistic life. This article traces their collaboration on the three ballets, and the production history of each.
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MacDonald, Hugh. "Shostakovich, Prokofiev". Musical Times 127, nr 1720 (lipiec 1986): 391. http://dx.doi.org/10.2307/965251.
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Chimenes, Myriam, i Michel Dorigne. "Serge Prokofiev". Vingtième Siècle. Revue d'histoire, nr 52 (październik 1996): 171. http://dx.doi.org/10.2307/3771198.
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Dolinskaya, E. B. "FABULOUS MUSICIANS: S. PROKOFIEV AND N. MEDTNER". Arts education and science 1, nr 2 (2021): 180–84. http://dx.doi.org/10.36871/hon.202102022.
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This year marks the 130th anniversary of the birth of S. S. Prokofiev and the 70th anniversary of the death of N. K. Medtner. The article provides a socio-cultural background to the similar circumstances of the lives of these two great musicians. Both were forced to leave Russia during the October events, learning all the difficulties of emigration. Their joint tour in the USSR in 1927 was for Medtner a last meeting with his beloved Moscow, where he had studied and taught at the Conservatory, while Prokofiev's emigration ended with his return home. The author wonders what brought together such different personalities as Sergey Prokofiev and Nikolay Medtner. The composers were united, among other things, by a special interest in narrative genres derived from folk epic poetry. However, each musician interpreted them differently — while the composer of "Tales of an Old Grandmother" was more interested in the representational aspect, Medtner wrote works with a more psychological depth.
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Ревуцький, А. Я., i О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)". Музикознавча думка Дніпропетровщини, nr 15 (1.11.2019): 61–75. http://dx.doi.org/10.33287/22195.
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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to track the evolution of the melody ofS. Prokofiev. Scientific novelty claims relevance because, unfortunately,very little attention is paid to the unique lyrics of Prokofiev, which standsout very clearly among other composers. Therefore, the study of thecharacteristics of the canted melody reveals the melodic style in itsmainstream. Especially since it is the cantilena that contains the mostimportant artistic discoveries of the composer in the field of melody, this iswhere the peculiarity of his melodic thinking manifested itself.Conclusions. Prokofiev was one of the first composers of the twentiethcentury, who brought the violin art back to its natural, for centuries acertain lyrical-emotional direction. The violin in his works appears mostoften in the role of „actorˮ, who predominantly distinctly „singsˮ. Thisfeature is inextricably linked with the lyrical direction – very strong in allProkofievʼs works. The lyrical direction, we can assume, dominatesProkofievʼs entire violin heritage. His innovation in the field of updatingthe melody from the inside consisted in updating its imaginative,intonational, mode. Over the years, the Prokofievʼs violin style haschanged, reflecting the general evolution of its artistic and aestheticprinciples. The last period of his work was marked by the desire forsimplicity, clarity of musical thinking, and hence to even greater modesty,transparent texture, and wise savings in the means of expression.
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Kailin, Zhang. "SERGEY PROKOFIEV AND SERGEY SLONIMSKY: A DOUBLE PORTRAIT IN THE INTERIOR OF THEATER, CINEMA AND RADIO". Arts education and science 1, nr 4 (2021): 74–78. http://dx.doi.org/10.36871/hon.202104009.
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This article demonstrates the general principles in the work of S. S. Prokofiev and S. M. Slonimsky, artists who are brightly individual and bold in their creative search. This thesis is confirmed by the two composers' memoirs: Prokofiev's Autobiography and Slonimsky's "Burlesques, Elegies, Dithyrambs in Despicable Prose". The author touches upon the theme "the Composer and the Drama Theater", which reveals the approach of the director (G. A. Tovstonogov) and the composer (S. M. Slonimsky) to the musical design of the performance based on the novel "Quiet Flows the Don" by M. A. Sholokhov. The paper provides excerpts from the book of the famous actor, screenwriter and director A. V. Batalov, as well as his views on radio dramaturgy as the director of a radio play about the childhood of Sergey Prokofiev. It is emphasized that A. V. Batalov made an accent on the leading role of the composer's works in compositional dramaturgy of the radio performance.
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Bartig, Kevin. "Restoring Pushkin: Ideology and Aesthetics in Prokofiev's Queen of Spades". Journal of Musicology 27, nr 4 (2010): 460–92. http://dx.doi.org/10.1525/jm.2010.27.4.460.
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Immediately following his repatriation in 1936, Prokofiev composed a film score for a screen adaptation of Pushkin's The Queen of Spades. Although the film was never finished, Prokofiev's completed score reveals an idiosyncratic approach to film music, one that is strikingly different than that found in his better known scores such as Alexander Nevsky. Reconstruction of the production and its context demonstrates how Prokofiev's aesthetic goals of a "new simplicity," characterized by lyricism, spare textures, and avoidance of dissonance, would successfully intersect with the ideological goals of a Jubilee celebration planned by the Soviet government for the centenary of Pushkin's death.
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Clark, Robert S. "The Prokofiev Marathon". Hudson Review 56, nr 3 (2003): 531. http://dx.doi.org/10.2307/3852702.
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Савкина, Наталия. "Sergei Prokofiev. Relatives". Музыкальная академия, nr 1(774) (24.06.2021): 28–37. http://dx.doi.org/10.34690/147.
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Обнародованные несколько лет тому назад сведения об арестах близких родственников Прокофьева и о полученных ими тюремных сроках открыли много нового в биографии и личности композитора. Так, стало очевидно, что он был прекрасно осведомлен о массовых репрессиях и жестокой политической цензуре в СССР, когда принимал решение вернуться на родину. Композитор должен был разработать особые авторские стратегии, маневрировать между факторами художественными и требованиями конъюнктуры. Представленные в статье письма шире знакомят с родными композитора; так, они проливают свет на жизнь в первые годы революции семьи Катениных, выводят на сцену действия одну из родственниц Прокофьевых, жившую в Германии, - Марию Рейн. В ряду самых пронзительных документов прокофьевского эпистолярия - письмо тетушки, Екатерины Григорьевны Раевской, которая сообщает об аресте дочери. Обогащают прокофьевское подполье записки композитора из Франции в финансовый отдел Большого театра и ГАТОБ (ныне Мариинский театр) с напоминаниями о необходимости отправить деньги его родственникам в СССР. Композитор в течение многих лет материально поддерживал три семьи своих репрессированных или попавших в жестокую нужду родных. Публикуемая здесь записка - только одна из очень большого количества таких напоминаний. The information about the arrests and jail sentences of Prokofiev's close relatives has been promulgated some years ago, and it revealed many new things about the composer's biography and personality. That is, it became clear, that he was fully aware of mass repressions and harsh political censorship in the USSR at the time he was deciding to return to the motherland. The composer had to shape his own personal strategy to maneuver between artistic values and the circumstances demand. The letters presented in the article introduce in greater detail the composer's relatives. So, they shed light upon the life of the Katenins family during the Revolution first years; they bring into view one relative living in Germany-Maria Rein. One of the most vibrant items of Prokofiev's correspondence is the letter from his aunt, Ekaterina Grigorievna Raevsky, who reported about her daughter being arrested. Prokofiev's quiet correspondence is enriched by his notes from France to the Bolshoi Theater finance department and to the State Academic Theatre of Opera and Ballet (St. Petersburg), reminding them to send money to his relatives in the USSR. For many years Prokofiev supported three families of relatives, who were purged or in need. The note published here is just one of many such reminders.
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Prokofiev, A. M. "New and little known perciform fishes from the Upper Oligocene – Lower Miocene boundary deposits of the Caucasus (Osteichthyes, Perciformes)". Zoosystematica Rossica 11, nr 1 (25.12.2002): 209–17. http://dx.doi.org/10.31610/zsr/2002.11.1.209.
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Several new and little known perciform fishes (Pirsagatia sytchevskayae gen. et sp. n., Epibatichthys corruptus gen. et sp. n.; Apscheronichtys bogatshovi Prokofiev, 2001; Pelates islamdagicus Prokofiev, 2001; Leiognathoides minutus (Daniltshenko, 1980); Pomacentridae gen. et sp. indet.; Bestiolablennius eugeniae Prokofiev, 2001), including two new genera (Pirsagatia and Epibatichthys) of Percoidei incertae sedis, from the terminal Upper Oligocene or basal Lower Miocene of the Caucasus are described.
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Orlov, Vladimir. "Prokofiev and the Myth of the Father of Nations". Journal of Musicology 30, nr 4 (2013): 577–620. http://dx.doi.org/10.1525/jm.2013.30.4.577.
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Prokofiev’s cantata Zdravitsa (1939) was appreciated by Soviet officialdom immediately upon its premiere, and its fame lasted throughout subsequent decades. In post-Stalin times, however, critics re-evaluated the cantata, arguing that Zdravitsa had not been written as pro-Stalinist propaganda. Eventually, the idea that it was not Stalin but “the people” whom Prokofiev actually glorified in this cantata became the accepted interpretation of the piece, unchallenged even today. Based on insights drawn from the musical and literary sources of Zdravitsa, its relationship to the pseudo-folk Soviet tradition, and its critical reception, the present article proposes a revised framework for interpretation. I show that Prokofiev’s cantata fully corresponds to the Stalinist cultural Myth of the Father of Nations, as represented in Soviet arts and media. Examining archival sources and scholarly literature, I describe the official demands on the cantata. In the second part of the essay I undertake a thorough exploration of the music, identifying its adherence to Socialist Realist aesthetics in Stalin’s times.
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Guillaumier, Christina K. "AMBIGUOUS MODERNISM: THE EARLY ORCHESTRAL WORKS OF SERGEI PROKOFIEV". Tempo 65, nr 256 (29.03.2011): 25–37. http://dx.doi.org/10.1017/s0040298211000143.
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Sergei Prokofiev's association with modernism was a curious one: on the one hand, he thought his technically innovative, bold and challenging music positioned him as a modernist but on the other, he remained wary of aligning himself with any specific movement. Such a combination of reluctance and ambiguity in the face of a movement that was engaging interwar Europe with such intensity stems from what can be viewed as an overly protective attitude to his own purity of idiom. Prokofiev was keenly aware of his own prodigious talent and simultaneously anxious of possible musical influence. Nonetheless, he continued to be watchful of cutting-edge developments in music even if he was not particularly sympathetic to the accompanying philosophical debates on modern music.
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Palmer, Christopher. "Prokofiev, Eisenstein and Ivan". Musical Times 132, nr 1778 (kwiecień 1991): 179. http://dx.doi.org/10.2307/966131.
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Emerson, Caryl, i Harlow Robinson. "Sergei Prokofiev: A Biography". Russian Review 47, nr 3 (lipiec 1988): 323. http://dx.doi.org/10.2307/130594.
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Kerr, Morag G. "Prokofiev and His Cymbals". Musical Times 135, nr 1820 (październik 1994): 608. http://dx.doi.org/10.2307/1003123.
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Graeme, Roland. "Ognennyi Angel. Serge Prokofiev". Opera Quarterly 9, nr 2 (1992): 159–62. http://dx.doi.org/10.1093/oq/9.2.159.
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McQuere, Gordon D., i Harlow Robinson. "Sergei Prokofiev: A Biography". Slavic and East European Journal 32, nr 3 (1988): 487. http://dx.doi.org/10.2307/309201.
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MELO, MARCELO R. S. "Kali colubrina Melo, 2008: a senior synonym of Kali caribbaea Prokofiev, 2008 (Acanthomorphata: Chiasmodontidae)". Zootaxa 2576, nr 1 (25.08.2010): 56. http://dx.doi.org/10.11646/zootaxa.2576.1.2.
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The genus Kali is a member of the deep-sea fish family Chiasmodontidae with seven valid species. A taxonomic revision of Kali was recently conducted by Melo (2008), which included the description of two new species: K. colubrina and K. falx. I was unaware that parallel to that revision, Prokofiev (2008) was describing K. caribbaea. Both publications were published during a very short time interval. Upon having access to Prokofiev (2008), it became clear that K. colubrina and K. caribbaea are actually synonyms. After further investigation about the date of publication of both works, K. colubrina Melo, 2008 is herein placed as the senior synonym of K. caribbaea Prokofiev, 2008.
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Dorris, George. "A Review of: “Prokofiev and Ravel at the Ballet: Prokofiev's Ballets for Diaghilev”". Dance Chronicle 30, nr 1 (maj 2007): 131–38. http://dx.doi.org/10.1080/01472520601165750.
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Frainier, Margaret. "Heaven, Hell or Somewhere in Between: Sergei Prokofiev's The Fiery Angel and the Search for Spiritual Truth". Cambridge Opera Journal 32, nr 2-3 (lipiec 2020): 226–52. http://dx.doi.org/10.1017/s0954586721000069.
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AbstractSergei Prokofiev's The Fiery Angel (Ognennyi angel) has remained comparatively little studied among his operatic works, interpreted primarily as a parody of Russian symbolist beliefs and practice. In the last few years, however, new biographical information has emerged about the period during which Prokofiev wrote The Fiery Angel that points to ways of reconsidering the opera's compositional history and legacy. Furthermore, recent scholarship on the application of narrative theory to opera studies presents new methods for examining how opera might incorporate a narrative point of view. Combining these lines of inquiry, this article scrutinises Prokofiev's two complete versions of Angel (1923 and 1927) in the context of the composer's conversion to Christian Science during the intervening period. It argues that the 1927 version privileges its central character's point of view, as he experiences a process of spiritual awakening similar to the composer's own.
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Demchenko, Alexander I. "The Musical Legacy of Sergei Prokofiev". ICONI, nr 3 (2019): 96–111. http://dx.doi.org/10.33779/2658-4824.2019.3.096-111.
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The lecture of Doctor of Arts, Professor Alexander Ivanovich Demchenko elucidates the evolution of the music of the outstanding composer the main stages of which correspond to the three sections of the present text: “Prokofiev of the Beginning of the Century,” “Prokofiev of the Middle of the Century” and “The Constants of the Musical Style of Prokofiev.” Characterizations are given of the most significant compositions in the context of the culture and the musical language of the 20th century and the musical language of the composer-reformer, as well as to the system of images and genres. The exposition of the lecture has the prerequisite of listening to a set of musical fragments called upon to form a general perception of the range of the composer’s artistic quests.
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Zimmerman, Daniel, Neil Minturn i Sergei Prokofiev. "The Music of Sergei Prokofiev". Journal of Music Theory 42, nr 1 (1998): 153. http://dx.doi.org/10.2307/843857.
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Morrison, Simon, Harlow Robinson i Sergei Prokofiev. "Selected Letters of Sergei Prokofiev". Notes 55, nr 3 (marzec 1999): 670. http://dx.doi.org/10.2307/900434.
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Beeson, Roger A., i Neil Minturn. "The Music of Sergei Prokofiev". Notes 55, nr 3 (marzec 1999): 674. http://dx.doi.org/10.2307/900436.
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Graeme, R. "War and Peace. Sergei Prokofiev". Opera Quarterly 14, nr 1 (1.01.1997): 145–48. http://dx.doi.org/10.1093/oq/14.1.145.
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Graeme, R. "The Fiery Angel. Sergei Prokofiev". Opera Quarterly 14, nr 1 (1.01.1997): 182–84. http://dx.doi.org/10.1093/oq/14.1.182.
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Wakeling, Dennis W. "War and Peace. Sergei Prokofiev". Opera Quarterly 7, nr 1 (1990): 227–30. http://dx.doi.org/10.1093/oq/7.1.227.
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Pines, R. "War and Peace. Sergey Prokofiev". Opera Quarterly 20, nr 4 (1.10.2004): 745–49. http://dx.doi.org/10.1093/oq/kbh090.
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Elsworth, John. "Prokofiev and Twentieth-Century Culture". Slavonica 9, nr 1 (kwiecień 2003): 35–37. http://dx.doi.org/10.1179/sla.2003.9.1.35.
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Taruskin, Richard. "Art and politics in Prokofiev". Society 29, nr 1 (listopad 1991): 60–63. http://dx.doi.org/10.1007/bf02695364.
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Elphick, Daniel. "Prokofiev’s Soviet Operas. By Nathan Seinen, The Operas of Sergei Prokofiev. By Christina Guillaumier". Music and Letters 102, nr 1 (1.02.2021): 166–68. http://dx.doi.org/10.1093/ml/gcab004.
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Савкина, Наталия Павловна. "«Visa is Received and a Place in a Sleeping Car is Booked». Serge Prokofiev and Nicolai Malko: The Quest of the Absolute". Научный вестник Московской консерватории, nr 4(51) (29.12.2022): 678–735. http://dx.doi.org/10.26176/mosconsv.2022.51.4.02.
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Цель статьи - представить новые сведения о контактах Сергея Сергеевича Прокофьева и Николая Андреевича Малько. Погружение в материалы переписки композитора и дирижера, хранящиеся в Архиве Сергея Прокофьева (Columbia University, New York), обогащает картину русского и европейского музыкального искусства, расширяет круг творческих интересов обоих корреспондентов, добавляет новые черты в облик дирижера и композитора. Штрихи к портретам, любопытные обстоятельства и случаи из чьей-то жизни имеют не только познавательную ценность; они - слагаемые на пути к возникновению новых концептов развития музыкального искусства. Главную содержательную нагрузку в переписке, в которую Прокофьев не слишком вовлечен эмоционально, несут письма Николая Малько. В них вырисовывается портрет музыканта с исключительно широким кругозором, для которого перфекционизм, интерес к различным сферам деятельности, стремление к постоянному обновлению были органичной чертой натуры. Именно в письмах Малько с его любовью рассказывать, с его воспоминаниями, с его историями о людях, глубокими музыкантскими наблюдениями концентрируется основная содержательность переписки. В центре внимания обоих корреспондентов, чья карьера в Западной Европе развивалась успешно, - музыкальная жизнь в СССР. Обсуждаются ее привлекательные черты и трудности, которые пришлось и придется преодолевать. В переписке присутствуют деятели отечественного искусства, чиновники от музыки. В этих письмах возникает ведущая для Прокофьева тема новаторства. Малько не сразу сумел найти интерпретационный код к монтажному (или блочному) типу драматургии композитора, он стремился овладеть этим принципом. Среди сюжетов переписки также возмущение Малько огромным количеством ошибок в материалах «Бориса Годунова» в авторской редакции, а также и в прокофьевских сочинениях. Здесь - портрет-зарисовка Йожефа Сигети, этюд о Гайдне, сюжеты из частной жизни: часы для дочки Малько, которые нужно не только купить, но и провезти через советскую границу (Прокофьевым эта практика уже освоена); попытки помощи сестре Мясковского. Содержание переписки дополняют мемуары супруги дирижера: они обновляют существующие знания о Прокофьеве и Малько. Так, среди рассказов Берты Малько - отношение Прокофьева к музыке Шостаковича и к опере «Леди Макбет Мценского уезда». The main purpose of this article is to expose some new information about Prokofiev’s correspondence with Nicolai Andreyevich Malko. Studying the composer and the conductor’s letters from The Serge Prokofiev Archive (Columbia University, New York) has enlarged understanding of their creative interests’ range, added new traits to the composer’s and the conductor’s figures, and also enriched the representation of Russian and European musical art. Getting new pieces of information about personality, curious circumstances and life incidents have not only informative value, all of these components chart the course of the emergence of new concepts of musical art development. The main narrative stem of the correspondence is found in Nicolai Malko’s letters, while Prokofiev is not so emotionally involved. An image of a musician with an extremely wide outlook appears in these letters; he was the person, whose perfectionism, interest in various spheres of activity, and wish for constant renewal were organic features of his personality. It is Malko’s letters with his love to narrate, with his recollections, with his stories about people and insightful music observations, that contain the essence of the correspondence. Both correspondents, whose career in the West had been developed successfully, focused attention on musical life in USSR. They discussed its attractive features and obstacles that had to be overcome. In the letters they refer to people of art, officials of music. In these letters, the Prokofiev’s leading theme of innovativeness arises. Malko did not immediately manage to find an interpretive key to the montage-like (or “building-block”) type of the composer’s dramaturgy, but he strove to master this method. Among the topics of the correspondence there is also Malko’s indignation at the huge number of mistakes in Boris Godunov ’s original version, as well as in Prokofiev’s works. There are a sketch-portrait of Joseph Szigeti, an essay on Haydn, scenes of private life - a watch for the conductor’s daughter, which must not only be bought, but also carried across the Soviet border (Prokofiev has already mastered this practice); attempts to help Myaskovsky’s sister. The content of the correspondence is supplemented by memoirs of the conductor’s wife: they update the existing knowledge about Prokofiev and Malko. Thus, from the Berta Malko stories we learn about Prokofiev’s attitude towards the music of Shostakovich and his opera Lady Macbeth of the Mtsensk District.
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Valenzuela, Sandra Trabuco. "Pedro e o Lobo, de Prokofiev". Literartes 1, nr 10 (15.08.2019): 178–99. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2019.159249.
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O presente artigo estuda o poema sinfônico Pedro e o Lobo, composto por Serguei Prokofiev em 1936, com o objetivo pedagógico de apresentar às crianças os instrumentos musicais utilizados numa orquestra. Inicialmente, apresenta-se o compositor e sua trajetória; na sequência analisa-se o enredo original e como e em que circunstâncias se deu sua concepção; aborda-se a composição musical e o leitmotiv, e realiza-se a leitura comparativa do original de Prokofiev e a versão adaptada para a animação produzida pela Disney Productions.
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Чернышов, В. И. "Piano Concertos for the Left Hand by Ravel and Prokofiev: Two Answers to One Order". OPERA MUSICOLOGICA, nr 4 (15.11.2020): 67–91. http://dx.doi.org/10.26156/om.2020.12.4.004.
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Пианист Пауль Витгенштейн, желая расширить и обновить свой концертный репертуар, внес в XX веке существенный вклад в фортепианную литературу для левой руки. В 1929–1930 годах он заказывает фортепианный концерт сначала Морису Равелю, а затем Сергею Прокофьеву. Это оказалось возможным благодаря наследству, полученному пианистом после смерти отца — сталелитейного магната Карла Витгенштейна. Если Равелю удалось, хоть и не полностью, удовлетворить потребности заказчика, то Прокофьеву было вовсе отказано в исполнении его музыки. Одной из главных причин неудачи Прокофьева можно считать творческий кризис конца зарубежного периода, когда композитор находился в поисках нового музыкального языка — «новой простоты». В статье прослеживается и сравнивается судьба этих произведений; устанавливаются причины сравнительной невостребованности концерта Прокофьева исполнителями; анализируется композиция, фортепианная фактура и техника, оркестровка. Освещены биографические факты из жизни Пауля Витгенштейна, а также непростые отношения между заказчиком и композиторами. In the twentieth century, the one-armed pianist Paul Wittgenstein made a significant contribution to piano literature for the left hand, which was due to his wish to broaden and update his concert repertoire. In 1929–1930 he ordered a left-handed piano concerto first to Maurice Ravel and then to Sergei Prokofiev. It was possible through the inheritance that Wittgenstein received after the death of his father, the steel magnate Karl Wittgenstein. While Ravel was able to meet the client’s needs, though not completely, Prokofiev was completely denied the performance of his music. One of the main reasons for Prokofiev’s failure might be the creative crisis of the end of the foreign period, when the composer was in search of a new musical language — “the new simplicity”. The article traces and compares the destiny of these piano concertos, specifying the reasons for the relative lack of demand for Prokofiev’s left-handed concerto on behalf of performers. The article also analyzes music, piano texture and technique, form, orchestration of the lefthanded concertos. Special attention is paid to biographical facts from Paul Wittgenstein’s life, as well as uneasy relationship between the client and the composers.
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Petroudi, Georgia. "Prokofiev’s seventh symphony and its two еndings: A study of “imposed” revisions". Muzikologija, nr 23 (2017): 31–40. http://dx.doi.org/10.2298/muz1723031p.
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Why does a composer resort to changing any one of his compositions? Under what circumstances does the creative output need to be re-evaluated and perhaps reconsidered? Prokofiev?s final Seventh Symphony presents two endings different in mood and character, one subtler and the other more vivid. This paper examines the background behind the appearance of the alternative ending - most specifically an extended coda, which appeared as an indication of a conformist stance on Prokofiev?s part, an attempt to appease the regime and probably obtain the Stalin Prize, so essential to him.
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MORRISON, SIMON, i NELLY KRAVETZ. "The Cantata for the Twentieth Anniversary of October, or How the Specter of Communism Haunted Prokofiev". Journal of Musicology 23, nr 2 (2006): 227–62. http://dx.doi.org/10.1525/jm.2006.23.2.227.
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ABSTRACT Prokofiev composed his Anniversary Cantata for the Twentieth of October in order to win favor with Soviet cultural officials. However, his decision to set authentic texts by Lenin, Marx, and Stalin, together with his decision to edit these texts to ensure musical cohesion, proved to be highly controversial. In 1937, the cantata came in for harsh criticism from the watchdog Committee of Artistic Affairs and was barred from performance. Prokofiev responded to the setback by retooling his creative methods and by composing a Party-line paean to Stalin.
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Law, J. K. "Betrothal in a Monastery. Sergei Prokofiev". Opera Quarterly 16, nr 2 (1.01.2000): 319–22. http://dx.doi.org/10.1093/oq/16.2.319.
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Ляхович, Артём. "“Mechanical” as a MetapLot in Prokofiev's Music". Музыкальная академия, nr 1(774) (24.06.2021): 18–27. http://dx.doi.org/10.34690/146.
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Статья посвящена изучению звукоизобразительной сферы, связанной с образом машины, механизма, и ее отражения в музыке Прокофьева. Основной признак «механического» в музыке - ритмика ostinato, активно используемая в новоевропейской традиции, особенно в эпохи барокко и классицизма с их приоритетом ритмоэнергической стихии. В ХХ веке в контексте новых реалий сформировались «механические» ассоциации ostinato. Прокофьев - один из родоначальников традиции «механического» в музыке. Круг ассоциаций, связанный с этой традицией, имеет особое значение для его творчества благодаря приоритетной роли в нем ритмоэнергического начала и пульсации. «Механическое» у Прокофьева становится репрезентантом деперсонализации, а музыкальная ткань - полем конфликта персонализированного материала с «механическим», который можно интерпретировать как конфликт индивидуации и коллективных структур человеческого сознания. The article is devoted to the sound-visual sphere associated with the image of a machine, mechanism, and its reflection in Prokofiev's music. The main feature of a “mechanical” in music is ostinato, which was used in European music for several centuries, especially in the Baroque and Classicism eras with their priority of the rhythmic-energy element. In the 20 century it acquired “mechanical” associations in the context of new realities. Prokofiev is one of the founders of the new tradition of “mechanical” in music. This circle of associations is of particular importance in his music due to the priority role of rhythmic-energetic beginning and pulsation in it. The “mechanical” in Prokofiev becomes a representative of depersonalization, and the musical fabric becomes a field of conflict between personalized material and “mechanical”, which can be interpreted as a conflict of individuation and the collective structures of human consciousness.
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Dean, Terry. "Sergey Prokofiev Diaries, 1924–1933: Behind the Mask, and: Sergey Prokofiev Diaries, 1924–1933: Prodigal Son". Fontes Artis Musicae 63, nr 2 (2016): 151–56. http://dx.doi.org/10.1353/fam.2016.0012.
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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’". Tempo 59, nr 233 (21.06.2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.
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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.