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Sergei Sergeyevich Prokofiev (Russian: Серге́й Серге́евич Проко́фьев) (27 April [O.S. 15 April] 1891 – 5 March 1953) was a Russian composer, pianist and conductor who mastered numerous musical genres and came to be admired as one of the greatest composers of the 20th century. Prokofiev
was born in Sontsovka (now Krasne in Donetsk
oblast, Ukraine),
an
isolated rural estate in Yekaterinoslav
Governorate, Russian Empire. He displayed unusual musical abilities by the age of five.
His first piano composition to be written down (by his mother), an
'Indian Gallop', was in the Lydian
mode (F major with
a B natural instead of B flat) as the young Prokofiev felt 'reluctance
to tackle the black notes'. By the age of seven he had
also learned to play chess. Much like music, chess
would remain a passion his entire life, and he became acquainted with
world chess champions José
Raúl
Capablanca and Mikhail
Botvinnik. At the
age of nine he was composing his first opera, The
Giant, as well as an overture and
miscellaneous pieces. In 1902,
Prokofiev's mother met with Sergei
Taneyev, director of the Moscow
Conservatory, who initially suggested that Prokofiev should start
lessons in composition with Alexander
Goldenweiser. When Taneyev was unable to
arrange this, he
instead
arranged for Reinhold Glière to
spend the summer of 1902 in Sontsovka teaching Prokofiev. This first series of
lessons culminated, at Prokofiev's insistence, with the 11-year-old
making his first attempt to write a symphony under Glière's
supervision. Glière subsequently
revisited Sontsovka the following summer to give further tuition. When decades later
Prokofiev wrote in his autobiography about his lessons with
Glière, he gave due credit to Glière's sympathetic
qualities as a teacher but complained that Glière had introduced
him to "square" phrase structure and conventional modulations which he
subsequently had to unlearn. Nonetheless, now equipped
with the necessary theoretical tools, Prokofiev started experimenting
with dissonant harmonies and unusual time signatures in a series of
short piano pieces which he called "ditties" (after the so-called "song
form" - more accurately ternary
form - they were
based on), laying the basis for his own musical style. After a
while, Prokofiev's mother felt that the isolation in Sontsovka was
restricting his further musical development, yet his parents hesitated over starting their son on a musical career at such an early age. Then in 1904, while
Prokofiev was in Saint
Petersburg with his mother exploring the prospect of their moving there for his education, they were introduced to the
composer Alexander
Glazunov, a professor at the Conservatory. Glazunov agreed to see
Prokofiev and his music, and was so impressed that he urged Prokofiev's
mother that her son should apply to the Saint
Petersburg
Conservatory. By this point Prokofiev had
composed two more operas, Desert
Islands and The Feast during the
Plague and was
working on his fourth, Undine. He passed the introductory
tests and entered the Conservatory that same year. Being
several years younger than most of his classmates, he was viewed as
eccentric and arrogant, and he often expressed dissatisfaction with
much of the education, which he found boring. During this period he
studied under, among others, Anatoly
Lyadov, Nikolai Tcherepnin and Nikolai
Rimsky-Korsakov (though
when
the latter died in 1908, Prokofiev noted that he had only studied
orchestration with him 'after a fashion' – that is, in a heavily
attended class with other students – and regretted he otherwise 'never
had the opportunity to study with him'). He also became friends with
composers Boris
Asafyev and Nikolai
Myaskovsky. As a
member of the Saint Petersburg music scene, Prokofiev expanded his
reputation as a musical rebel, while also getting praise for his
original compositions, which he would perform himself on the piano. In
1909, he graduated from his class in composition, getting less than
impressive marks. He continued at the Conservatory, studying piano under Anna
Yesipova and conducting under Nikolai
Tcherepnin. In 1910,
Prokofiev's father died and Sergei's financial support ceased. Luckily,
at that time, he had started making a name for himself as a composer,
although he frequently caused scandals with his forward-looking works. The Sarcasms for piano, Op. 17 (1912),
for example, make extensive use of polytonality, and Etudes, Op. 2 (1909)
and Four Pieces, Op. 4 (1908) are highly chromatic and dissonant works.
His first two piano
concertos were
composed around this time, the latter of which caused a scandal at its
premiere (23 August 1913, Pavlovsk). According to one account, the
audience left the hall with exclamations of "'To hell with this
futuristic music! The cats on the roof make better music!'", but the
modernists were in raptures. In 1911
help arrived from renowned Russian musicologist and critic Alexander
Ossovsky, who wrote a letter in strong support of Sergei Prokofiev to famous music publisher Boris P. Jurgenson,
thus
a contract was offered to the composer. Prokofiev
made
his first excursion out of Russia in 1913, travelling to Paris and
London where he first encountered Sergei
Diaghilev's Ballets
Russes.
In
1914,
Prokofiev finished his career at the Conservatory by entering the
so-called 'battle of the pianos', a competition open to the five best
piano students for which the prize was a Schreder grand piano:
Prokofiev won by performing his own Piano
Concerto
No. 1. Soon afterwards, he made a
trip to London where he made contact with the impresario Diaghilev.
Diaghilev commissioned Prokofiev's first ballet, Ala and Lolli, but
rejected the work in progress when Prokofiev brought it to him in Italy
in 1915; however Diaghilev then commissioned Prokofiev to compose the
ballet Chout.
Under
Diaghilev's guidance, Prokofiev chose his subject from a
collection of folktales by the ethnographer Alexander
Afanasyev;
the
story, concerning a buffoon and a series of confidence tricks he
performs, had been previously suggested to Diaghilev by Igor
Stravinsky as a
possible subject for a ballet, and Diaghilev and his choreographer Léonide Massine helped
Prokofiev to shape this into a ballet scenario. Prokofiev's relative lack
of experience in ballet composing meant he subsequently agreed to
revise the ballet extensively in the 1920s, following Diaghilev's
detailed critique of the score,
prior
to its first production. The
ballet's
premiere in Paris on 17 May 1921 was a huge success and was
greeted with great admiration by an audience that included Jean
Cocteau, Igor
Stravinsky and Maurice
Ravel. Stravinsky called the ballet "the single piece of modern
music he could listen to with pleasure," while Ravel called it "a work
of genius."
During World
War
I, Prokofiev returned again to the Conservatory, now studying
the organ in order to avoid conscription.
He
composed his opera The
Gambler based on Fyodor
Dostoyevsky's novel
of
the same name, but the rehearsals were plagued by problems and
the première scheduled for 1917 had to be cancelled because of
the February
Revolution. In the summer of that same year, Prokofiev composed his first
symphony, the Classical.
This
was his own name for the symphony, which was written in the style
that, according to Prokofiev, Joseph
Haydn would have
used if he had been alive at the time. Hence, the symphony is more
or less classical in style but incorporates more modern musical
elements (Neoclassicism).
This
symphony was also an exact contemporary of Prokofiev's Violin
Concerto No. 1 in D major, Op. 19, which was scheduled to premiere
in November 1917. Political events, however, delayed the first
performances of both works until 21 April 1918 and 18 October 1923,
respectively. After a brief stay with his mother in Kislovodsk in the Caucasus, because of
worries of the enemy capturing Petrograd (the new name for Saint
Petersburg), he returned in 1918, but he was now determined to leave
Russia, at least temporarily. In the current Russian
state of unrest, he saw no room for his experimental music and, in May,
he headed for the USA.
Despite
this, he had already developed acquaintances with senior Bolsheviks including Anatoly
Lunacharsky, the People's Commissar for Education, who told him:
"You are a revolutionary in music, we are revolutionaries in life. We
ought to work together. But if you want to go to America I shall not
stand in your way." Arriving
in San
Francisco, after having been released from questioning by
immigration on Angel Island on 11 August 1918, Prokofiev was soon compared
to other famous Russian exiles (such as Sergei
Rachmaninoff), and he started out successfully with a solo concert in New York, leading to several further engagements. He also received a
contract for the production of his new opera The
Love
for Three Oranges but,
due
to illness and the death of the director, the premiere was
postponed. This was another example of Prokofiev's bad luck in operatic
matters. The failure also cost him his American solo career, since the
opera took too much time and effort. He soon found himself in financial
difficulties, and, in April 1920, he left for Paris,
not
wanting to return to Russia as a failure. Paris was
better prepared for Prokofiev's musical style. He reaffirmed his
contacts with the Diaghilev's Ballets
Russes. He also returned to some of his older, unfinished works,
such as the Third
Piano
Concerto. The
Love for Three Oranges finally
premièred
in Chicago in December 1921, under the
composer's baton. In March
1922, Prokofiev moved with his mother to the town of Ettal in the Bavarian Alps
for
over a year so he could concentrate fully on his composing. Most of
his time was spent on an opera project, The
Fiery
Angel, based on the novel The
Fiery
Angel by Valery
Bryusov. By this time his later music had acquired a certain
following in Russia, and he received invitations to return there, but
he decided to stay in Europe. In 1923, he married the Spanish singer
Lina Llubera (1897 – 1989), before moving back to Paris. There,
several of his works (for example the Second
Symphony) were performed, but critical reception was lukewarm. However
the
Symphony appeared to prompt Diaghilev to commission another ballet
from Prokofiev: this was Le
Pas
d'acier (The Steel Step), a 'modernist' score intended to
portray the industrialisation of the Soviet Union. This was
enthusiastically received by Parisian audiences and critics. Prokofiev
and Stravinsky restored their friendship, though Prokofiev did not
particularly like Stravinsky's later works;
it
has been suggested that his use of text from Stravinsky's A
Symphony
of Psalms to
characterise the invading Teutonic knights in the film score for Eisenstein's Alexander
Nevsky (1938)
was intended as an attack on Stravinsky's musical idiom. However,
Stravinsky
himself described Prokofiev as the greatest Russian composer
of his day, other than Stravinsky himself. Around
1927, the virtuoso's situation brightened; he had some exciting
commissions from Diaghilev and made a number of concert tours in
Russia; in addition, he enjoyed a very successful staging of The Love for Three
Oranges in
Leningrad (as Saint Petersburg was then known). Two older operas (one
of them The Gambler)
were
also played in Europe and in 1928 Prokofiev produced his Third
Symphony, which was broadly based on his unperformed opera The Fiery Angel. The
conductor Sergei
Koussevitzky characterized
the
Third as "the greatest symphony since Tchaikovsky's Sixth." During
1928–29 Prokofiev composed what was to be the last ballet for Diaghilev, The
Prodigal
Son, which was staged on 21 May 1929 in Paris with Serge
Lifar in the title
role. Diaghilev died only months
later. In 1929,
Prokofiev wrote the Divertimento,
Op.
43 and revised his Sinfonietta,
Op.
5/48, a work started in his days at the Conservatory. Prokofiev wrote
in his autobiography that he could never understand why the
Sinfonietta was so rarely performed, whereas the "Classical" Symphony
was played everywhere. Later in this year, however, he suffered a car
accident, which slightly injured his hands and prevented him from
performing in Moscow, but in turn permitted him to enjoy contemporary
Russian music. After his hands healed, he made a new attempt at touring
in the United States, and this time he was received very warmly,
propped up by his recent success in Europe. This, in turn, propelled
him to commence a major tour through Europe. In 1930
Prokofiev began his first non-Diaghilev ballet On
the
Dnieper, Op. 51, a work commissioned by Serge Lifar, who
had been appointed maitre
de
ballet at the
Paris Opéra. The years 1931 and 1932 saw
the completion of Prokofiev's fourth and fifth piano concertos. The
following year saw the completion of the Symphonic
Song, Op. 57, a darkly scored piece in one movement. In the
early 1930s, Prokofiev was starting to long for Russia again; he moved more and more of
his premieres and commissions to his home country instead of Paris. One
such was Lieutenant
Kijé, which was commissioned as the score to a Soviet
film. Another commission, from the Kirov
Theater in
Leningrad, was the ballet Romeo
and
Juliet. Today, this is one of Prokofiev's best-known works,
and it contains some of the most inspired and poignant passages in his
whole output. However,
there
were numerous problems related to the ballet's original 'happy
end' (contrary to Shakespeare),
and
the premiere was postponed for several years. In 1935,
Prokofiev moved back to the Soviet Union permanently; his family came a
year later. At this time, the official Soviet policy towards music
changed; a special bureau, the "Composers' Union", was established in
order to keep track of the artists and their doings. By limiting
outside influences, these policies would gradually cause almost
complete isolation of Soviet composers from the rest of the world. Both
Prokofiev and Shostakovich came
under particular
scrutiny for "formalist tendencies." Forced to adapt to the new
circumstances (whatever misgivings he had about them in private),
Prokofiev wrote a series of "mass songs" (Opp. 66, 79, 89), using the
lyrics of officially approved Soviet poets. At the same time Prokofiev
also composed music for children (Three Songs for Children and Peter
and
the Wolf, among others) as well as the gigantic Cantata for the
Twentieth Anniversary of the October Revolution, which was banned from
performance and had to wait until May 1966 for a partial premiere. In 1938,
Prokofiev collaborated with the Russian filmmaker Sergei
Eisenstein on the
historical epic Alexander
Nevsky. For this he composed some of his most inventive
dramatic music. Although the film had a very poor sound recording,
Prokofiev adapted much of his score into a cantata, which has been
extensively performed and recorded. In the wake of Alexander Nevsky's
success, Prokofiev composed his first Soviet opera Semyon
Kotko, which was intended to be produced by the director Vsevolod
Meyerhold. However the première of the opera was postponed
because Meyerhold was arrested on 20 June 1939 by the NKVD (Stalin's
Secret Police), and shot on 2 February 1940. Only months after
Meyerhold's arrest, Prokofiev was 'invited' to compose Zdravitsa (literally translated
'Cheers!', but more often given the English title Hail to Stalin) (Op.
85) to celebrate Joseph
Stalin's 60th birthday. Later in
1939, Prokofiev composed his Piano Sonatas Nos. 6, 7, and 8, Opp.
82–84, widely known today as the "War Sonatas." Premiered respectively
by Prokofiev (No. 6: 8 April 1940), Sviatoslav
Richter (No. 7:
Moscow, 18 January 1943) and Emil
Gilels (No. 8:
Moscow, 30 December 1944),
they
were subsequently championed in particular by Richter. These
sonatas contain some of Prokofiev's most dissonant music for the piano.
Biographer Daniel Jaffé has argued that Prokofiev, "having
forced himself to compose a cheerful evocation of the nirvana Stalin
wanted everyone to believe he had created" (i.e. in Zdravitsa) then
subsequently, in these three sonatas, "expressed his true feelings". As evidence of this,
Jaffé has pointed out that the central movement of Sonata No. 7
opens with a theme based on a Robert
Schumann Lieder,
'Wehmut' ('Sadness', which appears in Schumann's Liederkreis,
Op.
39): the words to this translate "I can sometimes sing as if I
were glad, yet secretly tears well and so free my heart.
Nightingales... sing their song of longing from their dungeon's
depth... everyone delights, yet no one feels the pain, the deep sorrow
in the song." Ironically (though probably
because, it appears, no one had noticed this musical allusion) Sonata
No. 7 received a Stalin Prize (Second Class), and No. 8 a Stalin Prize First Class,
even
though the works have been subsequently interpreted as
representing Prokofiev "venting his anger and frustration with the
Soviet regime." Prokofiev
had been considering making an opera out of Leo
Tolstoy's epic novel War
and
Peace, when news of the German invasion of Russia on 22
June 1941 made the subject seem all the more timely. Prokofiev took two
years to compose his original version of War
and Peace. Because of the war he was evacuated together with a
large number of other artists, initially to the Caucasus where he composed his
Second String Quartet. By this time his relationship with the
25-year-old writer Mira
Mendelson (1915 – 1968)
had
finally led to his separation from his wife Lina, although they
were never technically divorced: indeed Prokofiev had tried to persuade
Lina and their sons to accompany him as evacuees out of Moscow, but
Lina opted to stay in Moscow. During
the war years, restrictions on style and the demand that composers
should write in a 'socialist realist' style were slackened, and
Prokofiev was generally able to compose dissonant and chromatic works.
The Violin
Sonata
No. 1, Op. 80, The Year 1941, Op. 90, and the Ballade for the Boy Who
Remained Unknown, Op. 93, all came from this period. Some critics
have said that the emotional springboard of the First Violin Sonata and
many other of Prokofiev's compositions of this time "may have more to
do with anti-Stalinism than the war",
and
most of his later works "resonated with darkly tragic ironies that
can only be interpreted as critiques of Stalin's repressions." In 1943
Prokofiev joined Eisenstein in Alma-Ata,
the
largest city in Kazakhstan,
to
compose more film music (Ivan
the
Terrible), and the ballet Cinderella (Op. 87), one of his most
melodious and celebrated compositions. Early that year he also played
excerpts from War and Peace to
members of the Bolshoi Theatre collective. However, the Soviet
government had opinions about the opera which resulted in numerous
revisions. In 1944, Prokofiev moved to
a composer's colony outside Moscow in order to compose his Fifth
Symphony (Op. 100)
which would turn out to be the most popular of all his symphonies, both
within Russia and abroad. Shortly afterwards, he
suffered a concussion after a fall due to chronic high blood pressure. He never fully recovered
from this injury, which severely reduced his productivity rate in the
ensuing years, though some of his last pieces were as fine as anything
he had composed before. Prokofiev
had time to write his postwar Sixth
Symphony and a ninth
piano
sonata (for Sviatoslav
Richter) before the Party, as part of the so-called "Zhdanov
Decree", suddenly changed its opinion about his music. The end of the war allowed
overall creative attention to turn inward again, resulting in the Party
tightening its reins on domestic artists. Prokofiev's music was now
seen as a grave example of formalism, and
was branded as 'anti-democratic'. With a number of his works
banned, most concert and theatre administrators panicked and would not
program Prokofiev's music at all, leaving him in severe financial
straits. On 20
February 1948, Prokofiev's wife Lina was arrested for 'espionage', as
she tried to send money to her mother in Spain. She was sentenced to 20
years, but was eventually released after Stalin's death and later left
the Soviet Union. His
latest opera projects were quickly cancelled by the Kirov Theatre. This
snub, in combination with his declining health, caused Prokofiev to
withdraw more and more from active musical life. His doctors ordered
him to limit his activities, which resulted in him spending only an
hour or two each day on composition. In 1949 he wrote his Cello Sonata
in C, Op. 119, for the 22-year old Mstislav
Rostropovich, who gave the first performance in 1950, with
Sviatoslav Richter. The last public performance of his lifetime was the
première of the Seventh
Symphony in 1952, a
piece of somewhat bittersweet character. The music was written for a
children's television program. Prokofiev
died at the age of 61 on 5 March 1953: the same day as Joseph
Stalin. He had lived near Red
Square, and for three days the throngs gathered to mourn Stalin,
making it impossible to carry Prokofiev's body out for the funeral
service at the headquarters of the Soviet Composer's Union. Paper
flowers and a taped recording of the funeral march from Romeo and Juliet had to be used, as all real
flowers and musicians were reserved for Stalin's funeral. He
is
buried in the Novodevichy
Cemetery in Moscow. The
leading Soviet musical periodical reported Prokofiev's death as a brief
item on page 116. The first 115 pages were devoted to the death of
Stalin. Usually Prokofiev's death is attributed to cerebral
hemorrhage (bleeding
into
the brain). Nevertheless it is known that he was chronically ill
for eight years before he died,
which
is why the precise nature of Prokofiev's terminal illness is
uncertain. Lina
Prokofieva outlived her estranged husband by many years, dying in London in early 1989. Royalties
from her late husband's music provided her with a modest income. Their
sons Sviatoslav (born 1924), an architect, and Oleg (1928 – 1998), an artist,
painter, sculptor and poet, have dedicated a large part of their lives
to the promotion of their father's life and work. |