Prokofiev mimoletnosti pdf free download

The following 98 pages are in this category, out of 98 total. The following 7 pages are in this category, out of 7 total. The following 1 pages are in this category, out of 1 total. The following 2 pages are in this category, out of 2 total. The following 3 pages are in this category, out of 3 total. Then the end of the war was celebrated by Soviet composers with festive works.

Prokofiev contributed his Ode on the End of the War op. During the war art had been less strictly supervised by the state. Certain works in particular literary works by Zoshchenko and Akhmatova, and the films of Eisenstein, but also music by Shostakovich and Prokofiev had aroused great interest in the west, and had deviated from the ideal of socialist realism.

But in the years four major resolutions affecting cultural policy were passed. The man responsible was Andrey Zhdanov, the leading cultural ideologue of the Stalinist period, and they paralysed cultural life until Stalins death in Hence the informal term Zhdanovschchina for this terrible period, though Zhdanov himself had died suddenly in August The first resolution, of 14 August , related to the Leningrad literary journals Zvezda and Leningrad; the second, of 26 August , affected the theatrical repertory; the third, of 4 September , was aimed at the Soviet film industry, in particular Eisenstein and the second part of Ivan the Terrible, for which Prokofiev had written the score.

The resolution on music was not passed until two years later. These state measures were intended to bring art back to a unified party. At first Prokofiev did not let them affect him; he was busy with three symphonic suites from Cinderella, and another suite, of waltzes from various of his works opp.

At the same time he was completing the Sixth Symphony, a thoughtful work in three movements which he initially wished to dedicate to the memory of Beethoven, and he made a new version of the Fourth Symphony op. He also paid tribute to the 30th anniversary of the October Revolution with two works: the symphonic poem Tridtsat let Thirty Years, op.

Perhaps the saddest document in Soviet musical history, this decree was directed not so much against the composer Muradeli forgotten today, along with the work which aroused Stalins ire at the time and which was the ostensible occasion for official criticism as against the great composers of the Soviet Union. To Prokofiev, it was a blow from which he did not recover.

After he was a sick and deeply insecure man; the few further works he wrote before his death bear traces of this insecurity. What happened at the time can be reconstructed from a special number of Sovetskaya muzka published in on the centenary of Prokofievs birth. Four days after the passing of the resolution, a ban on the performance of certain works by Prokofiev was issued by the highest authority; on 16 February Prokofiev acknowledged his alleged artistic errors in a letter of self-abasement; this letter was read out to a meeting of the Union of Composers on 17 February; on 20 February his first wife Lina was arrested; on 3 December his Povesto nastoyashchem cheloveke The Story of a Real Man was given a private performance before members of the Union of Composers at the Kirov and so savagely criticized that there could be no question of a public premire; on 28 December he again accused himself of his alleged artistic errors in an open letter to the Union of Composers.

In the resolution Zhdanov had attacked Shostakovich, Prokofiev, Khachaturian, Myaskovsky and several other composers by name, denouncing their works for formalistic distortions and anti-democratic tendencies, as a rejection of the principles of classical music and for the dissemination of atonality.

Comprehensive polemics of this nature were nothing new to Soviet artists. Zhdanov referred expressly to the article attacking Shostakovichs Lady Macbeth which had appeared in Pravda in , and it was not forgotten that the composer had been regarded thereafter as persona non grata, had lost the positions he held and even faced arrest. The artists rebuked for nonconformity in had also lost their opportunities to work and be published. It was clear to the composers, therefore, what this resolution meant for them.

Only Prokofiev, who had hitherto remained unaffected, does not seem to have understood the threat represented by the Zhdanov tribunal at once. Rostropovich commented that Prokofiev had always been a great child, of astonishing naivety. When Zhdanov made his caustic speech attacking the composers in the Central Committee, Prokofiev was in the hall. There was a deathly silence, but he went on talking to his neighbour, the next conductor of War and Peace. In his long letter of 16 February to the Union of Composers, Prokofiev wrote that his state of health did not allow him to attend their meeting; he welcomed the resolution because it had created the conditions for the recovery of the entire organism of Soviet music.

It was particularly important, he continued, because it had shown that the formalistic movement which leads to the impoverishment and decline of music is foreign to the Soviet people and because it has shown us, with the utmost clarity, the aims toward which we must strive in order to serve the Soviet people as best we can. Passages of self-accusation and justification follow.

Under the influence of western currents, Prokofiev said, he was guilty of formalism and atonality, but in such works as Romeo and Juliet, Aleksandr Nevskiy, the cantata Hail to Stalin and the Fifth Symphony, he hoped he had overcome these tendencies successfully.

Finally he expressed his gratitude to the party for the clear guidelines laid down by the resolution. Here we see a great artist forced by an unspoken but only too comprehensible threat to ape the language of narrow-minded cultural bureaucrats, deny his own talent and abase himself.

Such confessions and self-accusations were usual in Soviet cultural politics. After Lady Macbeth, Shostakovich had found a specific musical vocabulary with which he could reflect official criticism, the threat of power, and the tragic events in the Soviet Union. He reacted to the resolution with the choral works Song of the Forests and The Sun Shines Over Our Homeland, wrote a primitive song of praise to Stalin which has only recently become known again in the Soviet Union, and apart from that composed works to be put quietly away the First Violin Concerto, the cycle From Jewish Folk Poetry , works in which he took the mechanisms of suppression as his theme.

Prokofiev did not have such a vocabulary at his disposal, nor did he need it, for in his view tragic themes and a critical relation to contemporary history did not have a place in music; he had thought that art and politics could be kept separate. Accordingly, he was helpless and baffled in the face of the resolution. He obviously hoped to come to some agreement with his tormentors, for in his letter to the Union of Composers he promised to take the recommendations of the Central Committee to heart in his new opera, The Story of a Real Man, to strive for a simple harmonic language and to make use of Russian folksongs and he meant his promise seriously.

When Prokofiev wrote his letter of contrition he did not know that some of his works were already banned. The extract concerning him from Order no. The following works of Soviet composers at present on the programmes of concert organizations are to be removed from the repertory and may not be played: Prokofiev: symphonic suite , Ode on the End of the War, Festive Poem [Vstrecha Volgi s Donom], Cantata on the 30th Anniversary of the October Revolution, Ballad of an Unknown Boy, Piano Sonata no.

The list of banned works is surprising and revealing, for it affects not works which might be suspected of formalism, but compositions with unambiguously Soviet subjects. It is relatively improbable that Stalins cultural ideologues did not see the principles of socialist realism realized in these particular works although the Ode on the End of the War and the Ballad of an Unknown Boy were not published in Prokofievs lifetime.

The list of banned works, rather, is arbitrarily drawn up with deliberate intent: only in this way could music directors and programme planners be so thoroughly alarmed that they would not venture to include any works by Prokofiev in the repertory at all. A good year later the ban was lifted, in a decree dated 16 March and signed by Stalin himself.

There was a very practical reason for the rescinding. He declined to go on the grounds that he would not know what to say when he was asked why his and his colleagues compositions were not played at home.

The heaviest and most threatening blow to Prokofiev followed after Zhdanovs tribunal and his letter of contrition when his first wife was arrested, accused of spying and treachery, and condemned to 20 years in a labour camp. Prokofiev heard the news from his sons, and he must have tormented himself with self-reproaches, for it was possible that he had contributed to the situation. As early as , he had left his family and gone to live with the writer Mira Mendelson, who wrote the librettos for his operas Betrothal in a Monastery, War and Peace and The Story of a Real Man and the scenario for the ballet Skaz o kammenom tsvetke The Stone Flower.

When my father decided to legalize his new marriage, Svyatoslav Prokofiev recalled:. Mother, who had gone to the USSR as his wife, ceased to be his wife at all at some mysterious moment. Father, convinced that his marriage to mother was legal, turned to the next highest court, but there he was told the same thing so he could marry his second wife without going through a divorce first.

In view of the arbitary and unpredictable Soviet system, it is hard to decide whether there is any connection linking Prokofievs public humiliation, his marriage to Mira Mendelson and the arrest of Lina Prokofieva. Nor should Prokofiev be blamed for acting irresponsibly and risking his first wifes arrest in marrying again. He was under enormous psychological pressure, and lived in constant anxiety after if Lina had been arrested and deported on the flimsiest of grounds, then the same thing could happen to his two sons, himself, or even Mira Mendelson.

Lina spent eight years in labour camps, and was released in on the grounds of suspension of the proceedings. She died on 3 January in London. Prokofiev hoped to rehabilitate himself with his seventh opera, The Story of a Real Man op. The plot concerns an airman who loses both legs when his plane is shot down, but who fights heroically on.

Prokofievs failure was the result of his attempt to fulfil the demands of the resolution too scrupulously. The patriotic and sentimental tone is overdone, the musical language so simple, unspecific and banal over long passages that the opera became an unintentional caricature of the principles of social realism.

Prokofiev tried to defend himself against its rejection in his second long letter to the Union of Composers, which shows how earnestly he had wanted to adapt and how unjustly he now felt he had been treated:. It was clear from the resolution that the party and the government allot special significance to operas on Soviet subjects, and that the composition of such an opera is particularly important for the Soviet people.

Consequently I felt bound to devote my powers to a work in this area, and I laboured unceasingly for almost a. In the depiction of my hero I was particularly concerned to indicate the internal world of a Soviet man, love of the homeland and Soviet patriotism. It gave me pain to hear the comrades critical opinions. However, I would rather write operas on Soviet subjects, and even hear criticism if they do not succeed, than not to write and to hear no criticism.

This letter, like The Story of a Real Man itself, betrays a dire sense of helplessness and artistic insecurity. After these events Prokofiev composed very little more: there could be no compromise between the narrow-minded official aesthetic and his own concept of art, and he found no critical answer to the humiliations he had to endure. In addition he was a sick man; he suffered from nervous headaches and had several heart attacks, and his doctors strictly forbade work.

His works now were seldom performed or printed, so that he had economic problems too. On 20 March the Committee for Artistic Affairs made a very modest petition to the Central Committee of the Communist Party, asking the composer to be allowed a pension of roubles a month and a single payment of 25, roubles.

The request was partially granted with a decree of 22 April giving him roubles a month. This document too is signed by Stalin himself. In the last years of his life Prokofiev was working further on War and Peace and trying to change and extend his style in conformity with the resolution. The opera had been given a second concert performance directly after the end of the war, on 7 June Following the advice of the conductor Samuil Samosud, Prokofiev had added two scenes to the original version the new additions were scene ii, the ball at Catherines court, and scene x, the council of war in Fili.

Of this second version, now in scenes and a choral prologue, and intended to be played over two evenings, the first part eight scenes was performed on 12 June in Leningrad in a production by Boris Pokrovsky, conducted by Samosud, and met with a favourable response. No one dared perform the second part in the poisoned atmosphere of the three first resolutions affecting art, and after performance became absolutely unthinkable. In the hope that the opera might yet be staged, Prokofiev worked until on a third version, cut to 11 scenes again.

It was not given even in a concert performance until the summer of , after the composers death; the stage production followed in Leningrad on 1 April The 13 scene version, much cut, was performed on 8 November at the Nemirovich-Danchenko Theatre in Moscow; the premire of the full opera took place on 15 December at the Bolshoy. Besides working on War and Peace, Prokofiev was writing works in the spirit of social realism: a Soldiers Marching Song , the eight-movement suite Zimniy kostyor Winter Bonfire, op.

The fairytale ballet The Stone Flower op. The late instrumental works are curiously colourless, and conspicuous for an almost excessive tendency to simplicity; there is nothing here of the lively nonconformity of the young Prokofiev. This is true also of the Symphonic Concerto op. From the first Prokofiev sought to conduct a dialogue with his public by adapting to prevailing tendencies.

As a young composer he startled his audiences with his provocative tone colours and tone combinations, his many dissonances and his sheer volume of sound. He found inspiration in the Russian futurists of the circle of Mayakovsky, but also in Stravinskys ballets, then seen as challenging. In other words, he took his bearings from those who represented the avant garde of the time.

In the USA he strove, as he said, to find a simpler musical language without sacrificing his artistic integrity, and The Love for Three Oranges was the impressive result. In Europe he reacted to a more sophisticated public with differentiated formal structures and more complex harmony.

Finally, in the Soviet Union, he adapted to the never clearly defined maxims of socialist realism. However, in his comments intended for public consumption he always emphasized that a simpler musical language was not to be confused with excessive simplicity and composing to a stereotyped pattern, and in the USSR too, for all his caution, he succeeded in retaining his unmistakable style. It must remain an open question whether the many works concretely motivated by Soviet events, in which function takes precedence to the extent that artistic quality is irrelevant, were written out of genuine conviction or should be seen as efforts to conform.

Prokofiev held no position in cultural politics, for instance in the Union of Composers, nor did he ever take a teaching post.

Unlike Shostakovich and many of his colleagues, he never became a member of the Communist Party, so that he retained a certain freedom of space in which to manoeuvre.

It was not until that Soviet cultural policy really caught up with him and destroyed him both artistically and physically. A large number of the works that are free from political professions have a firm place in the international repertory, and he is rightly counted one of the major composers of the 20th century. He was not a great influence on younger generations of composers, unlike Schoenberg, Berg and Webern, Stravinsky, Bartk and Messiaen except in the Soviet Union, where Soviet-trained musicians of a whole generation took their guidelines from either Shostakovich or Prokofiev, raising the achievement of one or the other to the status of a philosophy of life, and passed on their stylistic features to those who followed.

Shlifshteyn, ed. Bkov, ed. Prokofyeva k V. Derzhanovskomu [Prokofievs letters to Derzhanovsky], Iz arkhivov russkikh muzkantov Moscow, , Prokofyeva [Reference list of Prokofievs works] Moscow, Nestyev and G. Edelman, ed. Moscow, Atasheva and M. Kozlova, eds. Prokofyeva i S.

Kremlyov: steticheskiye vzglyad S. Prokofyeva [Prokofievs aesthetic standpoint] Moscow, Blok: Neopublikovannye rukopis [Unpublished manuscripts], SovM , no. Prokofyev: pisma k V. Nestyev: Novoye o velikom mastere [News about the great master], SovM , no. Yurenev, ed. Rame: Pisma S. Prokofyeva B. Asafyevu [Prokofievs letters to Asafyev], Iz proshlogo sovetskoy muzkalnoy kulturi, ii Moscow, , Kabalevsky and M.

Prokofyev i N. Myaskovskiy: perepiska [Prokofiev and Myaskosky: correspondence] Moscow, Khalif, ed. Prokofyeva s L. Glagolevoy [The letters between Prokofiev and L. Glagoleva], Pamyatniki kultur: novye otkrtiya, pismennost, iskusstvo, arkheologiya. Yezhegodnik Leningrad, , Kunin: Sorok let druzhb [Forty years of friendship], SovM , no.

Prokofiev: Velichiye chelovecheskogo dusha [The greatness of the human spirit ], SovM , no. Brown and N. Rodriguez, eds. Neef: Wechsel der Perspektive. Varunts, ed. Prokofyev glazami sovremennikov [Prokofiev through the eyes of his contemporaries], SovM , no. Shlifshteyn: Voyna i mir v malom opernom teatre [War and Peace in the small opera theatre], SovM , no.

Shlifshteyn: S. Sabinina: Ob opere kotoraya ne bla napisana [About the opera that was never written], SovM , no. Polyakova: O poslednem opernom zamsle S. Mnatsakanova: Neskolko zametok ob opere Prokofyeva Igrok [Some notes on the opera The Gambler], Muzka i sovremennost, iii , Stratiyevsky: Nekotorye osobennosti rechitativa oper Igrok [Some characteristics of the recitative in the opera The Gambler], Russkaya muzka na rubezhe XX veka, ed.

Miklhailov and Ye. Orlova Moscow, , Volkov: Ob opernoy forme u Prokofyeva, Muzka i sovremennost, v Moscow, , Ordzhyonikidze: Shol soldat s fronta [A soldier left the front], SovM , no. Krplin: Das Opernschaffen Sergei Prokofjews. Ein Beitrag zur Entwicklung des sozialen Musiktheaters Leipzig, Robinson: Love for Three Operas. Shvidko: Maddalena Prokofyeva i problema stanovleniya yego rannego opernogo stilya [Prokofievs Maddalena and the problem of staging his early operatic style] diss.

Aslanian: Nekotorye nablyudeniya nad vokalnm stiltem oper S. Prokofyeva Igrok [Some observations on the vocal style of Prokofievs opera The Gambler], Problem muzkalnoy nauki, vii Moscow, , Savkina: Tri portreta i razvyazka [Three portraits and a dnouement], SovM , no. Csobadi Salzburg, , Other dramatic works P. Hunt: The Prodigal Sons Russian roots. Avant Garde and Icon, Dance Chronicle, v , Richter: Die Gavotte aus S. Prokofjews Romeo and Julia.

Orchestral works M. Bogdanova: O ladovkh osnavakh i variatnosti stroyeniya melodii v pozdnkh simfoniyakh Prokofyeva [About the modal bases and the variety of forms of the melodies in Prokofievs late symphonies], Trud kafedr teorii muzki, ed. Srebkov Moscow, Wappler: Der Typ des Prokofjewschen Klavierkonzerts.

Seine Stellung und seine Bedeutung in der Gegenwartsmusik Leipzig, Palinova: Vazhnaya cherta fortepiannogo tvorchestva [The defining characteristics of Prokofievs piano works], SovM , no. Analytical and other technical studies N. Zaporozhets: Nekotorye kompozitsionnye osobennosti tvorchestva S.

Prokofyeva [Some compositional features of Prokofievs works], Vopros muzkoznaniya, iii, ed. Gordeyeva Moscow, , Aranovsky: Stilevye chert instrumentalnoy melodiki rannego Prokofyeva [Stylistic features of instrumental melody in early Prokofiev], Vopros teorii i stetiki muzki, iv, ed. Kremlyov Leningrad, Blok: Osobennosti variovaniya v instrumentalnkh proizvedeniyakh Prokofyeva [Characteristics of the variation technique in Prokofievs instrumental works], Muzka i sovremennost, iii, ed.

Lebedeva Moscow, , Kholopov: Sovremennye chert garmoniya Prokofyeva [Contemporary aspects of Prokofievs harmony] Moscow, Skorik: Ladovaya sistema S. Paisov: Yeshchyo raz o politonalnosti [Once again about polytonality], SovM , no. Schnittke: Osobennosti orkestrovogo golosovedeniya S. Prokofyeva [Features of Prokofievs orchestral voice leading], Muzka i sovremennost, viii Moscow, , Simkin: O tembrovom mshlenii S.

Prokofyeva [Prokofievs thinking about timbre], SovM , no. Blok: Metod tvorcheskoy rabot S. Prokofyeva [The working methods of Prokofiev] Moscow, Moyseyeva: Traktovka sonatno-simfonicheskogo tsikla v tvorchestve Sergeya Prokofyeva [The treatment of the symphonic sonata cycle in Prokofievs work] diss. Klimov: Gorizontalnaya i vertikalnaya vvodnotonovye sistem nekotorye ladogarmonicheskiye yavleniya v muzke S. Prokofyeva i D. Livintinskaya: Igra kak odna iz form kompozitorskogo mshleniya Sergeya Prokofyeva [Performance as a form of compositional thought in Prokofievs work], Moskovskiy muzkoved, i Moscow, , Volenko: Muzkalnye proobraz v rannem tvorchestve Sergeya Prokofyeva diss.

Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Uploaded by Yus Rios. Document Information click to expand document information Description: Excelente biografia del compositor ruso Sergey Prokofiev.

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Jump to Page. Search inside document. Russia, It ends with the lines: But the tide foams wildly on, over all: Prokofiev! Europe, The USSR, When my father decided to legalize his new marriage, Svyatoslav Prokofiev recalled: the court told him, much to his relief, that a divorce was unnecessary: the marriage he had contracted on 1 October in Ettal in Germany was declared null and void because it had not been registered in a Soviet consulate.

Prokofiev tried to defend himself against its rejection in his second long letter to the Union of Composers, which shows how earnestly he had wanted to adapt and how unjustly he now felt he had been treated: It was clear from the resolution that the party and the government allot special significance to operas on Soviet subjects, and that the composition of such an opera is particularly important for the Soviet people.

Prokofievs death on 5 March passed almost unnoticed, for Stalin died on that same day. Bibliography General M. Asafyev: S. Prokofyev Leningrad, G. Berger, ed. Derzhanovskomu [Prokofievs letters to Derzhanovsky], Iz arkhivov russkikh muzkantov Moscow, , S. Prokofyeva [Reference list of Prokofievs works] Moscow, M. Hofmann: Serge Prokofiev Paris, H.

Brockhaus: Sergej Prokofjew Leipzig, L. Hanson and E. These files are part of the Orchestra Parts Project. New York: E. Kalmus , n. Arranger Muhammedjan Sharipov. From the uploader's library. This useful edition displays various orchestral indications, and is therefore not strictly speaking a piano solo version. Arranger Composer. Levon Atovmyan Pavel Lukyanchenko. Plate Arranger Yuezhou Lyu. Prokofiev, Sergey. Molto vivace.

Boris Asafyev Early 20th century. Wikipedia article Prokofiev Catalogue. More publication history, etc.