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Sergey Prokofiev / Sergey Prokofiev (a part II)

After returning to Russia Prokofiev is accepted to work. As it quite often happened in the history of ballet theatre, the weak dramaturgic basis even in the presence of excellent music does not lead to success. So was and with prokofevskim a ballet plan "+ыр and -юыышщ" the libretto to which was composed by poet Sergey Gorodetsky. In music Stravinsky's influences are obviously felt. It and is clear if to consider that atmosphere Scythian "трЁтрЁё=тр" "+ы№ and -юыыш " the same, as in "-хёэх ёт Ёхээющ" and even some subject courses are very similar. But also, music of such huge impressing force as "-хёэр ёт Ёхээр " could not; not to grasp young Prokofiev. A bit later - between 1915 and 1920 - there is a ballet "Рърчър about the clown, seven clowns яхЁх°ѕ=шт°хую". This time Prokofiev itself writes the libretto, borrowing a plot in Russian fairy tales from A.Afanaseva's collection. Naughty music of Russian character has gone right to the composer. Ballet has turned out live, abounding with witty episodes and reminding "ёъюьюЁю°іш шуЁшЁр". In it Prokofiev "тфютюыі эр=х°шыё " irony, grotesque, sarcasm, - so for pego typical.

Young Prokofiev's Many contemporaries and even researchers of its creativity have looked through in its music "ышЁшёхёъѕ¦ ё=Ёѕ¦" making the way through ostrosatiricheskie, grotesque, sarcastic images, through deliberately rude, heavy rhythms. And it is a lot of them, these lyrical, timid intonations in piano cycles "¦шьюых=эюё=ш" and "РрЁърчь№" in a collateral theme of the first part of the Second sonata, in romances on Balmont, Apuhtin's verses, Ahmatovoj.

From here threads to "Рърчърь old срсѕ°ъш" will be stretched; "рюьхю and -цѕыіх==х" to Natasha Rostovoj's music, to "Гюыѕ°ъх" to Pushkin waltzes. We will notice that in these products feelings strong, but timid, "сю Ёшхё " dominate; external expression. Prokofiev ironically concerns exaggerations romantic "ьшЁр excited ёѕтё=т". For such antiromantic scepticism - among many other compositions - the romance "-ѕфхёэшъ" is very indicative; on verses of Agnivtseva.

Prokofiev's Antiromantic tendencies affect and in its liking to prose, prosaic texts. Here it is possible to speak about Musorgsky's influences as Prokofiev quite often chooses that type of a melody which is close to speech intonations. It is in this respect very indicative it "+рфъшщ ѕ=хэюъ" for a voice and a piano which it is difficult to name a romance. Andersen's installing belief in good and light the wise and kind fairy tale, has involved Prokofiev with the humanism.

One of the first executions "+рфъюую ѕ=хэър" listened And. M.Gorky in a concert in which he read chapter 1 of the "-х=ё=тр". Admired "Л=хэъюь" Bitter has stated a guess: "...р after all he about itself(himself) has written it, about ёхс !"

In January, 1916 Prokofiev had to pass through the test, forcing to recollect evening of a premiere "-хёэ№ ёт Ёхээющ" Stravinsky. It was the first execution "Ръш¶ёъющ ё¦ш=№" which he conducted. Public loudly expressed the indignation "фшъшь яЁюшчтхфхэшхь". The reviewer "Кхр=Ёрыіэюую ышё=ър" wrote: "¤Ё ью it is improbable, that such play deprived everyone sense could be executed at a serious concert.... These are any impudent, impudent sounds, nothing expressing, except infinite ср§трыіё=тр".

Prokofiev stoically maintains such critical estimations and such reactions of a hall. Being present on D.Burljuka, V.Kamenskogo, V.Mayakovsky's public statements, he gets used to thought that innovative tendencies in any art should cause rough reactions of the public having the, settled tastes and considering their any infringement by an encroachment on the person, advantage, decencies.

In prerevolutionary years Prokofiev is occupied by work on an opera "ЂуЁюъ" under Dostoevsky's story. Here it approaches to Musorgsky even more close. "ЂуЁюъ" for many reasons it will be postponed by Prokofiev almost for ten years, its premiere will take place in Bruxelles only in 1929.

In an operating time over "ЂуЁюъюь" probably, in a counterbalance to innovations generously scattered in the score, Prokofiev conceives the symphony constructed on a strict canon of classical samples of this genre. So there is one of young Prokofiev's the most fascinating compositions, its Classical symphony. Cheerful, light, without uniform "ьюЁЁшэъш on ёхых" the music, only touches with one theme other emotional sphere, to the pensive lyrics, it is a melody of violins in extremely high register sounding in the beginning of the second part. The first execution of the Classical symphony devoted. V.Asafevu, has taken place under control of the author already after revolution, in 1918. At a concert was present And. V.Lunacharsky.

In conversation with it Prokofiev has expressed desire to go in long concert to a train abroad. Lunacharsky did not begin to object. So, in 1918 Prokofiev has gone abroad.

In the beginning it gave concerts in Japan, and therefrom has gone to the USA. In the memoirs Prokofiev writes: "Ђч Iokagamy, with a wonderful stop in Honolulu, I have got over in San Francisco. There me not at once have started up on coast, knowing that in Russia correct "ьръёшьрышё=№" (so at that time in America named Bolsheviks) - the people not absolutely clear and, possibly, dangerous. Having kept day three on island and in detail having interrogated ("-№ sat in =¦Ёіьх?" - "Ршфхы". "¦=ю it is bad. Where цх?" - "Л you, on юё=Ёютх". "+§, it is necessary for you °ѕ=ш=і!"), me have let in in Connected П=р=№".

Three and a half a year, lived in the USA, have added to the list of compositions of Prokofiev an opera "-¦сюті to three ряхыіёшэрь" and some chamber products.

Leaving Russia, Prokofiev has grasped with itself theatrical magazine "-¦сюті to three ряхыіёшэрь" where the scenario of the fairy tale of the Italian playwright Karlo Gotstsi with the same name, the processed V.Mejerholdom has been printed. On it Prokofiev has written the libretto and opera music.

"-¦сюті to three ряхыіёшэрь" can be named by an ironical fairy tale in which a reality, the fantasy, theatrical convention are weaved into the fascinating representation allocated with the bright scenic form, related Italian "ъюьхфшр del рЁ=х". In time - almost half a century, - separating us premieres "-¦стш to three ряхыіёшэрь" this opera has entered repertoire of many theatres.

For the first time, after long drudgeries, it has been put in Chicago in the end of 1921. For two weeks to a premiere "+яхыіёшэют" in the same place, in Chicago, the first execution of the Third Piano concert has taken place. The solo part was played by the author. In, this concert reigns "Ёѕёёъшщ фѕ§" in language, in images, on-svirelnomu heart-felt (introduction), on-koshcheevski ominously-fantastic, wide, as generous force of Russian molodechestva. From five piano concerts (the Fourth and the Fifth are written in the early thirties) the Third uses to this day the greatest popularity, maybe, also therefore who in it is heard a voice piano "тёхьюуѕЁхё=тр" forcing to recollect pathos of concerts of Tchaikovsky and Rakhmaninov. This feature of a concert was figuratively and brightly expressed by poet Konstantin Balmont: "Ђ in a sun tambourine beats invincible ёъш¶".

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