Having moved to the beginning of 1920 to Europe, - to Paris, Prokofiev has renewed the communications with Dyagilev, but for a short while. The meeting сo Stravinsky has passed in quarrel, and it has caused changes in mutual relations and with Dyagilev. The most experienced impresario, the person with excellent "э¦§юь" Dyagilev has felt that Prokofiev cannot count on success at that part of public which one respectfully name "Іыш=ющ" others - it is more sober - snobs. More shortly, to it, "Іыш=х" it was not pleasant for a long time written, but for the first time in 1923 the Violin concert executed in Paris is, not enough, in its opinion, "эряхЁёхээ№щ". And then Prokofiev, wishing to take a revenge, so "яхЁхяхЁёшы" the Second symphony that it otshatnula and "ыхтѕ¦ ёрё=і" a hall. Prokofiev has appeared not in "ярЁшцёъющ =юэрыіэюё=ш" not in favore. Means, according to the logic of Dyagilev, with it there is nothing and to be known.
In the world diplomatic, in influential "ёрыюэр§" interest to "ё=Ёрэх сюыі°хтшъют" grew day by day. It has not passed by Dyagilev's attention. After two-year coldness Sergey Dyagilev has addressed in an old fashion, friendly to Prokofiev. It was a question of ballet from... The Soviet life. The author of the libretto assumed I.Erenburg. The definitive choice has fallen on G.Jakulova. The ballet name "Р=рыіэющ ёъюъ" intrigued. Put by ballet master Leonid Mjasinym "Р=рыіэющ ёъюъ" neither in Paris, nor in London where it have shown during tours of Diaghilev's troupe, had no success and, strictly speaking, could not have it. The ballet deprived of through action, represented separate, not connected, with each other episodes: a train with meshochnikami, Commissioners, irisniki and papirosniki, the Orator. In the second (last) picture of ballet on a scene the ballet troupe showed movement of cars, machine tools, uhane steam hammers.
In 1927 Sergey Prokofiev has made the big concert tour across Soviet Union. It has been fascinated by the Leningrad statement "КЁх§ ряхыіёшэют" the reception rendered to it as the composer and the pianist in Moscow, Leningrad, Kharkov, Kiev, Odessa. It as though has anew inhaled air of the native earth.
From products of the end of 20th years are most interesting the Third symphony (to it we still will return) and ballet "…ыѕфэ№щ ё№э" put in May, 1929. Here Prokofiev has again shown force of the talent. Music "…ыѕфэюую ё№эр" grasps the wise simplicity, heat, nobleness tematizma. Contrast scenes: the orgy of a feast and morning after loose night, and then - full of grief and humility a scene of returning of the hero of ballet-parable under a paternal shelter, - make strong impression. Ballet "…ыѕфэ№щ ё№э" - the nearest approach to three ballets written by Prokofiev after returning of a pas the native land, the ballets which have increased its international recognition.
Home Prokofiev dreamt for a long time Of returning. In memoirs of one of its French friends Sergey Sergeevicha's statements are resulted: "-ючфѕ§ foreign land does not raise in me inspiration because I Russian and is not present anything more harmful to the person, than to live in exile, be in the spiritual climate which is not corresponding to its race. I should plunge again into atmosphere of my native land, I should see again the present winter and spring, I should hear Russian speech, talk to the people close to me. And it will give me what so here does not suffice for their songs - mine яхёэш".
In 1933 Sergey Prokofiev has returned a pas the native land. But the native land has changed. For sixteen poslerevoljutsionnyh years the new audience with the belief, inquiries, tastes has grown. It was not that audience which Prokofiev remembered on years of the youth, and not that which he met abroad. Gigantski the art, aesthetic culture has grown, strong bonds connected with a revolutionary outlook which is giving the chance freely, truthfully to perceive and as to treat the life phenomena, understanding, where the history moves. Trying the forces in conditions new to it, Prokofiev accepts the offer to write a film music "¤юЁѕёшъ -шцх". Here where musical wit inherent in Prokofevu has made itself felt! The epoch Pavlovsk barracks mushtry, a gloomy whistling of flutes under the drumbeat, skipping on post-horses feldegerej with goggle eyes from diligence, was an epoch when also affected maids of honour, and strjapuhi on hundred times in the course of the day began to sing: "Р=юэх= grey golubochek, it groans and day and эюёі..." the Open space for music! Besides music ironical. Prokofiev has composed such music what from it waited: sharp, extremely exact, instantly merging with action, with the person, a landscape. And "Ртрфіср -шцх" and "КЁющър" and terrible drumbeat under which conducted "яЁхё=ѕяэшър -шцх" to Siberia, - all it sounded extremely expressively thanking groteskovosti, uniting terrible and ridiculous.
So the new, major stage of the creative biography of Prokofiev has begun. In the same, 1933 he has written music to statement "‡ушях=ёъшх эюёш" at the Moscow Chamber theatre also has again proved, what even in this genre giving to the composer, apparently, the most modest possibilities, it is possible to create products of high advantage.
To a genre of film music and music at drama theatre Prokofiev addresses repeatedly. Especially big impression was left by its music to Sergey Eisenstein's two films: "+ыхъёрэфЁ -хтёъшщ" and "Ђтрэ +Ёючэ№щ". In music to "+ыхъёрэфЁѕ -хтёъюьѕ" (1938) Prokofiev has continued a line epic simfonizma, going from Borodino. Such episodes, as "рѕёі under a yoke ьюэуюыіёъшь" "-хфютюх яюсюшЁх" chorus "-ё=ртрщ=х, people Ёѕёёъшх" grasp the realistic force and strict monumentalism. Not the illustration to a shot, and symphonic generalisation of the theme concretised on the screen, occupies the composer. In spite of the fact that music is firmly connected with the image, it has independent, very high value to what the cantata created on its basis "+ыхъёрэфЁ -хтёъшщ" testifies; for an orchestra, chorus and the soloist.
In the same plan music to a film "Ђтрэ +Ёючэ№щ" is written also; (1942). Already after Prokofiev's death conductor A.Stasevich has united the most considerable episodes of music in an oratorio "Ђтрэ +Ёючэ№щ" - product of huge, tremendous force.
Second half 30th years was marked by the composition of one of Prokofiev's the best products - ballet "рюьхю and -цѕыіх==р". Put in the beginning of 1940 L.Lavrovskim on a scene of the Leningrad opera and ballet theatre of With. M.Kirova, it has played a huge role in the history of world choreographic culture, being the first performance, means of music, dance and a pantomime is high-grade embodied Shakespearean tragedy. G.Ulanova - Juliette, K.Sergeev - Romeo, R.Gerbek - Tibald, A.Lopuhov - Merkutsio were included by right into number of the most outstanding executors of Shakespearean roles. The ballet Prokofiev has lifted level of ballet music on such step which after Tchaikovsky, Glazunov and Stravinsky it did not reach that in turn, has put new problems before each composer writing ballet music. The symphonic principles defining style and essence of music "рюьхю and -цѕыіх==№" had the further development in Prokofiev's two ballets - "Гюыѕ°ъх" (1944) and "Рърчх about stone чтх=ъх" (1950).
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