The life and work of Prokofiev

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

A man-phenomenon, in bright yellow boots, checkered, with a red-orange tie, carrying a defiant power - this is how Svyatoslav Richter, the great Russian pianist, described Prokofiev. This description suits both the personality of the composer and his music in the best possible way. Prokofiev's work is a treasury of our musical and national culture, but the composer's life is no less interesting. Having left for the West at the very beginning of the revolution and lived there for 15 years, the composer became one of the few "returnees", which turned out to be a deep personal tragedy for him.

The work of Sergei Prokofiev cannot be summarized briefly: he wrote a huge amount of music, worked in completely different genres, ranging from small piano pieces to music for films. Indefatigable energy constantly pushed him to various experiments, and even the cantata, glorifying Stalin, amazes with its absolutely brilliant music. Is that a concerto for bassoon with folkProkofiev did not write the orchestra. The biography and work of this great Russian composer will be discussed in this article.

Childhood and first steps in music

Sergey Prokofiev was born in 1891 in the village of Sontsovka, Yekaterinoslav province. From early childhood, two of his features were determined: an extremely independent character and an irresistible craving for music. At the age of five, he already begins to compose small pieces for the piano, at 11 he writes a real children's opera "The Giant", intended for staging at a home theater evening. At the same time, a young, at that time still unknown composer, Reinhold Gliere, was discharged to Sontsovka to teach the boy the initial skills of composing technique and playing the piano. Gliere turned out to be an excellent teacher, under his strict guidance Prokofiev filled several folders with his new compositions. In 1903, with all this we alth, he went to enter the St. Petersburg Conservatory. Rimsky-Korsakov was impressed by such diligence and immediately enrolled him in his class.

Years of study at the St. Petersburg Conservatory

At the conservatory, Prokofiev studied composition and harmony with Rimsky-Korsakov and Lyadov, and piano playing with Esipova. Lively, inquisitive, sharp and even caustic on the tongue, he acquires not only many friends, but also ill-wishers. At this time, he begins to keep his famous diary, which he will finish only with the move to the USSR, recording in detail almost every day of his life. Prokofiev was interested in everything, but most of all heplayed chess. He could stand idle for hours at tournaments, watching the game of the masters, and he himself achieved significant success in this area, which he was incredibly proud of.

Prokofiev's piano work was replenished at this time with the First and Second Sonatas and the First Piano Concerto. The composer's style was determined immediately - fresh, completely new, bold and daring. He seemed to have neither predecessors nor followers. In fact, of course, this is not entirely true. The themes of Prokofiev's work came out of the short but very fruitful development of Russian music, logically continuing the path begun by Mussorgsky, Dargomyzhsky and Borodin. But, refracted in the energetic mind of Sergei Sergeyevich, they gave rise to a completely original musical language.

Having absorbed the quintessence of the Russian, even the Scythian spirit, Prokofiev's work acted on the audience like a cold shower, causing either stormy delight or indignant rejection. He literally burst into the musical world - he graduated from the St. Petersburg Conservatory as a pianist and composer, having played his First Piano Concerto at the final exam. The commission, represented by Rimsky-Korsakov, Lyadov and others, was horrified by the defiant, dissonant chords and the striking, energetic, even barbaric manner of playing. However, they could not fail to understand that before them was a powerful phenomenon in music. The high commission score was five plus three.

First visit to Europe

As a reward for the successful completion of the conservatory, Sergei receives from his father a trip toLondon. Here he became closely acquainted with Diaghilev, who immediately recognized a remarkable talent in the young composer. He helps Prokofiev arrange tours in Rome and Naples and gives an order to write a ballet. This is how "Ala and Lolly" appeared. Diaghilev rejected the plot because of "banality" and gave advice next time to write something on a Russian theme. Prokofiev began working on the ballet The Tale of the Jester Who Outwitted Seven Jesters and at the same time began to try his hand at writing an opera. The canvas for the plot was Dostoevsky's novel "The Gambler", beloved by the composer since childhood.

Does not disregard Prokofiev and his favorite instrument. In 1915, he began to write a cycle of piano pieces "Fleeting", while discovering a lyrical gift that no one had previously suspected of being a "composer-football player". Prokofiev's lyrics are a special topic. Incredibly touching and tender, dressed in a transparent, finely adjusted texture, it first of all captivates with its simplicity. Prokofiev's work has shown that he is a great melodist, and not just a destroyer of traditions.

The overseas period of Sergei Prokofiev's life

In fact, Prokofiev was not an emigrant. In 1918, he turned to Lunacharsky, then People's Commissar of Education, with a request for permission to travel abroad. He was given a foreign passport and accompanying documents without an expiration date, in which the purpose of the trip was the establishment of cultural ties and the improvement of he alth. The composer's mother remained in Russia for a long time, whichgave Sergey Sergeevich a lot of anxiety until he was able to call her to Europe.

First, Prokofiev goes to America. Literally a few months later, another great Russian pianist and composer, Sergei Rachmaninov, arrives there. Rivalry with him was the main task of Prokofiev at first. Rachmaninoff immediately became very famous in America, and Prokofiev zealously noted his every success. His attitude towards his senior colleague was very mixed. In the diaries of the composer of this time, the name of Sergei Vasilyevich is often found. Noting his incredible pianism and appreciating his musical qualities, Prokofiev believed that Rachmaninoff overly indulged the tastes of the public and wrote little of his own music. Sergei Vasilievich really wrote very little in more than twenty years of his life outside of Russia. The first time after emigration, he was in a deep and protracted depression, suffering from acute nostalgia. The work of Sergei Prokofiev, it seemed, did not suffer at all from the lack of connection with his homeland. It remained just as brilliant.

Prokofiev's life and work in America and Europe

On a trip to Europe, Prokofiev meets again with Diaghilev, who asks him to rework the music of The Jester. The staging of this ballet brought the composer his first sensational success abroad. It was followed by the famous opera The Love for Three Oranges, the march from which became the same encore piece as Rachmaninoff's Prelude in C sharp minor. This time Prokofiev obeyed America - the premiere of the opera Love for Threeoranges” took place in Chicago. Both of these works have much in common. Humorous, sometimes even satirical - as, for example, in "Love", where Prokofiev ironically portrayed sighing romantics as weak and sickly characters - they splatter with typical Prokofievian energy.

In 1923 the composer settled in Paris. Here he meets a charming young singer Lina Kodina (stage name Lina Lubera), who later becomes his wife. An educated, sophisticated, stunning Spanish beauty immediately attracted the attention of others. Her relationship with Sergei was not very smooth. For a long time he did not want to legitimize their relationship, believing that the artist should be free from any obligations. They got married only when Lina became pregnant. It was an absolutely brilliant couple: Lina was in no way inferior to Prokofiev - neither in independence of character, nor in ambition. Quarrels often broke out between them, followed by a tender reconciliation. Lina's devotion and sincerity of feelings is evidenced by the fact that she not only followed Sergei to a foreign country for her, but also, having drunk the cup of the Soviet punitive system to the bottom, was faithful to the composer until the end of her days, remaining his wife and taking care of his legacy.

The work of Sergei Prokofiev at that time experienced a noticeable bias towards the romantic side. From under his pen appeared the opera "Fiery Angel" based on the short story by Bryusov. The gloomy medieval flavor is conveyed in music with the help of dark, Wagnerian harmonies. itwas a new experience for the composer, and he enthusiastically worked on this work. As always, he succeeded perfectly. The thematic material of the opera was later used in the Third Symphony, one of the most overtly romantic works, of which Prokofiev's work does not include much.

Air of a foreign land

There were several reasons for the composer's return to the USSR. The life and work of Sergei Prokofiev were rooted in Russia. After living abroad for about 10 years, he began to feel that the air of a foreign land had a negative effect on his condition. He constantly corresponded with his friend, composer N. Ya. Myaskovsky, who remained in Russia, finding out the situation in his homeland. Of course, the Soviet government did everything to get Prokofiev back. This was necessary to strengthen the prestige of the country. Cultural workers were regularly sent to him, describing in colors what a bright future awaits him at home.

In 1927, Prokofiev made his first trip to the USSR. They received him with enthusiasm. In Europe, despite the success of his writings, he did not find proper understanding and sympathy. Rivalry with Rachmaninoff and Stravinsky was not always decided in favor of Prokofiev, which hurt his pride. In Russia, he hoped to find what he lacked so much - a true understanding of his music. The warm reception given to the composer on his trips in 1927 and 1929 made him seriously think about the final return. Moreover, friends from Russia in letters excitedly told how wonderful it would be for him to live in the countryadvice. The only one who was not afraid to warn Prokofiev against returning was Myaskovsky. The atmosphere of the 30s of the 20th century had already begun to thicken over their heads, and he perfectly understood what the composer could really expect. However, in 1934, Prokofiev made the final decision to return to the Union.

Homecoming

Prokofiev quite sincerely accepted communist ideas, seeing in them, first of all, the desire to build a new, free society. He was impressed by the spirit of equality and anti-bourgeoisness, which was diligently supported by the state ideology. In fairness, it should be said that many Soviet people shared these ideas, too, quite sincerely. Although the fact that Prokofiev's diary, which he kept punctually for all previous years, ends just after his arrival in Russia, makes one wonder if Prokofiev was really unaware of the competence of the security agencies of the USSR. Outwardly, he was open to the Soviet authorities and loyal to her, although he understood everything perfectly.

Nevertheless, the native air had an extremely fruitful influence on Prokofiev's work. According to the composer himself, he sought to get involved in work on the Soviet theme as soon as possible. Having met the director Sergei Eisenstein, he enthusiastically takes up work on the music for the film "Alexander Nevsky". The material turned out to be so self-sufficient that it is now performed at concerts in the form of a cantata. In this work full of patriotic enthusiasm, the composer expressed love and pride towards his people.

In 1935, Prokofiev completed one of his best works - the ballet "Romeo and Juliet". However, the audience did not see him soon. The censorship rejected the ballet because of the happy ending, which did not match the Shakespearean original, and the dancers and choreographers complained that the music was unsuitable for dancing. The new plastique, the psychologization of the movements required by the musical language of this ballet, were not immediately understood. The first performance took place in Czechoslovakia in 1938, in the USSR the audience saw it in 1940, when the main roles were played by Galina Ulanova and Konstantin Sergeev. It was they who managed to find the key to understanding the stage language of movements to the music of Prokofiev and glorify this ballet. Until now, Ulanova is considered the best performer of the role of Juliet.

"Children's" creativity of Prokofiev

In 1935, Sergei Sergeevich, together with his family, first visited the children's musical theater under the direction of N. Sats. Prokofiev was no less captivated by the action on the stage than his sons. He was so inspired by the idea of working in a similar genre that he wrote a musical fairy tale "Peter and the Wolf" in a short time. In the course of this performance, the children have the opportunity to get acquainted with the sound of various musical instruments. Prokofiev's work for children also includes the romance "Chatterbox" to the verses of Agnia Barto and the suite "Winter Campfire". The composer was very fond of children and was happy to write music for this audience.

The end of the 1930s: tragic themes in the composer's work

BAt the end of the 30s of the 20th century, Prokofiev's musical work was imbued with disturbing intonations. Such is his triad of piano sonatas, called "military" - the Sixth, Seventh and Eighth. They were completed at different times: the Sixth Sonata - in 1940, the Seventh - in 1942, the Eighth - in 1944. But the composer began to work on all these works at approximately the same time - in 1938. It is not known what is more in these sonatas - 1941 or 1937. Sharp rhythms, dissonant harmonies, funeral bells literally overwhelm these compositions. But at the same time, typically Prokofiev's lyrics were most clearly manifested in them: the second parts of the sonatas are tenderness intertwined with strength and wisdom. The Seventh Sonata, for which Prokofiev received the Stalin Prize, was premiered in 1942 by Svyatoslav Richter.

Prokofiev's case: second marriage

A drama was also taking place in the composer's personal life at that time. Relations with Ptashka - as Prokofiev called his wife - were bursting at the seams. An independent and sociable woman, accustomed to secular communication and experiencing an acute shortage of it in the Union, Lina constantly visited foreign embassies, which caused the close attention of the state security department. Prokofiev told his wife more than once that it was worth limiting such reprehensible communication, especially during an unstable international situation. The biography and work of the composer suffered greatly from this behavior of Lina. However, she did not heed any warnings.attention. Quarrels often broke out between spouses, relations, already stormy, became even more tense. While relaxing in a sanatorium, where Prokofiev was alone, he met a young woman, Mira Mendelssohn. Researchers are still arguing whether she was specially sent to the composer in order to protect him from his wayward wife. Mira was the daughter of a Gosplan employee, so this version does not seem very unlikely.

She was not distinguished by either special beauty or any creative abilities, she wrote very mediocre poems, not embarrassed to quote them in her letters to the composer. Her main virtues were the adoration of Prokofiev and complete humility. Soon the composer decided to ask Lina for a divorce, which she refused to give him. Lina understood that as long as she remained Prokofiev's wife, she had at least some chance to survive in this hostile country. This was followed by an absolutely amazing situation, which in legal practice even got its name - “Prokofiev's incident”. The official bodies of the Soviet Union explained to the composer that since his marriage to Lina Kodina was registered in Europe, it was invalid from the point of view of the laws of the USSR. As a result, Prokofiev married Mira without dissolving the marriage with Lina. Exactly one month later, Lina was arrested and sent to the camp.

Prokofiev Sergei Sergeevich: creativity in the post-war years

What Prokofiev subconsciously feared happened in 1948, when the infamous government decree was issued. Published in the Pravda newspaper, it condemned the wayto which some composers went, as false and alien to the Soviet worldview. Prokofiev also fell into the number of such "misguided" ones. The characteristic of the composer's work was as follows: anti-people and formalistic. It was a terrible blow. For many years, he doomed A. Akhmatova to "silence", pushed D. Shostakovich and many other artists into the shadow.

But Sergei Sergeevich did not give up, continuing to create in his own style until the end of his days. The symphonic work of Prokofiev in recent years was the result of his entire composing path. The Seventh Symphony, written a year before his death, is a triumph of wise and pure simplicity, of that light to which he has been going for many years. Prokofiev died on March 5, 1953, on the same day as Stalin. His departure went almost unnoticed because of the nationwide grief over the death of the beloved leader of the peoples.

Prokofiev's life and work can be briefly described as a constant striving for light. Incredibly life-affirming, it brings us closer to the idea embodied by the great German composer Beethoven in his swan song, the Ninth Symphony, where the ode “To Joy” sounds in the finale: “Embrace millions, merge in the joy of one.” The life and work of Prokofiev is the path of a great artist who devoted his whole life to the service of Music and its great Mystery.