Where was born Sergei Prokofiev conductor and composer. Sergei Prokofiev: biography, interesting facts, creativity

Sergei Sergeevich Prokofiev (1891 - 1953), who went down in the history of Russian music as a great composer, innovator, master of musical theater, creator of a new musical language and subverter of old canons, has always remained a truly Russian artist.
M. Tarakanov notes that this is the main thing historical meaning Prokofiev, who continued the work in this direction and; his

"You can rightly be called the sun of Russian music."

At the same time, continuing to follow the path of A. Borodin and, in a sense, he brings to music an onslaught, dynamics, energy, filled with deep ideas and bright optimism.

Prokofiev Musical Theater

The continuous creative process of the composer's work in this direction is due to the development of musical stage dramaturgy in connection with three main lines (highlights L. Danko):

• comedy-scherzo, marked by a connection with the traditions of the folk fair performance, fairy-tale parody performances (for example, the ballet "Jester", the opera "Love for Three Oranges");
• conflict-dramatic, originating from the opera "The Gambler" - up to the opera "War and Peace";
• lyric-comedy(opera The Duenna, ballet Cinderella).

The fourth line, connected with folk songs, is formed in the last years of the composer's life (the opera "The Tale of a Real Man", the ballet "The Tale of stone flower».

Operas by S.S. Prokofiev

The theme of opera plots covers samples of Russian and European classical literature; time range from the Middle Ages up to the period of the Soviet Union. In addition to the completed ones, many operatic plans remained unrealized; some are cited by N. Lobachevskaya as an example:

• “The Story of a Simple Thing” (based on the story by B. Lavreniev), which exists in the form of a short outline of the opera;
• "Spender" (based on the play by N. Leskov), which is a lengthy presentation of the plot;
• “Taimyr calls you” (based on the play by A. Galich and K. Isaev) - separate characters and scenes are developed here;
• the ideas of the operas "Khan Buzai" and "Distant Seas" (the 1st picture has been preserved).

Among completed operas:

• "Feast in the Time of Plague", born as a result of the composer's studies with Gliere;
• Maddalena (1911, 2nd edition 1913) is a one-act lyric-dramatic opera;
• The Gambler (1916, 2nd ed. 1927), where a type of conflict dramaturgy is born;
• The Love for Three Oranges (1919), which comes from the dell arte tradition;
• "Fiery Angel" (1919-1927/1928, after novel of the same name V. Bryusov), combines the features of chamber lyric-psychological opera and social tragedy;
• "Semyon Kotko" (1939), combining features love drama, comedy, social tragedy;
• Duenna (or Betrothal in a Monastery, 1946) synthesizes the genres of lyrical comedy and social satire;
• "War and Peace" (1941-1952) - an opera dilogy based on the novel by L. Tolstoy;
• "The Tale of a Real Man" (1948, 2nd edition 1960) - devoted to one of the most important problems of Soviet art: national character during the Great Patriotic War.

Prokofiev in the musical texts of his works is a supporter of the rational use of musical expressive means; as a playwright, updates opera genre by introducing elements drama theater and cinema. Thus, M. Druskin described the specifics of Prokofiev’s montage dramaturgy: “Prokofiev’s dramaturgy is not a simple change of “frames”, not a kaleidoscope of alternating episodes, but a musical reincarnation of the principles of “slow”, then “fast” shooting, then “influx”, then “ close-up". Prokofiev's operas are also distinguished by the diversity of images and stage situations, the polarity in the reflection of reality.

Prokofiev's ballets

characteristic of the twentieth century. the tendency to symphonize erects ballet genre not only to the rank of one of the leading, but also makes him a serious competitor to the opera. In many ways, it (the trend) is associated with the name of S. Diaghilev, who commissioned almost all of Prokofiev's early ballets.

• the composer continues and completes the ballet reform begun by bringing it to the pinnacle, where ballet turns from a choreographic performance into a musical theater;
• of the three leading lines of the Soviet ballet theater (heroic-historical, classical, satirical), it is the classical, which has a lyric-psychological nature, that turns out to be fundamental for Prokofiev's ballets;
• , the important role of the orchestra, a developed leitmotif system.

• "Ala and Lolly" (1914), which is based on the Scythian story. His music is also known as the "Scythian Suite"; daring, sharp, bold "The Jester", or "The Tale of the Jester of the Seven Jesters Who Changed Jokes" (1915 - 1920), staged in Paris.
• Ballets of the 20-30s: ("Trapezoid", 1924; "Steel lope", 1925; " Prodigal son", 1928; "On the Dnieper", 1930, in memory of S. Diaghilev).
• Three ballets are masterpieces created upon returning to their homeland (Romeo and Juliet, 1935; Cinderella, 1940-1944; The Tale of the Stone Flower, 1948-1950).

Instrumental creativity of Prokofiev

Symphonies

• No. 1 (1916 - 1917) "Classical", where the composer turns to the conflict-free type of symphonism of the pre-Beethoven period (Haydn's type of symphonism);
• Nos. 2-4 (1924, 1928, 1930) - symphonies of the foreign period. Asafiev called Symphony No. 2 a symphony "made of iron and steel." Symphonies No. 3 and No. 4 - based on the opera "Fiery Angel" and the ballet "Prodigal Son";
• #5-7 (1944, 1945-47, 1951-1952) - written in late period. The heroic-epic symphony No. 5 reflected the spirit of wartime; Symphony No. 7, completed less than a year before the composer's death, is filled, nevertheless, with optimism and joy of life.
• S. Slonimsky also refers to the symphonies the symphony-concert for cello b-moll (1950 - 1952).

Piano works by Prokofiev

"glassy" coloring, "exactly corresponding to Prokofiev's own non-legacy pianism" (L. Gakkel).

Kuchkist composers, on the other hand, to representatives of Western musical culture. So, the peppy tone of creativity, the harmony of music, the methods of harmonic development (organ points, parallelisms, etc.), rhythmic clarity, conciseness in the presentation of musical thought make him related to Grieg; ingenuity in the field of harmony - with Reger; the grace of tarantella rhythms - with Saint-Saens (notes L. Gakkel).

For Prokofiev, the clarity of musical ideas, the maximum simplicity and relief in their implementation are important. Hence - the desire for "transparency" of sound (typical of early works), where themes are often in the upper register, and as the dynamic tension grows, the number of sounding voices(so as not to overload the sonority). The general logic of development, as a rule, is determined by the movement of the melodic line.

Prokofiev's piano heritage includes 9 sonatas (No. 10 remained unfinished), 3 sonatinas, 5 concertos (No. 4 - for the left hand), many pieces, piano cycles(“Sarcasms”, “Fleeting”, “Tales of an old grandmother”, etc.), about 50 transcriptions (mostly of his own compositions).

Cantata-oratorio works

Prokofiev created 6 cantatas:

"Seven of them" 1917-18, "Cantata for the 20th anniversary of October" 1936-37, "Toast" 1939, "Alexander Nevsky" 1938-39, "Ballad about a boy who remained unknown" 1942-43, "Flourish, mighty land " 1947, oratorio "On guard of the world" 1950.

One of the first examples of a new approach to the genre of historical cantata is Prokofiev’s one-movement cantata “Seven of them”, written to the texts of Balmont’s “Calls of Antiquity”, Chaldean spells turned into verses to conjure seven monsters, anti-gods that interfere with life. In the cantata, Scythian tendencies are intertwined with constructivist ones, which is also characteristic of the Scythian Suite and Symphony No. 2; the sonorous techniques of choral writing are anticipated. The main expressive means is the ostinato technique, close, on the one hand, to ancient spells; on the other hand, coming from the music of modern times.

"Cantata for the 20th Anniversary of October" was born under the impression of the composer's return to his homeland and the desire to capture the epoch-making events of Soviet Russia. Its ideological essence: the Great October Socialist Revolution, victory, industrialization of the country, the Constitution. In terms of text, it contains fragments of the works of Marx, Stalin, Lenin. The work was rejected by the Arts Committee, as the idea of ​​translating these themes into music was regarded as blasphemy. The premiere took place only in 1966.

The widely known historical (heroic-patriotic) opus "Alexander Nevsky" is a monumental creation by Prokofiev, based on the musical material of the film of the same name (texts by the composer and V. Lugovsky). In 7 parts of the cantata (“Rus' under the Mongol yoke”, “Song of Alexander Nevsky”, “Crusaders in Pskov”, “Get up, Russian people”, “ Battle on the Ice”, “Dead Field”, “Alexander’s Entry into Pskov”), there is a close interaction between the dramatic principles of epic composition and cinematographic montage:

1. epic - in highlighting the people as the main actor, a generalized interpretation of the image of Alexander Nevsky, characterized by a song about him;
2. the montage principle is clearly manifested in the battle on the ice scene by connecting a new musical material, due to the dynamics of the visual range. At the same time, it operates at the level of forms - in a sequence of independent sections, while sometimes internal structures are formed, sometimes - development does not obey the logic of any of the typical forms.

The general dynamics of the evolution of S. Prokofiev's style is marked by a gradually increasing inclination towards melodicity in comparison with motor skills and scherzoism, which have leading value in the early period of creativity, which, however, was not always associated with the evolution of the composer's work, but was determined by the country in which and when he lives.

Along with other innovators (C. Debussy, B. Bartok,), in his work he determined new ways of developing the music of the twentieth century.

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A man-phenomenon, in bright yellow boots, checkered, with a red-orange tie, carrying a defiant power in itself - this is how 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 treasure trove of our musical and national culture, but the life of the composer is no less interesting. Having left for the West at the very beginning of the revolution and having lived there for 15 years, the composer became one of the few "returnees", which turned out to be a deep personal tragedy for him.

It is impossible to summarize the work of Sergei Prokofiev: 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. Unless he wrote a concerto for a bassoon with a folk orchestra, and the work of this great Russian composer will be discussed in this article.

Childhood and first steps in music

Sergei 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 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 basic 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 wealth, 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 chess occupied him the most. 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 Concerto for Piano and Orchestra. 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 listeners like a cold shower, causing either stormy delight or indignant rejection. He literally broke into music 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 a trip to London from his father. 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.

Prokofiev does not disregard his favorite instrument either. In 1915, he begins 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 conquers with its simplicity. Prokofiev's work has shown that he is a great melodist, and not just a destroyer of traditions.

Foreign 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 to establish cultural ties and improve health. The composer's mother remained in Russia for a long time, which caused Sergei 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 Vasilievich is often found. Noting his incredible pianism and appreciating his musical qualities, Prokofiev believed that Rachmaninoff was unnecessarily indulging 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, on the other hand, did not seem to 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 Rachmaninov's Prelude in C sharp minor. This time Prokofiev obeyed America - the premiere of the opera "The Love for Three Oranges" 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 the charming young singer Lina Kodina ( stage name Lina Lubera), who would later become 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. It was a new experience for the composer, and he enthusiastically worked on this work. As always, he succeeded perfectly. Thematic material opera was later used in the Third Symphony, one of the most frankly romantic works, which are not so many included in the work of the composer Prokofiev.

foreign air

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, the 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 in his homeland.

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 - true understanding 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 country of the Soviets. 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. To be fair, 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, 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 Shakespeare's original, and the dancers and choreographers complained that the music was unsuitable for dancing. New plastic, the psychologization of movements, which the musical language of this ballet demanded, were not immediately understood. The first performance took place in Czechoslovakia in 1938, in the USSR the audience saw it in 1940, when Konstantin Sergeev also played the main roles. 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" work 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 guys 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.

Late 1930s: tragic themes in the composer's work

At the end of the 30s of the 20th century musical creativity Prokofiev was imbued with anxious intonations. Such is his triad of piano sonatas, called "military" - Sixth, Seventh and Eighth. They were finished in different time: 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 premiere of the Seventh Sonata, for which Prokofiev received the Stalin Prize, took place in 1942, performed by Svyatoslav Richter.

Case of Prokofiev: second marriage

In the personal life of the composer at this time, too, there was a drama. 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 close attention department of state security. 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 ignored the warnings. 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 an employee of the State Planning Committee, 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 country hostile to her. This was followed by a completely 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 a camp.

Prokofiev Sergey 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 denounced the path taken by some composers 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. On long years he doomed A. Akhmatova to "silence", pushed D. Shostakovich and many other artists into the shadows.

But Sergei Sergeevich did not give up, continuing to create in his own style until the end of his days. Symphonic works of Prokofiev recent years was the culmination of his entire career as a composer. The Seventh Symphony, written a year before his death, is a triumph of wise and pure simplicity, of that light to which he had been going for many years. Prokofiev died 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.

The life and work of Prokofiev can be briefly described as a constant striving for light. Incredibly life-affirming, it brings us closer to the idea embodied by the great 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.

In the early period of Prokofiev's work, piano music of various forms is in the lead - from miniatures to small cycles, concertos and sonatas. It is in small program piano pieces that the original style of the composer matures. The second wave of the rise of Prokofiev's piano music was the late 1930s - early 1940s, when the triad of sonatas (Nos. 6, 7, 8) was born, which, in terms of epic power and depth of dramatic conflicts, is almost as good as the symphonies of the same time - the Fifth and Sixth.

Prokofiev's contribution to piano literature of the 20th century is comparable only to that of Debussy, Scriabin and Rachmaninov. Like the latter, he creates a number of monumental piano "concert-symphonies", continuing in this sense the tradition bequeathed by Tchaikovsky.

Prokofiev's pianism is graphic, muscular, pedalless, which is the opposite of Rachmaninov's romantic style and Debussy's impressionistic fluctuation. B. Asafiev: "Severe constructivism is combined with psychological expressiveness." Features: vigor, toccato, constant dynamics, instrumental melody, transparent texture, inclination towards psychologism, bold timbre combinations, clear forms, playing in extreme registers (Debussy). Sharp figurative contrasts: primitiveness and elegance, barbaric fauvism and sophistication, prose passages and fairy-tale episodes, sarcasm and lyrics.

Prokofiev's piano work is diverse in genre (piano cycles, miniatures, transcriptions of ballet compositions, concert sonatas). Prokofiev is rightfully considered a representative of the anti-romantic tradition of the first half of the 20th century, along with Stravinsky, Bartok, Hindemith.

Overcoming the romantic interpretation of the piano is due to several factors:

Refusal of sensual interpretation of sound (dry, hard, glassy). The special role of emphasis, non legato style;

sound unloaded. Frequent use of extreme registers. No feeling of fullness;

percussion interpretation of the piano. Prokofiev continues the traditions of the early classical art of Scarlatti, Haydn, French clavisinists, Debussy's clavier classicism, and in the Russian tradition of Mussorgsky.

Despite the predominance of anti-romantic traditions, Prokofiev's piano style also has features of romantic piano music. This is true especially in relation to the moments of cantilena themes. Usually piano creativity Prokofiev is divided into three periods:

1) Early . Before leaving abroad (1908 - 1918). During this period, four sonatas, two concertos, etudes (op. 2), plays (op. 3,4), Toccata (op. 11), Sarcasm (op. 17), Transience (op. 22) were written;

2) Foreign (1918 - 1933). In creativity there is a deepening of the lyrical sphere. Written 3rd, 4th, 5th concertos, 5th sonata, "Tales" (op. 31), four pieces (op. 32);

3) Soviet (mid 1930s). According to Prokofiev himself, during this period of creativity, a “transition to a new simplicity” takes place. Written "Children's Music" (op. 65), transcriptions, sonatas 6-9.

Subject: N.Ya. Myaskovsky. Creation. Style features.

Introduction.

Went down in history Soviet music as a great symphonist and an outstanding teacher. He stood at the origins of the formation of Soviet symphony. External showiness, concert brilliance are alien to his style, there are no traces of passion for colorful sound painting or super-rationalism. The work of Myaskovsky is an independent branch of Russian philosophical symphonism, where the traditions of Liszt, Wagner, Tchaikovsky and the "Kuchkists" were originally developed and reworked in the spirit of expressionism.

Early period creativity.

The evolution of Myaskovsky, like many other composers of the 20th century, was directed towards speaking simply about the complex, without losing depth. His early works are characterized by: dense musical fabric, complicated harmony. The 5th symphony opens the central period of Myaskovsky's work.

E years.

One of the hardest creative periods. The capture of deeply personal feelings and subjective tragic emotions in these years noticeably prevails over the objective sphere (symphonies No. 6, 7, 9, 10, 12, sonatas No. 3, 4, “Fads”, “Yellowed Pages”). Symphony Nos. 5 and 8 contain folk-mass images.

E years.

Increasing role folk images, heroic, courageous-volitional beginning. Lyrical thematics, melodiousness, melodic breadth and smoothness (symphonies No. 15, 17, 18, 19, 21), quotations from popular songs.

E years.

The established style of the composer acquired features of academic rigor. Lyrical-epic-dramatic symphonism of the war years and suite-type works (Symphony No. 23). Genre coexists with disturbing themes, narrative episodes, lyrical monologues. The musical fabric is clear and transparent.

As a result, two lines of Myaskovsky's creativity crystallized: lyrical-psychological and epic-genre. Of the most important styles of the 20th century, late romanticism and expressionism were reflected in the composer's work.

Subject: S.S. Prokofiev. Cantata "Alexander Nevsky".

Introduction.

Music to the film by S. Eisenstein “A. Nevsky" is one of the recognized pinnacles of Prokofiev's creative life. In this work, he first turned to Russian heroic-epic themes. Further, this line was continued in the opera "War and Peace", Symphony No. 5, the First Sonata for Violin and Piano, and the music for the film "Ivan the Terrible". In May 1939, the premiere of the cantata took place.

Dramaturgy.

In many respects the genre of the cantata is original. The composer achieved a bold combination of picturesque and pictorial orchestral episodes with song and choral scenes. Thus, a new genre fusion of programmatic symphony with a specific operatic and choral action arose.

The dramaturgy of the cantata is based on a sharp contrast between two conflicting intonational spheres: the Russian patriotic army and the repulsive face of the Teutonic crusaders. The first are characterized by songs of an epic warehouse, sad parables, funny buffoon tunes. The second is depicted with puffy military fanfare, Catholic chant and an automated march. Prokofiev, as always, emphasized the contrast between them with the help of harmonic and orchestral means. In "Russian" music, light diatonicism, softness of timbres, melodious sonority of strings, soulful timbres of voices predominate. "German" is marked by harsh polytonal sounds, "mechanical" rhythms, heavy brass tread and percussion. A special place is occupied by the techniques of contrapuntal combinations. various topics("Battle on the Ice").

The compositional scheme of the work attracts with its careful thoughtfulness. Seven parts - very different in content - are built on a contrasting alternation of pictorial and visual episodes ("Russia under the Mongol yoke", "Crusaders in Pskov", "Battle on the Ice") with relatively compressed song and choral numbers ("And it was on the Neva -river", "Get up, Russian people", "Dead field"). The composition clearly shows the features of the sonata-symphony cycle:

The first 4 parts are introduction and exposition;

5th - development;

6th - lyrical intermezzo;

7th - synthesizing finale.

Analysis of the cantata.

First part "Rus under the Mongol yoke" is a symphonic prologue to the cycle. The feeling of emptiness is achieved by a special phonic effect, often found in Prokofiev: high and low timbres move in unison with an unfilled middle. Thus, a landscape full of anxiety and sorrow arises.

The second part is epic Song about Alexander Nevsky". Mean range, leisurely deployment, clarity of movement. The harsh coloring is emphasized by the predominance of low timbres in the orchestra and choir. The battle-pictorial element is reinforced in the middle section.

The features of dramatic conflict are fully revealed in the third part - "Crusaders in Pskov". For the first time, polar images collide in it: the cruel Teutonic invasion (extreme sections) and the suffering of the vanquished (middle). The crusaders are depicted using three themes: a Catholic chant, a bass motif, and a military fanfare. In the middle there is a mournful melody: a sad melody of lamentation, a rich subvocal fabric.

Fourth part - "Get up, Russian people"- like the second, it is built in the form of a choral scene of a song warehouse. The main theme is filled with combat courage and prowess. The middle section (“Native in Rus'”) captivates with light poetry.

In the most expanded fifth part - "Battle on the Ice"- the main events of the entire symphonic drama are concentrated. Here, the proximity to the nature of cinema is most noticeable: the principle of “montage”, counterpoint techniques, the through development of image-themes. Introduction, conclusion, features of rondality. The frightening theme of the crusaders is opposed by the Russian buffoon tune. The themes of the previous parts - the 3rd and 4th - sound. After the grandiose climax (tutti, fff) and the failure of the Germans under the ice, there is a calm and a poetic conclusion.

Sixth part "Dead field"- lyric-epic discharge after a tense battle. The only aria in the entire cantata, for the first time introducing an element of personal feeling into music. Muffled strings, mournful intonations, natural minor, variability of mode, chant - a vivid example of Slavic melos.

The seventh part - "Alexander's Entry into Pskov". The victorious-patriotic finale of the cantata is almost entirely based on Russian themes from the 2nd, 4th and 5th movements. The main mood is popular jubilation, the joy of the Russian people.

D.D. Shostakovich. (1906-1975).

Sergei Prokofiev(April 23, 1891 - March 5, 1953) is considered one of the largest, most influential and most performed composers of the 20th century. He was also a pianist and conductor. Disputes often broke out around the work of this composer, since originality and originality always cause a contradictory reaction. However, not only fans, but also those who did not immediately understand Prokofiev's music, felt the powerful strength and brightness of his talent.

The childhood of Sergei Prokofiev

Sergei Sergeevich Prokofiev was born on April 23, 1891 in the Sontsovka estate (now the village of Krasnoye, Donetsk region), where his father, an agronomist, served as the manager of a landowner's estate.

The parents invested all their love and hopes in their son. The boy's musical talent manifested itself very early, and under the guidance of his mother, Maria Grigorievna, Seryozha began music lessons.

At the age of five, he had already composed his first work. Still not knowing the notes, according to rumor, the boy tried to play something of his own on the piano, then learned the notes in order to record this “own”.

First opera - Giant

At the age of nine, under the impression of the opera Faust by C. Gounod, Seryozha decided to compose his own opera, on his own plot. It was an opera Giant in three acts with adventures, fights and more.

The boy's parents were educated people and taught him all the school subjects themselves, but, of course, they could not teach the rules of composing music. Therefore, taking her son on one of her trips to Moscow, Maria Grigoryevna brought him to the famous composer and teacher Sergei Ivanovich Taneev, who recommended that for classes with Serezha, a young composer who had just graduated from the conservatory with a gold medal be invited to Sontsovka for the summer Reinhold Moritsevich Gliere.

Youth Prokofiev

Gliere spent two summers in a row in Sontsovka, studying with Seryozha, and in the fall of 1904, thirteen-year-old Sergei Prokofiev came to St. Petersburg to take an exam at the conservatory, taking with him a solid baggage of compositions. The thick folder contained two operas, a sonata, a symphony and many small piano pieces. song written under the direction of Gliere. Some of the Songs were so original and sharp in sound that one of Serezha's friends advised them to call them not Songs, but Dogs, because they "bite".

Years of study at the conservatory

Serezha was the youngest student at the conservatory. And, of course, it was difficult for him to make friends with classmates, especially since he sometimes, out of mischief, counted the number of mistakes in musical tasks each of the students. But here in the conservatory there always appeared a very restrained, strict, smart Nikolai Yakovlevich Myaskovsky, in the future a famous composer. Despite a ten-year age difference, they formed a lifelong friendship. They showed each other their compositions, discussed them - personally and in letters.

in composition theory classes and free composition Prokofiev's peculiar talent, in general, fell out of favor. Prokofiev did not even dare to show the most daring compositions to teachers, knowing that this would cause bewilderment or irritation. The attitude of the teachers was expressed in very average grades in Prokofiev's composing diploma. But with a degree in piano, he successfully graduated from the conservatory in the spring of 1914.

“If I was indifferent to the poor quality of the composer’s diploma,” Prokofiev later recalled, “this time I was seized by ambition, and I decided to finish the piano first.”

Prokofiev took a risk: instead of the classical piano concerto, he decided to play his own First Concerto, just published, handing over the notes to the examiners in advance. The jubilant, full of young enthusiasm music of the concert captivated the audience, Prokofiev's performance was a triumph, and he received a diploma with honors and the Anton Rubinstein Prize - a beautiful German piano.

Early work of S. Prokofiev

The creative energy of the young composer Prokofiev was truly volcanic. He worked quickly, boldly, tirelessly, covering the most different genres and forms. The first piano concerto was followed by the second, followed by the first violin concerto, opera, ballet, romances, Scythian suite with its stunningly bright orchestral colors, spontaneous dynamics and energetic rhythms.

Sergei Prokofiev quickly entered the first row of composers known not only at home but also abroad, although his music has always caused controversy, and some works, especially stage ones, have been waiting for performance for years. But it was the scene, with its ability to create living human characters, that especially attracted the composer.

While he was doing this chamber music, for example, in a vocal tale ugly duck (according to Andersen). Each of the inhabitants of the poultry yard is endowed with its own unique character: a sedate mother duck, little enthusiastic ducklings and the main character himself, unfortunate and despised by everyone before turning into a beautiful swan. Hearing this tale by Prokofiev, A.M. Gorky exclaimed: “But he wrote it about himself, about himself!”

In 1918, it was first performed Classical symphony- an elegant composition, sparkling with fun and subtle humor, a true classic of music Soviet period. In the composer's work, the symphony began a bright and clear line, which is drawn right up to his later works - the ballet Cinderella, Seventh Symphony.

Life abroad

In the spring of 1918, having received a foreign passport, he left for America. A long stay abroad (until 1933) did not mean a complete separation from the homeland.
Three concert tours Soviet Union were an occasion to communicate both with old friends and with a new audience. In 1926, an opera was staged in Leningrad Love for three oranges, conceived at home, but written abroad. A year before, Prokofiev commissioned S. Diaghilev wrote a ballet steel lope- a number of paintings from the life of the young Soviet republic (it is familiar to listeners in the form of a symphonic suite).

Homecoming

In 1933, Prokofiev finally returned to his homeland. The years following his return proved to be very productive. Works are created one after another, and each of them marks a new, high stage in a particular genre.

Opera Semyon Kotko, ballet , film score Alexander Nevskiy, on the basis of which the composer created the oratorio - all this was included in the golden fund of the music of the Soviet period.

Works of the mature period

The irrepressible boiling of creative thought is replaced by wise poise, interest in the incredible, fabulous, legendary is replaced by interest in real human destinies ( Semyon Kotko- an opera about a young soldier), to the heroic past of his native country ( Alexander Nevskiy, opera), to eternal theme love and death ().

At the same time, the humor characteristic of Prokofiev did not disappear. In the fairy tale (for a reader and a symphony orchestra), addressed to the youngest listeners, each character is characterized by some kind of instrument. It turned out to be a kind of guide to the orchestra and at the same time cheerful, funny music.

The pinnacle of Prokofiev's work is his opera. The plot of the great work of L. Tolstoy, recreating heroic pages Russian history, was perceived during the years of the Patriotic War (it was then that the opera was created) unusually acute and modern.

This work combined the best, most typical features of his work. Here Prokofiev is both a master of a characteristic intonational portrait, and a muralist who freely composes mass folk scenes, and, finally, a lyricist who created an unusually poetic and feminine image of Natasha.

Prokofiev's work had a significant impact on musical art XX century. His works are constantly performed outstanding pianists, violinists, symphony orchestras in all countries of the world. Ballets and Cinderella with success go on many stages of Russia and other countries.

Creative heritage of Prokofiev includes over 130 opuses, including 8 operas, 7 ballets, 7 cantatas, 7 symphonies and a number of other symphonic works (suites, overtures, etc.), 8 concertos, 14 sonatas, chamber ensembles, marches for brass band, piano pieces, romances, songs, choirs, theater music and music for films.

Prepared by: Venskaya I.S.

The biography of Prokofiev, the great Russian and Soviet composer, is so large and versatile that it is sometimes hard to imagine how it all fit in one person? A pianist, music writer, film composer, conductor - in addition, Sergei Sergeevich created his own unique composing style, was fond of chess and Christian Science. From this article you can find out short biography Prokofiev, as well as the main periods of his creative life.

Childhood and youth

The biography of Sergey Sergeevich Prokofiev begins in the village of Sontsovka, located in the Yekaterinoslav province (modern Donetsk region of Ukraine), on April 15 (27), 1891, in merchant family. Sergei's mother, Maria Grigorievna, mastered the piano while studying at the gymnasium and often performed works by Beethoven and Chopin at home. Little Seryozha often sat down at the keys next to his mother, memorizing her playing visually and by ear. At the age of five he began his musical biography Prokofiev Seryozha, having composed at such a young age his first piece - "Indian gallop". Maria Grigorievna taught her son how to notate works, and all subsequent small rondos and waltzes of his own composition were recorded by the child prodigy Prokofiev on his own.

At the age of nine, Prokofiev wrote his first opera called The Giant, and at 11 he played it to the famous composer and teacher Sergei Taneyev. Taneyev was impressed by the boy's talent and agreed with his friend, also a famous composer Reinhold Gliere, to train Serezha Prokofiev.

Study and the beginning of creativity

The entire early biography of Sergei Prokofiev is compiled from his personal diaries, which he kept in detail and accurately throughout his life. Already in 1909, at the age of 18, Sergei graduated from the St. Petersburg Conservatory as a conductor, and five years later, also as a pianist. His teachers were such great musicians as Rimsky-Korsakov, Lyadov and Cherepnin. Also during his studies, he met other future great composers - Sergei Rachmaninov and Igor Stravinsky. In the photo below, Prokofiev while studying at the conservatory.

After his debut performance with his own works on the piano, Prokofiev's work was called bold and original, with "unbridled play of fantasy and extravagance of style." The status of an "extreme modernist" was assigned to the novice composer.

In 1913, after Prokofiev's performance of the Second Piano Concerto, the audience was clearly divided into those who admired the composer and those who criticized him, calling the work "scandalous and futuristic".

The best works and world recognition

From 1918 to 1936, the biography of the composer Prokofiev tells about his American period of life. Sergei Sergeevich took the October Revolution calmly, since he never belonged to either the white or the red movement. He emigrated in search of new inspiration.

Having achieved recognition on the other side of the ocean, the composer returns to his homeland. During the Great Patriotic War, he did not stop working, his the best works at this point it becomes the ballet "Cinderella", the opera "War and Peace" and the "Fifth Symphony". The Fifth, along with Shostakovich's Seventh Symphony, are considered the most important works created during the Patriotic War. An excerpt from Prokofiev's Fifth Symphony performed by a symphony orchestra can be seen below.

In 1948, Sergei Prokofiev, along with other avant-garde composers such as Shostakovich and Khachaturian, was criticized for "formalism and futurism" by the Committee for Arts, after which many of Sergei Sergeyevich's works were banned. But fortunately, Joseph Stalin was very interested in the work and biography of Prokofiev, and therefore in 1949, on the personal order of the leader, the ban was lifted, and the actions of the Committee were severely condemned.

Composer's unique style

In world history, the biography of Sergei Sergeevich Prokofiev is distinguished, first of all, by the creation of a unique musical language. The techniques that distinguish the composer's works consisted in the use of a special form of the dominant (later it was called the Prokofiev dominant), linear and dissonant chords, as well as chromatic clusters that combine pitches when performing "intrusive" musical phrases. The compositional, anti-romantic rhythmics, which give many of Prokofiev's works an expressive fragmentation, are also peculiar.

Film works

Throughout his life, the composer wrote music for eight Soviet films. The most famous film works in the biography of Prokofiev are compositions written for the films of the famous director Sergei Eisenstein: "Alexander Nevsky" (1938) and "Ivan the Terrible" (1945). Eisenstein was delighted to work with the great composer, as the director and musician had a similar, avant-garde approach to creativity. Subsequently, Prokofiev finalized the music composed for these films into the form of independent works. An excerpt from the film "Ivan the Terrible" with Prokofiev's composition can be seen below.

Artwork for children

In Prokofiev’s creative biography, many works have been written for children, for example, the ballets Cinderella and The Tale of the Stone Flower, compositions for the choir Ballad of a Boy Remaining Unknown, Winter Campfire, On Guard of the World.

But Prokofiev's most famous children's work is without a doubt symphonic tale"Peter and the wolf". Sergei Sergeevich composed this work and put it on his own text in 1936, for staging in a children's theater. "Peter and the Wolf" was the composer's first work after returning to his homeland.

In addition to performances, there are several animated versions of this fairy tale: the first was created in 1946 at the Walt Disney Studios. Then two Soviet puppet cartoons were released (in 1958 and 1976), as well as a Polish-British puppet cartoon, also an Oscar-winning cartoon in 2006.

other hobbies

Being a very versatile person, Sergei Prokofiev was engaged not only in music - his second passion was literature. Everything that came out of his pen was marked by the uncommonness of his writing abilities: this is the huge "Autobiography", covering the composer's life from birth to 1909, and his diaries, and all the librettos and stories he composed, filled with optimism and wonderful feeling humor.

In addition to music and literature, Sergei Sergeevich was seriously fond of chess and called it "the music of thought." From 1914 to 1937, Prokofiev managed to play games with such famous chess players as Capablanca, Lasker and Tartakower.

The composer was also an adherent of Christian Science, the methods of which allowed him to overcome the excitement before performances. Prokofiev liked to read the book "Science and Health" by Mary Baker Eddy, in his diaries he mentioned it more than once, saying that this book helped shape his personal attitude to good, evil, God and man.

Personal life

In 1923, Prokofiev married the Catalan chamber singer Lina Codina, who bore him two sons, Svyatoslav and Oleg. In the photo below, the composer with his wife and sons.

Despite mutual understanding with his wife and eighteen years life together, in 1941 Prokofiev left the family and began to live with a student of the Faculty of Philology Mira Mendelson. In 1948, Sergei Prokofiev married Mira without divorcing his first wife. In subsequent legal proceedings, both marriages were declared valid. In this regard, the term "Prokofiev's case" was introduced by Soviet lawyers, referring to such incidents. A photo of Prokofiev and his second wife is presented below.

Sergei Sergeevich lived with Mira Mendelson-Prokofieva until the end of his days. Great composer Prokofiev died on March 5, 1953 - on the same day Joseph Stalin died, and therefore the death of the composer went unnoticed for a long time.