Biography
Sergey Prokofiev distinguished himself through his revitalization of the symphony, sonata, and concerto, establishing one of the 20th century's most distinctive compositional identities. His trajectory as pianist and composer spanned pre-revolutionary Russia and the Stalinist Soviet Union, yielding an international career of notable breadth. Comparable to numerous Soviet-period creators, official Party regulations constrained both his daily existence and his output. Even so, Prokofiev sustained an unmistakable technical command, originality, and expressive verve in his writing through the final years of his activity.
Born the sole surviving child after his sisters perished in infancy, Prokofiev grew up amid material comfort that fostered an early self-assurance and resistance to external judgment, traits later tempered by experience. His mother provided initial piano instruction, prompting him to begin composing near age five. Reyngol'd Gliere subsequently supplied lessons in piano, theory, and composition; at 13 Prokofiev entered the St. Petersburg Conservatory, studying theory with Lyadov and orchestration with Rimsky-Korsakov while forming a lasting friendship with Nicolai Myaskovsky. Following graduation he performed first in St. Petersburg and Moscow, then across Western Europe, simultaneously expanding his catalog. Initial recognition therefore rested equally on his commanding keyboard prowess and the showcase pieces he produced, among them the Sarcasms, Op. 17 (1912-1914), Visions fugitives, Op. 22 (1915-1917), and the earliest piano sonatas. He also completed orchestral scores, concertos, and operas while conferring with Diaghilev regarding potential ballets.
The immediate post-Revolution period found Prokofiev in the United States, where he sought to emulate Rachmaninov's model as a dual pianist-composer. The Chicago Opera commissioned The Love for Three Oranges in 1919, yet American audiences proved less receptive than anticipated, prompting his return to Europe in 1922. He married singer Lina Llubera the following year, after which the couple settled in Paris. Commissioned works continued, though responses from press and public remained uneven. Ties with the Soviet Union persisted; Prokofiev toured there in 1927, saw The Love for Three Oranges enter the national opera repertory, and accepted government requests for the Lieutenant Kijé film score and additional pieces. In 1936 he repatriated with his wife and two sons. Most works composed immediately afterward, including numerous pieces for children, reflected prevailing political expectations. An exception was the 1936 ballet Romeo and Juliet, which achieved worldwide acclaim. Another opera, Semyon Kotko (1939), encountered sharp criticism from cultural authorities. During World War II, Prokofiev and fellow artists were evacuated from Moscow; relocating across various sites within the U.S.S.R., he produced both propaganda material and substantial scores such as the violin sonatas, the “War Sonatas” for piano, the String Quartet No. 2, the opera War and Peace, and the ballet Cinderella.
The 1948 resolution condemning many Soviet composers resulted in performance bans on several of Prokofiev's compositions. His health deteriorated and confidence waned. Later efforts focused predominantly on patriotic and national themes, exemplified by the cantata Flourish, Mighty Homeland (1947), although he also completed less-celebrated yet estimable works including the ballet The Stone Flower (1943). On March 5, 1953—the same date as Joseph Stalin—Prokofiev died.
Born the sole surviving child after his sisters perished in infancy, Prokofiev grew up amid material comfort that fostered an early self-assurance and resistance to external judgment, traits later tempered by experience. His mother provided initial piano instruction, prompting him to begin composing near age five. Reyngol'd Gliere subsequently supplied lessons in piano, theory, and composition; at 13 Prokofiev entered the St. Petersburg Conservatory, studying theory with Lyadov and orchestration with Rimsky-Korsakov while forming a lasting friendship with Nicolai Myaskovsky. Following graduation he performed first in St. Petersburg and Moscow, then across Western Europe, simultaneously expanding his catalog. Initial recognition therefore rested equally on his commanding keyboard prowess and the showcase pieces he produced, among them the Sarcasms, Op. 17 (1912-1914), Visions fugitives, Op. 22 (1915-1917), and the earliest piano sonatas. He also completed orchestral scores, concertos, and operas while conferring with Diaghilev regarding potential ballets.
The immediate post-Revolution period found Prokofiev in the United States, where he sought to emulate Rachmaninov's model as a dual pianist-composer. The Chicago Opera commissioned The Love for Three Oranges in 1919, yet American audiences proved less receptive than anticipated, prompting his return to Europe in 1922. He married singer Lina Llubera the following year, after which the couple settled in Paris. Commissioned works continued, though responses from press and public remained uneven. Ties with the Soviet Union persisted; Prokofiev toured there in 1927, saw The Love for Three Oranges enter the national opera repertory, and accepted government requests for the Lieutenant Kijé film score and additional pieces. In 1936 he repatriated with his wife and two sons. Most works composed immediately afterward, including numerous pieces for children, reflected prevailing political expectations. An exception was the 1936 ballet Romeo and Juliet, which achieved worldwide acclaim. Another opera, Semyon Kotko (1939), encountered sharp criticism from cultural authorities. During World War II, Prokofiev and fellow artists were evacuated from Moscow; relocating across various sites within the U.S.S.R., he produced both propaganda material and substantial scores such as the violin sonatas, the “War Sonatas” for piano, the String Quartet No. 2, the opera War and Peace, and the ballet Cinderella.
The 1948 resolution condemning many Soviet composers resulted in performance bans on several of Prokofiev's compositions. His health deteriorated and confidence waned. Later efforts focused predominantly on patriotic and national themes, exemplified by the cantata Flourish, Mighty Homeland (1947), although he also completed less-celebrated yet estimable works including the ballet The Stone Flower (1943). On March 5, 1953—the same date as Joseph Stalin—Prokofiev died.
Albums
