Sergei Sergeyevich Prokofiev

Sergei Sergeyevich Prokofiev was a Russian composer of the modern era. His music have become enduring classics to this day and are still widely performed and enjoyed by audiences. Although he was an American citizen for some time, he was ultimately drawn back to his homeland where he faced challenges posed by the political climate of the time.

Prokofiev was born in Sontsovka, which was at the time part of the Russian Empire (modern-day Ukraine), in 1891. His family was well-established; his father of the same name was an agricultural engineer while his mother, Maria, was an amateur pianist. He loved music and began composing at the tender age of five, with a particular interest in opera. He entered the St. Petersburg Conservatory at age 13 and graduated in 1910. Works such as Scythian Suite (commissioned by Sergei Diaghilev for his Ballets Russes) and his Piano Concerto No. 1 became popular during his early career, and Prokofiev left for the United States in 1918. On the way, he also gave recitals in Japan, touring through Tokyo and Yokohama. During his time in the U.S., his works continued to gain popularity and were widely appreciated by the American public, despite critics describing his playing as “savage, steely, and mechanistic.” It was here that his comic opera The Love for Three Oranges premiered in Chicago. He settled in Paris, however he continued to tour abroad, and soon gained an international reputation. His historic tour of the Soviet Union inspired him to return to his homeland; frequently travelling to Moscow where he would eventually resettle in 1936 along with his first wife Lina Llubera and their two sons. During this time, he also accepted many Soviet commissions. However, despite receiving the highest Soviet honours there (Stalin Prize and Order of the Red Banner), he would endure many hardships in his home country, including difficulties with government censors. He also visited Hollywood, California, to research the new art of film scoring. He becam estranged from Lina, resulting in divorce, and married the poet Mira Mendelssohn in 1948, all the while continuing to compose influential works like Peter and the Wolf, a famous children’s piece, as well as operas such as Betrothal in a Monastery and War and Peace. He died on 5 March 1953. Because he died on the same day as Soviet dictator Joseph Stalin (only hours before), news of his death was withheld to not overshadow the mourning of Stalin.

Prokofiev’s musical style was known to be vastly diverse and innovative. According to Prokofiev himself, there were four main characteristics of his works. The first was with regards to his use of Classical elements, in which he used traditional Classical forms such as sonata and rondo, as well as cultivated Classical genres including concerto, symphony, and suite. This can be seen in compositions such as Symphony No. 1 in D Major (“Classical”). The second was lyrical elements, where he took advantage of lyricism by means of sweeping melodies and lush harmonies, as seen in Romeo and Juliet. The third pertains to his motoric elements, in which his works are characterized by a constant rhythmic drive resulting in a feeling of moto perpetuum, evidenced in Toccata. The fourth and last characteristic has to do with his search for innovation, wherein he uses progressive features such as unabashed dissonance, abrupt modulations, and rhythmic complexities. He had a unique approach to pianistic writing, evidenced by novel textures and percussive effects. All of these could be seen in pieces such as Diabolical Suggestion. In addition to these four main characteristics, there exist many others, such as a fervent Russian nationalism demonstrated through quotations of hymns and folk songs (Alexander Nevsky); the projection of an impish, scherzo-like quality through the use of crisp rhythms, clipped staccatos, and colourful orchestration; harmonic language featured a preference for tonality, though often very dissonant (example of expanded tonality); unexpected harmonic progressions; polytonality (Sarcasms No. 2); and brilliant virtuosity.

To conclude, Sergei Prokofiev’s musical eclectism is portrayed through the diverse array of genres he explored: absolute music, ballet, opera, film scores, and children’s music. His music is celebrated for its originality, rhythmic drive, and emotional depth, making him one of 20th-century’s most significant, influential, and important musical figures.