In 1946 the great RussÂian comÂposÂer Sergei Prokofiev was at the height of his sucÂcess in the SoviÂet culÂturÂal world, but the state of his health was falling.
Only a year before, in the Great Hall of the Moscow ConÂserÂvaÂtoÂry, Prokofiev had conÂductÂed the gloÂriÂous preÂmier perÂforÂmance of his wideÂly praised Fifth SymÂphoÂny. “The hall was probÂaÂbly lit as usuÂal,” rememÂbered the pianist SviÂatoslav Richter, who was there, “but when Prokofiev stood up, it seemed as though the light poured down on him from on high. He stood there, like a monÂuÂment on a pedestal.” But a few days latÂer Prokofiev faintÂed and took a terÂriÂble fall, injurÂing his head and nearÂly dying as a result. The diagÂnoÂsis was severe high blood presÂsure. Prokofiev’s docÂtors advised him to move away from Moscow to someÂplace quiÂet, so in the sumÂmer of 1946 he purÂchased a dacha in the woodÂed subÂurb of NikoliÂna Gora.
A short time latÂer a govÂernÂment film crew visÂitÂed the 55-year-old Prokofiev at his new home. The clip above is one of two surÂvivÂing takes, accordÂing to Simon MorÂriÂson of PrinceÂton UniÂverÂsiÂty, author of The PeoÂple’s Artist: Prokofiev’s SoviÂet Years. In the film, Prokofiev sits at the piano and plays a selecÂtion from one of the waltzes in his balÂlet CinÂderelÂla, which had preÂmiered the preÂviÂous fall at the BolÂshoi TheÂatre. The comÂposÂer then walks over to his desk and is asked to say a few words about what he is workÂing on. His reply, as transÂlatÂed on YouTube:
Well, right now I am workÂing on a symÂphonÂic suite of waltzes, which will include three waltzes from CinÂderelÂla, two waltzes from War and Peace and one waltz from the movie score LerÂmonÂtov. The War and Peace has just been brilÂliantÂly proÂduced in Leningrad, where the comÂposÂer Cheshko made an espeÂcialÂly noteÂworÂthy appearÂance as a tenor, givÂing a superb perÂforÂmance in the role of Pierre Bezukhov. Besides this suite, I am workÂing on a sonata for vioÂlin and piano [No. 1 in F minor], upon comÂpleÂtion of which I will resume work on the Sixth SymÂphoÂny, which I had startÂed last year. I have just comÂpletÂed thre suites from the CinÂderelÂla balÂlet and I am now turnÂing the score over to copyÂists for writÂing the parts, so that most likeÂly the suites will already be perÂformed at the beginÂning of the fall seaÂson.
The video conÂcludes with a fragÂment of silent footage which, accordÂing to MorÂriÂson, shows Prokofiev playÂing the cadenÂza of the finale of his Third Piano ConÂcerÂto at Moscow in 1927 with “PerÂsimÂfans,” an earÂly SoviÂet orchesÂtra that operÂatÂed withÂout a conÂducÂtor, in keepÂing with the proÂleÂtarÂiÂan ideals of the revÂoÂluÂtion. The rare films offer a fasÂciÂnatÂing glimpse of the great comÂposer’s playÂing techÂnique. As MorÂriÂson told us in an email:
The footage takÂen at NikoliÂna Gora clearÂly shows that he had masÂsive hands, fluÂid (if a litÂtle rusty) techÂnique, and awkÂwardÂly rigid posÂture. He plays from the foreÂarms down, metroÂnomÂiÂcalÂly, with an ease and finesse that indisÂputably conÂtributed to his techÂnique of chroÂmatÂic disÂplaceÂment (playÂing music in one key or tonalÂiÂty but then inflectÂing it with pitchÂes from othÂer tonal areas). His was an intuÂitive manÂner of comÂpoÂsiÂtion, influÂenced by the natÂurÂal feel of the keyÂboard under his hands–slide-slipping between black and white keys, as shadÂows of one anothÂer.
Less than two years after the NikoliÂna Gora newsÂreel footage was made, Prokofiev’s life took a bad turn. On FebÂruÂary 10, 1948 he was accused, along with Dmitri ShosÂtokovich and othÂers, of “forÂmalÂism,” which the pianist and Prokofiev scholÂar Boris Berman describes as “a politÂiÂcal libel in the guise of an aesÂthetÂic term.” ForÂmalÂist art was viewed as being elitÂist and “undeÂmoÂcÂraÂtÂic” for its preÂocÂcuÂpaÂtion with form over conÂtent. As a result, Prokofiev and the othÂers were unable to perÂform or broadÂcast their work. And just ten days after his denunÂciÂaÂtion, Prokofiev’s wife Lina was arrestÂed and charged with “espiÂonage” for tryÂing to send monÂey to her mothÂer in Spain. She was senÂtenced to 20 years in prison. Stress from the crises caused Prokofiev’s health to deteÂriÂoÂrate furÂther, and on March 5, 1953 he died from a cereÂbral hemÂorÂrhage. Joseph StalÂin died the same day.
h/t Matthew Barnes
RelatÂed conÂtent:
Tchaikovsky’s Voice CapÂtured on an EdiÂson CylinÂder (1890)
Thanks for your post. Indeed, a fasÂciÂnatÂing clip. InciÂdenÂtalÂly, the extract Prokofiev is playÂing is the Waltz “Since We Met” from War and Peace.
All the best.
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IncredÂiÂbly impresÂsive treasures…Thanks
11March 2017
I’m seekÂing copyÂright clearÂance to use a clip from this video – 38 secÂonds, only the porÂtion durÂing which Prokofiev plays – as streamÂing video for an IndiÂana UniÂverÂsiÂty Press project, a scholÂarÂly paper based on preÂsenÂtaÂtion I gave at the SmithÂsonÂian Institution’s symÂpoÂsium “HisÂtorÂiÂcalÂly Informed PerÂforÂmance in AmerÂiÂcan HighÂer EduÂcaÂtion” in WashÂingÂton, D.C. on 9 May 2015, and at the IndiÂana UniÂverÂsiÂty Jacobs School of Music conÂferÂence “HisÂtorÂiÂcal PerÂforÂmance: TheÂoÂry, PracÂtice, and InterÂdisÂciÂpliÂnarÂiÂty” on 21 May 2016, to be pubÂlished both in print and elecÂtronÂic form in the sumÂmer 2017 issue of IU’s HisÂtorÂiÂcal PerÂforÂmance JourÂnal, with audio and video clips, score excerpts and othÂer eleÂments drawn from varÂiÂous sources.
This request is for perÂmisÂsion to make the excerpt availÂable indefÂiÂniteÂly to the pubÂlic with no restricÂtion, a non-excluÂsive, irrevÂoÂcaÂble, and royÂalÂty-free perÂmisÂsion, and it is not intendÂed to interÂfere with othÂer uses of the same work by you. I would be pleased to include a full citaÂtion to the work and othÂer acknowlÂedgeÂment as you might request.
Please feel free to conÂtact me at this email address with any quesÂtions you may have.
Thanks for your help!
SinÂcereÂly,
George Barth
ProÂfesÂsor, Music
BilÂlie BenÂnett Achilles DirecÂtor of KeyÂboard ProÂgrams
StanÂford UniÂverÂsiÂty
(650) 725‑2691 (office)
Dear George
As I underÂstand the raiÂson d’etre of Open CulÂture
is to proÂvide access to the whole world the varÂiÂous treaÂsures on disÂplay here.
It’s yours to use !
Kind regards