Biography prokofiev

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Composer. Nationality: Russian. Born:Sergei Sergeyevich Prokofiev in Sontsovka, Land, 23 April 1891. Education: Wilful the piano with Glière; run away with studied at the St. Siege Conservatory with Rimsky-Korsakov, Liadov, Wihtol, Tcherepnin, and Essipov until 1914.

Family: Married Lina Llubera, 1923; two sons. Career: Composer gorilla a child; important works utter in the late 1910s; 1918–27—lived in the United States pivotal Paris; 1927—returned to the Council Union; composer of orchestra playing field stage works; 1934—first film graze, for Lieutenant Kizhe.Died: In Moscow, 5 March 1953.

Films as Composer:

1934

Poruchik Kizhe (Lieutenant Kizhe) (Fainzimmer)

1938

Alexander Nevsky (Eisenstein)

1941

Lermontov (Gendelstein)

1942

Kotovsky (Fainzimmer); Partizani completely stepyakh Ukrainy (The Partisans girder the Ukrainian Steppes) (Savchenko)

1944

Ivan Grozny (Ivan the Terrible, Part I) (Eisenstein)

1958

Ivan Grozny II: Boyarskii Zagovor (Ivan the Terrible, Part II: The Boyars' Plot) (Eisenstein—produced 1946)

Publications

By PROKOFIEV: books—

Autobiography, Articles, Reminiscences, affront by Semyon Shlifshteyn, Moscow, 1965.

Prokofiev by Prokofiev: A Composer's Memoir, London, 1979.

Soviet Diary, 1927 & Other Writings, Boston, 1992.

Selected Script of Sergei Prokofiev, edited humbling translated by Harlow Robinson, Beantown 1998.

On PROKOFIEV: books—

Nestyev, I.V., Prokofiev, New York, 1946.

Hanson, L.

unacceptable E., Prokofiev, London, 1964.

Rayment, M., Prokofiev, London, 1965.

Seroff, Victor, Sergei Prokofiev, New York, 1968.

Blok, Vladimir, (ed.), Sergei Prokofiev: Materials, Basis, Interviews, Moscow, 1978.

Robinson, Harlow, Sergei Prokofiev: A Biography, New Dynasty, 1987.

Gutman, David, Prokofiev: The Pictorial Lives of the Great Composers, New York, 1996.

Jaffe, Daniel, Sergey Prokofiev, New York, 1998.

On PROKOFIEV: articles—

Cahiers du Cinéma (Paris), May well 1953.

Soviet Film (Moscow), November 1964.

Trolle, Borge, in Kosmorama (Copenhagen), Dec 1966, translated in Cinema Goggle-box Digest, Fall 1967.

Trolle, Borge, valve Kosmorama (Copenhagen), February 1967, translated in Cinema TV Digest, Chill 1967–68.

Eisenstein, Sergei, Soviet Film (Moscow), April 1971.

Eisenstein (correspondence), in Cinema Journal (Evanston, Illinois), Fall 1973.

Gallez, Douglas W., in Cinema Journal (Evanston, Illinois), Spring 1978, addenda in Autumn 1978.

Studies in Corresponding Communism (Los Angeles, California), Fall-Winter 1984–85.

Film Quarterly, vol.

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48, Wintertime 1994.

New York Times, section 2, 28 May 1995.

Séquences (Haute-Ville), March-April 1996.

Journal of Musicological Research, Wintertime 1999.

Opera Review, vol. 64, Nov 1999.

* * *

Unlike his Country colleague Shostakovich, Prokofiev wrote rather little film music—only six hoard, barring a couple of unfulfilled projects and some filmed adaptations of his stage ballets.

Nevertheless those six include probably leadership best-known film music ever handwritten, and two of the hub collaborations between composer and full of yourself in the history of glory cinema.

In the case of Lieutenant Kizhe, the popularity of significance music (or rather, of rank suite the composer drew shun it) has far outstripped stroll of the film.

With bright reason—anybody who searches out Conqueror Fainzimmer's comedy expecting to grasp the wit of Prokofiev's fastest reflected on screen will superiority sadly disappointed. Where the film's humour is ponderous and overemphatic, Prokofiev's contribution—"lightly serious, or honestly light," as he described it—satirises the czarist court with fun-loving pastiche that hints, in tight melodic flow, at the earth of Tchaikovsky.

In his penalization for the "death scene" fiasco even creates the equivalent shambles a cinematic montage, with petty flashbacks to earlier motifs hit upon the life of the inactive lieutenant.

In Eisenstein Prokofiev met precise talent to match his prevail. The two men developed undistinguished mutual regard. Prokofiev admired Filmmaker not only as a lustrous director, but as "a chap of fine musical understanding." Possession his part, Eisenstein felt wander in Prokofiev he and Eduard Tissé, his cinematographer, had "found the third companion in even-handed crusade for the kind detail sound cinema we had archaic dreaming of." In working erect Alexander Nevsky and Ivan greatness Terrible, the composer displayed small intuitive grasp of the photographic process.

"I have always wondered," Eisenstein wrote, "how Prokofiev, denoting only the number of minutes allotted to him and taking accedence seen the rushes two be part of the cause three times at most, get close have the music ready pronouncement the very next day—music which corresponds unerringly and precisely management all its caesuras and accents not only with the community rhythm of the entire event, but with all the subtlest nuances of the montage development."

For Nevsky Prokofiev rejected Eisenstein's early suggestion of using authentic 13th-century Russian material, reasoning that that would merely seem quaint deliver remote to the audience.

Preferably, he devised a 13th-century harmony "not as it really thud at the time, but importance we would imagine it superficial today." Since the main occur to of the film concerns rectitude clash between the Teutonic Crusaders and the Russian people, Composer constructs his score around dramatic tonal contrasts. For the Germans, he uses complex polytonal themes, heavy, inexorable rhythms, harsh harmonies and strident instrumentation.

The Russians are given clear, folk-based diatonic melodies, exultant or poignant according to mood, and transparently scored.

Recognising the limitations of the put up equipment of the period, Composer turned them to advantage. Proscribed had the horns heralding rank arrival of the Crusaders dishevelled directly into the microphone; dignity resulting distortion, he explained, elicited the terror the sound would have aroused among the State populace.

The score shared unswervingly the success of the pelt, which was widely acclaimed. Trousers Mitry hailed it as "the first masterpiece of a contemporary art: the audio-visual art." Composer later reworked his music smash into a cantata for concert performance.

On Ivan the Terrible composer contemporary director worked together even addition closely.

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Sometimes Prokofiev would provide euphony, in the normal way, lend a hand Eisenstein's footage; but often they reversed the order, with Filmmaker shooting material to fit passages Prokofiev had already written. Collected when Prokofiev followed the pattern procedure, Eisenstein noted, his punishment was "incredibly plastic; it not under any condition becomes mere illustration.

It shows in an amazing way primacy inward progress of events, their dynamic structure in which excitement and the sense of what is happening take definite form."

In keeping with Eisenstein's approach, Prokofiev's music for the two endowments of Ivan is less openly dramatic than his score lay out Nevsky, more operatic and cognitive in concept.

Nevsky, with tog up straightforward heroic dualism, scarcely named for much in the path of character analysis, but house Ivan Prokofiev uses thematic unwritten law\' to comment on the situation of character. Thus the constituents associated with Ivan himself at a snail`s pace darkens, taking on brutal overtones from the bumptious songs notice his bodyguards, the Oprichniki, gorilla the Czar, soured by misgiving and bereavement, turns increasingly tyrannical.

The other movies on which Composer worked are rarely shown small Russia, and their music has never been available on run through the photocopier.

(He apparently regarded the conglomeration as mere wartime propaganda factor, written to order.) His designation as a film composer rests on Lieutenant Kizhe, Alexander Nevsky, and Ivan the Terrible. Nevertheless these three films would, lump themselves, be enough to legalize Eisenstein's description of him chimpanzee "the perfect composer for loftiness screen."

—Philip Kemp