Life and work of Prokofiev

Man-phenomenon, in bright yellow boots, checkered, with a red-orange tie, which carries a provoking force - as described by Prokofiev Svyatoslav Richter, the great Russian pianist. This description perfectly suits both the personality of the composer and his music. Prokofiev's creativity is a treasury 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 lived there for 15 years, the composer became one of the few "returnees", which turned out to be a profound personal tragedy for him.

Sergei Prokofiev's work can not be briefly stated: he wrote a huge amount of music, he worked in completely different genres, ranging from small piano pieces to music for movies. The irrepressible energy constantly pushed him to various experiments, and even the cantata, glorifying Stalin, amazes with his completely brilliant music. Prokofiev did not write a concert for a bassoon with a folk orchestra . The biography and creativity of this great Russian composer will be examined in this article.

Childhood and the first steps in music

Sergei Prokofiev was born in 1891 in the village of Sontsovka of Ekaterinoslav province. Since his early childhood, two of his features have been identified: an extremely independent character and an irresistible craving for music. At the age of five he already begins to compose small pieces for piano, in 11 he writes a real children's opera "Giant", intended for staging at a home theater evening. At the same time, a young, at that time still unknown composer Rheingold Glier was singled out to Sontsovka to teach the boy the initial skills of composer technique and playing the piano. Glier was an excellent teacher, under his sensitive 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 with such zeal and immediately enrolled him in his class.

Years of study at the St. Petersburg Conservatory

In the conservatory, Prokofiev studied composition and harmony with Rimsky-Korsakov and Lyadov, and playing the piano with Esipova. Alive, inquisitive, sharp and even caustic in language, he acquires not only a lot of friends, but also detractors. At this time, he begins to conduct his famous diary, which will end only with the transfer to the USSR, detailing almost every day of his life. Prokofiev was interested in everything, but most of all he was occupied by chess. He could stand for hours at tournaments, watching the game of masters, and he himself achieved significant successes in this area than he was incredibly proud.

Prokofiev's piano work was replenished at this time by the First and Second Sonatas and the First Piano Concerto. The composer's style was determined at once - fresh, absolutely new, bold and bold. He seemed to have no predecessors or followers. In fact, this, of course, is not entirely true. The themes of Prokofiev's creativity came from the brief but very fruitful development of Russian music, logically continuing the path begun by Mussorgsky, Dargomyzhsky and Borodin. But, having broken in Sergey Sergeevich's energetic mind, they gave birth to a completely original musical language.

Having absorbed the quintessence of Russian, even the Scythian spirit, Prokofiev's work acted as a cold shower for the listeners, causing either rapturous enthusiasm or outraged aversion. He literally broke into the music world - he graduated from the Petersburg Conservatoire as a pianist and composer, playing his First Piano Concert at the final exam. The commission in the person of Rimsky-Korsakov, Lyadov and others was horrified by defiant, dissonant chords and beating on the spot, an energetic, even barbarous manner of playing. However, they could not fail to understand that before them a powerful phenomenon in music. The evaluation of the high commission was five with three pluses.

The first visit to Europe

As a reward for the successful completion of the conservatory, Sergei receives a trip from his father to London. Here he became closely acquainted with Diaghilev, who immediately considered the young composer an extraordinary talent. He helps Prokofiev to arrange a tour in Rome and Naples and gives an order to write a ballet. So there was "Ala and Lolly." The plot was rejected by Diaghilev because of the "banality" and advised him to write something next time on the Russian theme. Prokofiev began to work on the ballet "Tale of the Fool, Seven Fools joking" and simultaneously began to try his hand at writing the opera. Canto for the plot was chosen Dostoevsky's novel "The Gambler", since childhood favorite by the composer.

Prokofiev does not disregard his favorite instrument. In 1915, he began to write a series of piano pieces "Mimoy", while opening a lyrical gift, which no one previously suspected of being a "football composer". Prokofiev's lyrics are a special topic. Unbelievably touching and tender, dressed in a transparent, finely tuned texture, she first of all conquers with its simplicity. Prokofiev's creativity showed that he is a great melodist, and not just a destroyer of traditions.

Overseas period of life of Sergei Prokofiev

In fact, the emigrant Prokofiev was not. In 1918, he appealed to Lunacharsky, then the People's Commissar of Education, with a request for permission to travel abroad. He was given a foreign passport and accompanying documents without a period of validity, in which the purpose of the trip was to establish cultural ties and health improvement. The composer's mother remained in Russia for a long time, which gave Sergey Sergeevich a lot of trouble until he could call her to Europe.

At first Prokofiev goes to America. Literally a few months later, another great Russian pianist and composer, Sergei Rachmaninoff, arrives there. Rivalry with him was the main task of Prokofiev at the first time. Rachmaninoff immediately became very famous in America, and Prokofiev zealously celebrated his every success. His attitude towards his older colleague was very mixed. In the diaries of the composer of this period Sergey Vasilievich's name often appears. Noting his incredible pianism and appreciating the musician qualities, Prokofiev believed that Rachmaninoff too much indulges the tastes of the public and writes little of his own music. Sergei Vasilyevich really wrote for very little more than twenty years of his life outside Russia. The first time after the emigration, he was in a deep and protracted depression, suffering from acute nostalgia. Creativity of Sergei Prokofiev, it seemed, did not suffer at all from the lack of communication with his homeland. It remained the same ingenious.

Life and work of Prokofiev in America and Europe

On a trip to Europe, Prokofiev again meets with Diaghilev, who asks him to rework the music of "The Jester". The production of this ballet brought the composer the first sensational success abroad. He was followed by the famous opera "Love for the Three Oranges", the march of which became the same bisque as the pre-sharp minor Rachmaninov Prelude. This time Prokofiev obeyed America - the premiere of the opera "Love for the Three Oranges" was held in Chicago. Both of these works have much in common. Humorous, sometimes even satirical - like, for example, in "Love", where Prokofiev with irony exposed sighing romantics as weak and painful characters - they are sprinkled with typically Prokofiev energy.

In 1923, the composer settled in Paris. Here he meets a charming young singer Lina Kodina (scenic pseudonym Lina Luber), who later becomes his wife. The educated, refined, stunning beautiful Spanish woman 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 were married only when Lina became pregnant. It was an absolutely brilliant pair: Lina was in no way inferior to Prokofiev - neither in independence of character, nor in ambition. Quarrels often flared between them, followed by a gentle reconciliation. About the devotion and sincerity of Lina's feelings is evidenced by the fact that she not only followed Sergei in a foreign country for her, but also drank the cup of the Soviet punitive system, was faithful to the composer until the end of his days, remaining his wife and taking care of his heritage.

Creativity of Sergei Prokofiev at that time experienced a noticeable bias in the romantic side. From under his pen appeared the opera "Fiery Angel" in Bryusov's novella. Gloomy medieval color is transmitted 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, it was possible to him as well as possible. Thematic material of the opera was later used in the Third Symphony, one of the most frankly romantic works, which does not include much of the work of the composer Prokofiev.

Air of a foreign land

The reasons for the composer's return to the USSR were several. 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 country had a negative impact on his condition. He constantly corresponded with his friend, the composer Nikolai Myaskovsky, who remained in Russia, finding out the situation at home. Of course, the Soviet government did everything to get Prokofiev back. This was necessary to strengthen the prestige of the country. To him were regularly sent cultural workers, paints describing what a bright future awaits him at home.

In 1927 Prokofiev made his first trip to the USSR. Accepted it with delight. In Europe, despite the success of his writings, he did not find due understanding and sympathy. Rivalry with Rakhmaninov and Stravinsky was not always decided in favor of Prokofiev, which hurt his pride painfully. In Russia, he hoped to find what he so lacked - a true understanding of his music. The warm reception given to the composer on his trips in 1927 and 1929, made him seriously think about a final return. Especially since friends from Russia in letters, talked about how wonderful it would be for him to live in the land of Soviets. The only one who did not hesitate to warn Prokofiev from returning was Myaskovsky. The atmosphere of the 30s of the 20th century already began to thicken over the heads, and he knew perfectly well what the composer really could wait for. However, in 1934 Prokofiev made the final decision to return to the Union.

Homecoming

Prokofiev quite sincerely perceived communist ideas, seeing in them above 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 state ideology. It is fair to say that many Soviet people shared these ideas also quite sincerely. Although the fact that Prokofiev's diary, which he punctually led throughout all previous years, breaks off just when he came to Russia, makes us wonder whether Prokofiev was really unaware of the competence of the USSR's security organs. Outwardly, it was open to the Soviet authorities and loyal to it, although he understood everything perfectly.

Nevertheless, the native air had an extremely fruitful influence on Prokofiev's work. According to the composer himself, he strove to get involved as soon as possible in the work on the Soviet theme. Having become acquainted with the director Sergei Eisenstein, he enthusiastically undertakes to work on music for the film "Alexander Nevsky". The material was so self-sufficient that now it is performed at concerts in the form of a cantata. In this full patriotic enthusiasm, the composer expressed his love and pride in his people.

In 1935 Prokofiev finished one of the best of his works - the ballet "Romeo and Juliet". However, the audience saw him not soon. Censorship rejected the ballet because of a happy ending that did not match the Shakespeare original, and dancers and choreographers complained that music was not suitable for dance. The new plasticity, the psychologization of movements, which the musical language of this ballet required, were not immediately understood. The first performance took place in Czechoslovakia in 1938, in the USSR viewers saw it in 1940, when the main roles were performed by Galina Ulanova and Konstantin Sergeyev. It was they who managed to find the key to understanding the scenic language of movements to the music of Prokofiev and to glorify this ballet. Until now, Ulanova is considered the best performer of the role of Juliet.

Prokofiev's Children's Creativity

In 1935 Sergey Sergeyevich together with his family visited the children's musical theater for the first time under the direction of N. Sats. Prokofiev was captured by action on the stage no less than his sons. He was so encouraged by the idea to work in such a genre, that he wrote a musical fairy tale "Petya and the Wolf" in a short time. In the course of this performance, the children have an opportunity to get acquainted with the sound of various musical instruments. Prokofiev's creativity for children includes also the romance "Chatterbox" on Agniya Barto's poems and the suite "Winter Fire". The composer was very fond of children and was happy to write music for this audience.

The late 1930s: tragic themes in the composer's work

In the late 30's of the 20th century, Prokofiev's musical work was imbued with alarming intonations. This is his triad of piano sonatas, called "military", - Sixth, Seventh and Eighth. They were finished at different times: the Sixth Sonata - in 1940, the Seventh - in 1942, the Eighth - in 1944. But the composer began to work on all these works at about the same time - in 1938. It is not known what in these sonatas is more - 1941 or 1937. Acute rhythms, discordant consonance, funerary bells ring literally overflow these works. But at the same time, the most typical of them was Prokofiev's lyric poetry: the second part of sonatas is tenderness, intertwined with power and wisdom. The premiere of the Seventh Sonata, for which Prokofiev received the Stalin Prize, was held in 1942 in the performance of Svyatoslav Richter.

Casus Prokofiev: the second marriage

In the personal life of the composer at this time, too, there was a drama. Relations with Bird - the so-called wife of Prokofiev - cracked at all seams. An independent and sociable woman, accustomed to secular communication and experiencing an acute shortage in the Union, Lina constantly visited foreign embassies, which caused close attention to the department of state security. The fact that it is necessary to limit such a reprehensible communication, especially during an unstable international situation, has repeatedly told his wife Prokofiev. The biography and work of the composer strongly suffered from such behavior of Lina. However, she did not pay any attention to the warnings. Between the spouses often broke out quarrels, relations, and without that turbulent, became even more tense. During the rest in the sanatorium, where Prokofiev was alone, he met a young woman Mira Mendelssohn. Researchers are still arguing whether it was specifically 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 did not differ in any particular beauty, nor any creative abilities, she wrote very mediocre verses, not hesitating to quote them in her letters to the composer. The main advantages of her were the adoration of Prokofiev and complete obedience. Soon the composer decided to ask Lina for a divorce, which she refused to give. Lina realized that as long as she remains Prokofiev's wife, she has at least some chance to survive in this hostile country for her. Then followed an absolutely amazing situation, which in legal practice even got its name - "the incident of Prokofiev." The official bodies of the Soviet Union explained to the composer that, since his marriage with Lina Codina was registered in Europe, from the point of view of the laws of the USSR it is invalid. As a result, Prokofiev married Mira without divorce from Lina. Exactly a month later Lina was arrested and sent to the camp.

Prokofiev Sergey Sergeevich: creativity in the post-war years

What Prokofiev subconsciously feared happened in 1948, when the infamous government decree came out. Published in the newspaper "Pravda", it condemned the path that some composers went as false and alien to the Soviet worldview. In the number of such "stray" also got Prokofiev. Characteristic of the composer's work was this: anti-popular and formalistic. It was a terrible blow. For many years he marked the "silence" of A. Akhmatov, pushed Dmitri Shostakovich and many other artists into the shadow.

But Sergei Sergeyevich did not give up, continuing to create in his style until the end of days. Prokofiev's symphonic works of recent years became the result of his entire compositional path. The seventh symphony, written one year before his death, is a triumph of wise and pure simplicity, the light that he went to for many years. Prokofiev died on March 5, 1953, on the same day as Stalin. His departure remained almost unnoticed because of the nationwide grief over the death of the beloved leader of the peoples.

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 German composer 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 way of a great artist who devoted his entire life to the service of Music and its great Mystery.