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Journal articles on the topic 'Sergei Prokofiev'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Robinson, Harlow. "“My Second Son”: The Collaboration of Sergei Prokofiev and Sergei Diaghilev." Experiment 17, no. 1 (2011): 140–54. http://dx.doi.org/10.1163/221173011x611879.

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Abstract Russian composer Sergei Prokofiev (1891-1953) and Sergei Diaghilev collaborated on three ballets (Chout, Pas d’Acier, Prodigal Son) for the Ballets Russes, and maintained a crucial personal and artistic relationship for fifteen years during a formative period in Prokofiev’s artistic life. This article traces their collaboration on the three ballets, and the production history of each.

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2

Савкина, Наталия. "Sergei Prokofiev. Relatives." Музыкальная академия, no. 1(774) (June 24, 2021): 28–37. http://dx.doi.org/10.34690/147.

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Обнародованные несколько лет тому назад сведения об арестах близких родственников Прокофьева и о полученных ими тюремных сроках открыли много нового в биографии и личности композитора. Так, стало очевидно, что он был прекрасно осведомлен о массовых репрессиях и жестокой политической цензуре в СССР, когда принимал решение вернуться на родину. Композитор должен был разработать особые авторские стратегии, маневрировать между факторами художественными и требованиями конъюнктуры. Представленные в статье письма шире знакомят с родными композитора; так, они проливают свет на жизнь в первые годы револ

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3

Emerson, Caryl, and Harlow Robinson. "Sergei Prokofiev: A Biography." Russian Review 47, no. 3 (1988): 323. http://dx.doi.org/10.2307/130594.

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4

McQuere, Gordon D., and Harlow Robinson. "Sergei Prokofiev: A Biography." Slavic and East European Journal 32, no. 3 (1988): 487. http://dx.doi.org/10.2307/309201.

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5

Zimmerman, Daniel, Neil Minturn, and Sergei Prokofiev. "The Music of Sergei Prokofiev." Journal of Music Theory 42, no. 1 (1998): 153. http://dx.doi.org/10.2307/843857.

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6

Morrison, Simon, Harlow Robinson, and Sergei Prokofiev. "Selected Letters of Sergei Prokofiev." Notes 55, no. 3 (1999): 670. http://dx.doi.org/10.2307/900434.

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7

Beeson, Roger A., and Neil Minturn. "The Music of Sergei Prokofiev." Notes 55, no. 3 (1999): 674. http://dx.doi.org/10.2307/900436.

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8

Graeme, R. "War and Peace. Sergei Prokofiev." Opera Quarterly 14, no. 1 (1997): 145–48. http://dx.doi.org/10.1093/oq/14.1.145.

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9

Graeme, R. "The Fiery Angel. Sergei Prokofiev." Opera Quarterly 14, no. 1 (1997): 182–84. http://dx.doi.org/10.1093/oq/14.1.182.

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10

Wakeling, Dennis W. "War and Peace. Sergei Prokofiev." Opera Quarterly 7, no. 1 (1990): 227–30. http://dx.doi.org/10.1093/oq/7.1.227.

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11

Demchenko, Alexander I. "The Musical Legacy of Sergei Prokofiev." ICONI, no. 3 (2019): 96–111. http://dx.doi.org/10.33779/2658-4824.2019.3.096-111.

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The lecture of Doctor of Arts, Professor Alexander Ivanovich Demchenko elucidates the evolution of the music of the outstanding composer the main stages of which correspond to the three sections of the present text: “Prokofiev of the Beginning of the Century,” “Prokofiev of the Middle of the Century” and “The Constants of the Musical Style of Prokofiev.” Characterizations are given of the most significant compositions in the context of the culture and the musical language of the 20th century and the musical language of the composer-reformer, as well as to the system of images and genres. The e

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12

Berman, Anna A. "Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage." Cambridge Opera Journal 26, no. 3 (2014): 215–38. http://dx.doi.org/10.1017/s095458671400007x.

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AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera accepta

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13

Guillaumier, Christina K. "AMBIGUOUS MODERNISM: THE EARLY ORCHESTRAL WORKS OF SERGEI PROKOFIEV." Tempo 65, no. 256 (2011): 25–37. http://dx.doi.org/10.1017/s0040298211000143.

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Sergei Prokofiev's association with modernism was a curious one: on the one hand, he thought his technically innovative, bold and challenging music positioned him as a modernist but on the other, he remained wary of aligning himself with any specific movement. Such a combination of reluctance and ambiguity in the face of a movement that was engaging interwar Europe with such intensity stems from what can be viewed as an overly protective attitude to his own purity of idiom. Prokofiev was keenly aware of his own prodigious talent and simultaneously anxious of possible musical influence. Nonethe

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14

Law, J. K. "Betrothal in a Monastery. Sergei Prokofiev." Opera Quarterly 16, no. 2 (2000): 319–22. http://dx.doi.org/10.1093/oq/16.2.319.

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15

Elphick, Daniel. "Prokofiev’s Soviet Operas. By Nathan Seinen, The Operas of Sergei Prokofiev. By Christina Guillaumier." Music and Letters 102, no. 1 (2021): 166–68. http://dx.doi.org/10.1093/ml/gcab004.

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16

Frainier, Margaret. "Heaven, Hell or Somewhere in Between: Sergei Prokofiev's The Fiery Angel and the Search for Spiritual Truth." Cambridge Opera Journal 32, no. 2-3 (2020): 226–52. http://dx.doi.org/10.1017/s0954586721000069.

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AbstractSergei Prokofiev's The Fiery Angel (Ognennyi angel) has remained comparatively little studied among his operatic works, interpreted primarily as a parody of Russian symbolist beliefs and practice. In the last few years, however, new biographical information has emerged about the period during which Prokofiev wrote The Fiery Angel that points to ways of reconsidering the opera's compositional history and legacy. Furthermore, recent scholarship on the application of narrative theory to opera studies presents new methods for examining how opera might incorporate a narrative point of view.

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Ushchapivska, Olena. "The image of femme fatale in Sergei Prokofiev’s opera of the 1910s – 1920s." Культура и искусство, no. 10 (October 2021): 21–32. http://dx.doi.org/10.7256/2454-0625.2021.10.36633.

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The comprehensive analysis of Sergei Prokofiev&rsquo;s operas &ldquo;Maddalena&rdquo;, &ldquo;The Gambler&rdquo;, &ldquo;The Fiery Angel&rdquo; reveals the peculiarities of personification of the image of the protagonist as femme fatale (Maddalena, Polina, Renata). Despite heightened interest to this topic, this article is first to view the listed operas from such perspective, which defines the scientific novelty. The fact that the libretto of these works was created by the composer himself can be considered as testimony that S. Prokofiev deeply intertwines with the

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18

Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.

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“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performanc

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19

Perkhin, Vladimir. "Sergei Prokofiev and William Primrose. The Dream of the Violist." Stephanos. Peer reviewed multilanguage scientific journal 22, no. 2 (2017): 53–59. http://dx.doi.org/10.24249/2309-9917-2017-22-2-53-59.

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20

Николаева, Е. А. "Lyric Stanza’s by Sergei Prokofiev: Five Songs Without Words, Op. 35." Научный вестник Московской консерватории, no. 4(35) (December 19, 2018): 98–107. http://dx.doi.org/10.26176/mosconsv.2018.35.4.04.

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Пять песен без слов ор. 35 (1920) — один из редких образцов ранней прокофьевской лирики. Вокальный цикл посвящен певице незаурядного творческого дарования Нине Кошиц, чьи личность и исполнительский темперамент несомненно учитывались композитором при его создании. Статья является опытом исследования композиционной структуры и музыкально-выразительных средств данного опуса в разнообразном историческом контексте. Five Songs Without Words, Op. 35 (1920) are one of the rare examples of early lyrics by Prokofiev. The vocal cycle is dedicated to the singer of an outstanding creative talent Nina Koshe

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21

Robinson, Harlow. "Love for Three Operas: The Collaboration of Vsevolod Meyerhold and Sergei Prokofiev." Russian Review 45, no. 3 (1986): 287. http://dx.doi.org/10.2307/130112.

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22

Porshnev, Ivan D. "The General Intonation in the Performance of “Boris Godunov” of Vsevolod Meyerhold — Sergei Prokofiev." ICONI, no. 2 (2019): 36–48. http://dx.doi.org/10.33779/2658-4824.2019.2.036-048.

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The article dwells upon the process of the artistic cooperation between Vsevolod Meyerhold and Sergei Prokofiev by the example of their collaborative work on Alexander Pushkin’s play “Boris Godunov.” The preparation for the actualization of the conception had started long before the main rehearsing period — in 1934, after the issuance of the edict of the Politburo of the Central Committee of the VKP(b) (Communist Party) “Concerning the Foundation of the All-Union Pushkin Committee in connection with the centennial anniversary of the death of Alexander Sergeyevich Pushkin.” The performance was

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23

Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.

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In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Pe

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24

Чернышов, В. И. "Piano Concertos for the Left Hand by Ravel and Prokofiev: Two Answers to One Order." OPERA MUSICOLOGICA, no. 4 (November 15, 2020): 67–91. http://dx.doi.org/10.26156/om.2020.12.4.004.

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Пианист Пауль Витгенштейн, желая расширить и обновить свой концертный репертуар, внес в XX веке существенный вклад в фортепианную литературу для левой руки. В 1929–1930 годах он заказывает фортепианный концерт сначала Морису Равелю, а затем Сергею Прокофьеву. Это оказалось возможным благодаря наследству, полученному пианистом после смерти отца — сталелитейного магната Карла Витгенштейна. Если Равелю удалось, хоть и не полностью, удовлетворить потребности заказчика, то Прокофьеву было вовсе отказано в исполнении его музыки. Одной из главных причин неудачи Прокофьева можно считать творческий кри

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25

Coroiu, Petruța-Maria. "The Theme of the Prodigal Son’s Return in Classical Music II: Sergei Prokofiev." Studia Universitatis Babeş-Bolyai Musica 63, no. 2 (2018): 279–84. http://dx.doi.org/10.24193/subbmusica.2018.2.18.

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26

Robinson, Harlow. "The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian." Nationalities Papers 35, no. 3 (2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.

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The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in

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Ivinskaja, Aliona Sofija. "Balys Sruoga – the first translator of Anna Akhmatova’s poetry." Literatūra 61, no. 2 (2019): 23–35. http://dx.doi.org/10.15388/litera.2019.2.2.

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The article considers both the history of the creation of translations of the writer Balis Sruoga, who translated poems by Anna Akhmatova, and the translations themselves. Three verses translated by Sruoga were intended for the creative evening of the Lithuanian author in Moscow and are the first transcriptions of the Russian poet into Lithuanian. Akhmatova’s poems were part of the creative interests of the Lithuanian translator as the work of a representative of Russian modernism, not so much as a post-Symbolic plan, but rather a symbolic one. For the first time, taking into account the fact

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28

Montgomery, David. "Sergei Prokofiev: Soviet Diary 1927 and Other Writings. Trans, and Ed. Oleg Prokofiev. Boston: Northeastern University Press, 1991. xvi, 315 pp. Notes. Index. $29.95, hard bound." Slavic Review 53, no. 2 (1994): 576–77. http://dx.doi.org/10.2307/2501327.

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Teparic, Srdjan. "Overcoming the crisis of tonality: The resemantized tonality of modernism." Muzikologija, no. 21 (2016): 51–62. http://dx.doi.org/10.2298/muz1621051t.

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In this article I analyse the context and features of resemantized tonality, historically linked with the first half of the 20th century. The renewed interest in tonality occurred after the crisis of tonality - the system that prevailed in music until its ?collapse? in the late 19th and early 20th century. The consequence of the crisis was the emergence of atonality, as well as different tonal idioms which are here collectively referred to as ?resemantized tonality?. This reaction led to a whole series of works based on the concept of linguistic-stylistic resemantization in the context of mode

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30

Demchenko, Alexander I. "The Art of Music in the 20th Century (Based on the Material of Choral Music)." IKONI / ICONI, no. 4 (2021): 142–58. http://dx.doi.org/10.33779/2658-4824.2021.4.142-158.

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The lectures on 20th century Russian music published in previous issues of our magazine were devoted to the work of such outstanding composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke. In the last of the published lectures brief sketches on the music of Sergei Slonimsky, Valery Gavrilin and Elena Gokhman were presented. Completing this cycle of lectures, we shall give a general overview of the art of music of the previous century, which is examined on the basis of choral music and

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31

Рябцева, І. М., and А. Ю. Мороз. "Genre modifications of concerts’ cello by S. Prokofiev as a display of commonwealth from composer and performers." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 107–18. http://dx.doi.org/10.33287/22198.

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The purpose of the article is consist of identification andsummarization the disparate little-known facts of the creative communityof Sergei Prokofiev with Gregory Pyatigorsky and Mstislav Rostropovich,which preceded the creation of the „Concerto for Cello and Orchestra”op. 58 and „Symphony Concert for Cello and Orchestra”, op. 125. Theauthor is determining the reasons of the transformation from the soloconcert genre into a genre of a symphony-concert, taking into account thehistorical and biographical aspect. The research methods are based on theuse of various research approaches. The method

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32

de Zeeuw, Anne Marie. "Darius Milhaud: Modality and Structure in Music of the 1920s Deborah Mawer The Music of Sergei Prokofiev Neil Minturn." Music Theory Spectrum 22, no. 2 (2000): 271–75. http://dx.doi.org/10.2307/745967.

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Zeeuw, Anne Marie de. ": Darius Milhaud: Modality and Structure in Music of the 1920s . Deborah Mawer. ; The Music of Sergei Prokofiev . Neil Minturn." Music Theory Spectrum 22, no. 2 (2000): 271–75. http://dx.doi.org/10.1525/mts.2000.22.2.02a00110.

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34

Kupets, Lyubov A. "Texts about Music for Children and Young Musicians: Sergei Prokofiev in the Russian Textbooks on Musical Literature of 1970–1990th years." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 166–73. http://dx.doi.org/10.17674/1997-0854.2018.1.166-173.

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35

Kailin, Zhang. "SERGEY PROKOFIEV AND SERGEY SLONIMSKY: A DOUBLE PORTRAIT IN THE INTERIOR OF THEATER, CINEMA AND RADIO." Arts education and science 1, no. 4 (2021): 74–78. http://dx.doi.org/10.36871/hon.202104009.

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This article demonstrates the general principles in the work of S. S. Prokofiev and S. M. Slonimsky, artists who are brightly individual and bold in their creative search. This thesis is confirmed by the two composers' memoirs: Prokofiev's Autobiography and Slonimsky's "Burlesques, Elegies, Dithyrambs in Despicable Prose". The author touches upon the theme "the Composer and the Drama Theater", which reveals the approach of the director (G. A. Tovstonogov) and the composer (S. M. Slonimsky) to the musical design of the performance based on the novel "Quiet Flows the Don" by M. A. Sholokhov. The

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36

Wilson, Elizabeth. "Selected Letters of Sergei Prokofiev. Ed. and trans. Harlow Robinson. Boston: Northeastern University Press, 1998. xx, 348 pp. Notes. Index. $40.00, hard bound." Slavic Review 58, no. 4 (1999): 950. http://dx.doi.org/10.2307/2697261.

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37

Kropova, Daria S. "Traits of Mystery (miracle play), Tragedy and Commedia Dell'Arte in a Fairy-Opera-Film." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 76–83. http://dx.doi.org/10.17816/vgik8476-83.

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This article deals with a fairy-opera-film and its specifics. The author reveals traits of mystery (miracle play) in a fairy-opera-film, basing upon a notion of mystery of Carl Orffs theory, in the way as Orff meant it. Syncretism in different kinds of art, specifics of word as an art facility (meaning of a word and a word as sound) are specified. As examples the following films are taken: Bluebeard's Castle (composer Bela Bartok, filmmaker W. Golovin,1968), Iolanta (composer Pyotr Tchaikovsky, filmmaker W. Gorriker,1963) and animated musical The Snow Maiden (composer Nikolai Rimsky-Korsakov,

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Chimenes, Myriam, and Michel Dorigne. "Serge Prokofiev." Vingtième Siècle. Revue d'histoire, no. 52 (October 1996): 171. http://dx.doi.org/10.2307/3771198.

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Bezuglaia, Galina Aleksandrovna. "Leonid Myasin's Music Laboratory: on the 125th anniversary of the birth of the outstanding choreographer." PHILHARMONICA. International Music Journal, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2453-613x.2020.5.33987.

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The article is devoted to the consideration of the musical component of the artistic activity of the outstanding choreographer of the Russian diaspora Leonid Myasin (1895-1979), whose 125th birthday is celebrated by the theatrical world in 2020. The main milestones of the choreographer's musical education are noted, the spectrum of his musical interests is revealed, and techniques of working with the music of the created ballets are studied. The purpose of the research, carried out using historical and typological methods, is to study the stages of the formation of the choreographer's musical

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Dolinskaya, E. B. "FABULOUS MUSICIANS: S. PROKOFIEV AND N. MEDTNER." Arts education and science 1, no. 2 (2021): 180–84. http://dx.doi.org/10.36871/hon.202102022.

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This year marks the 130th anniversary of the birth of S. S. Prokofiev and the 70th anniversary of the death of N. K. Medtner. The article provides a socio-cultural background to the similar circumstances of the lives of these two great musicians. Both were forced to leave Russia during the October events, learning all the difficulties of emigration. Their joint tour in the USSR in 1927 was for Medtner a last meeting with his beloved Moscow, where he had studied and taught at the Conservatory, while Prokofiev's emigration ended with his return home. The author wonders what brought together such

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41

Graeme, Roland. "Ognennyi Angel. Serge Prokofiev." Opera Quarterly 9, no. 2 (1992): 159–62. http://dx.doi.org/10.1093/oq/9.2.159.

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42

Savkina, Natalia P. "About Serge Prokofiev’s American Tour at the End of 1920." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 33–49. http://dx.doi.org/10.21638/spbu15.2022.102.

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Prokofiev’s enormous correspondence reflects a universe that is densely populated and reflects the enormous amount of his correspondence. The multifaceted nature of his inner-self is revealed in his letters to different people, which displays great diversity in style. Varied accents and perspectives appear in his letters: some personality traits come forward, new facts emerge, some creative aspects appear in unaccustomed ways. Prokofiev’s fourteen letters to his mother chronologically cover a little more than the last two months out of three that he spent in America in the winter of 1920. One

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43

Chistyakov, R. V. "“BROTHER BUNNY“ OPERA FOR CHILDREN BY FATTAH: GENRE AND COMPOSITION FEATURES." Arts education and science 1, no. 2 (2020): 133–39. http://dx.doi.org/10.36871/hon.202002016.

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Azon Nurtynovich Fattah (1922–2013), an outstanding composer, pianist, Honored Artist of the Tatar Autonomous Soviet Socialist Republic, is known among professional musicians primarily for the charm of his songwriting. Yet his music is little known to modern audience. The peak of composer's popularity came in the 1960–70s, when his songs were performed, for example, by Joseph Kobzon and Lev Leshchenko, Maya Kristalinskaya, Gelena Velikanova and Elena Kamburova. Fattah's works include a significant number of chamber-instrumental compositions and plays for orchestras by Yu. V. Silantyev, B. P. K

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Pines, R. "War and Peace. Sergey Prokofiev." Opera Quarterly 20, no. 4 (2004): 745–49. http://dx.doi.org/10.1093/oq/kbh090.

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45

Dean, Terry. "Sergey Prokofiev Diaries, 1924–1933: Behind the Mask, and: Sergey Prokofiev Diaries, 1924–1933: Prodigal Son." Fontes Artis Musicae 63, no. 2 (2016): 151–56. http://dx.doi.org/10.1353/fam.2016.0012.

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Albrecht Gaub. "Sergey Prokofiev and His World, and: The People’s Artist: Prokofiev’s Soviet Years (review)." Notes 66, no. 2 (2009): 303–8. http://dx.doi.org/10.1353/not.0.0257.

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Balan, Mihaela-Georgiana. "Dostoevskian Literary Poliphony as Lyrical-Theatrical Hypostasis of Sergey Prokofiev’s Opera The Gambler." Artes. Journal of Musicology 21, no. 1 (2020): 19–35. http://dx.doi.org/10.2478/ajm-2020-0002.

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AbstractFyodor Dostoevsky’s perspective on humankind and society continues to intrigue any reader, whether specialized or from other areas of activity, due to the universality of the topics and the complexity of the characters involved. The novel entitled The Player depicts the life and specific concerns of 19th-century world society, a subject which attracted Sergey Prokofiev to compose a work with the same title, at the beginning of the 20th century. His opera is a unique work through the avant-garde musical language, the atypical construction of the discourse, the elements of style and conc

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Савкина, Наталия Павловна. "Several Stories from Sergei Prokofiev's Correspondence." Музыкальная академия, no. 4(776) (November 29, 2021): 80–91. http://dx.doi.org/10.34690/204.

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Прокофьевская переписка громадна, ее населяет неисчислимая персоналия. В контактах с непохожими друг на друга корреспондентами оттачивалось богатство проявлений собственного «я» композитора, структурировалась коммуникативная многогранность, вырабатывался баланс между упражнениями в дипломатичности и соблазнами тиранства. На страницах его корреспонденции живут люди знаменитые и никому не известные. Новый материал создает смысловые акценты разной природы: выделяются некоторые черты личности Прокофьева, появляются неожиданные сведения фактологического характера, в непривычном свете предстают факт

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Valenzuela, Sandra Trabuco. "Pedro e o Lobo, de Prokofiev." Literartes 1, no. 10 (2019): 178–99. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2019.159249.

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O presente artigo estuda o poema sinfônico Pedro e o Lobo, composto por Serguei Prokofiev em 1936, com o objetivo pedagógico de apresentar às crianças os instrumentos musicais utilizados numa orquestra. Inicialmente, apresenta-se o compositor e sua trajetória; na sequência analisa-se o enredo original e como e em que circunstâncias se deu sua concepção; aborda-se a composição musical e o leitmotiv, e realiza-se a leitura comparativa do original de Prokofiev e a versão adaptada para a animação produzida pela Disney Productions.

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Pyke, Cameron. "Sergei Prokofiev's Alexander Nevsky by Kevin Bartig." Fontes Artis Musicae 66, no. 3 (2019): 310–11. http://dx.doi.org/10.1353/fam.2019.0026.

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