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Artículos de revistas sobre el tema "Prokofiev"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Dixon, Gavin. "St Petersburg, Shostakovich Hall: Gabriel Prokofiev's Cello Concerto." Tempo 67, no. 266 (2013): 78–79. http://dx.doi.org/10.1017/s0040298213000922.

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When Gabriel Prokofiev first came to prominence in the UK, comparisons were inevitably made with his famous grandfather. Gabriel has since forged a distinctive musical identity for himself, making the shared name all but irrelevant. But in Russia that name carries even greater significance, so it was little surprise that the world première of Gabriel's Cello Concerto in Saint Petersburg, on 18 May, was in a concert that included at least two Prokofievs. In fact, a third Prokofiev was also featured, as the event began with poetry by Oleg: Gabriel's father and Sergei's son.

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2

Kondakov, Igor V. "SERGEI PROKOFIEV OPERA HOUSE: A CYCLE OF BINARY MACROSTRUCTURES." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 138–52. http://dx.doi.org/10.28995/2686-7249-2022-7-138-152.

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The S. Prokofiev Theater is today considered one of the pinnacles of the world musical theater of the 20th century. This article is devoted to the opera theater of S. Prokofiev and its philosophical overtones. It is important to understand the features of the formation and development of such a theater as a whole, to comprehend the design of the Prokofiev theater as a system of separate theatrical works in the creative mind of the author. The logic of the composer’s theatrical creativity, which in a peculiar way refracted the philosophy of Kant and Schopenhauer, required that each new work of

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3

Barker, Michael K., Nancy L. Chabot, Erwan Mazarico, et al. "New Constraints on the Volatile Deposit in Mercury’s North Polar Crater, Prokofiev." Planetary Science Journal 3, no. 8 (2022): 188. http://dx.doi.org/10.3847/psj/ac7d5a.

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Abstract We present new high-resolution topographic, illumination, and thermal models of Mercury’s 112 km diameter north polar crater, Prokofiev. The new models confirm previous results that water ice is stable at the surface within the permanently shadowed regions (PSRs) of Prokofiev for geologic timescales. The largest radar-bright region in Prokofiev is confirmed to extend up to several kilometers past the boundary of its PSR, making it unique on Mercury for hosting a significant radar-bright area outside a PSR. The near-infrared normal albedo distribution of Prokofiev’s PSR suggests the pr

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4

Савкина, Н. П. "“Due to Poor Health and for Artistic Necessity”. From Prokofiev’s Correspondence Archived at Columbia University." OPERA MUSICOLOGICA 16/1, no. 2024. 16/1 (2024): 170–207. http://dx.doi.org/10.26156/operamus.2024.16.1.009.

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В публикации представлена подборка писем Прокофьева, хранящихся в The Serge Prokofiev Archive (Колумбийский университет, Нью-Йорк). Указанные письма обновляют знания о культурной жизни Европы и СССР 1920-х — начала 30-х гг., о людях, с которыми переписывался Прокофьев, о самòм композиторе. Дополнительный мотив переписки — встреча двух миров, разница между которыми весьма ощутима. Анализ фактов, представленных в письмах, дает немало новой информации. Много существенного вносят письма в изучение личности Прокофьева, проявляющей себя по-разному в общении с различными людьми. Здесь, как и во всем,

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5

Kondakov, Igor Vadimovich. "The Philosophy of Sergei Prokofiev." Pan-Art 2, no. 4 (2022): 114–23. http://dx.doi.org/10.30853/pa20220018.

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The aim of the paper is to present the philosophy of Sergei Prokofiev not only as a concentration of his creative experience, but also as a result of studying works by the great philosophers, I. Kant and A. Schopenhauer. Prokofiev distinguishes between a priori philosophy of music and a posteriori philosophy of music in his creative work. The first one is represented by thoughts about music (creative will); the second one is represented by musical works themselves (creative ideas). The scientific novelty of the research lies in considering Kant’s antinomies of pure reason as Prokofiev’s frame

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6

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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7

Ляхович, Артём Владимирович. "Prokofiev and Fairy Tale." Музыкальная академия, no. 1(777) (March 31, 2022): 96–105. http://dx.doi.org/10.34690/221.

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Статья посвящена образной сфере сказки в творчестве Прокофьева, которая трактуется как ключевой локус его поэтики. Эта сфера рассмотрена в двух планах: сказочность как нарратив (в аспекте музыкально-инструментальной литературности, уподобления инструментального произведения литературной притче) и сказочность как творческий метод (в аспекте музыкального языка Прокофьева, его принципиальной установки на оригинальность и, соответственно, на необычность, остранение, чудо). Со вторым планом связана и сфера детства в музыке Прокофьева, тождественная миру, увиденному «как впервые». Нарратив трактуетс

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8

Prokofiev, Artem M., and Carsten Zorn. "Review of the Mimela species of the Dalat Plateau in southern Vietnam (Coleoptera, Scarabaeidae, Rutelinae)." Beiträge zur Entomologie = Contributions to Entomology 66, no. 2 (2016): 329–46. http://dx.doi.org/10.21248/contrib.entomol.66.2.329-346.

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Zwölf Arten der Gattung Mimela wurden im Gebiet des Dalat-Plateaus in Südvietnam gefunden. Zehn von ihnen werden als neu für die Wissenschaft beschrieben. Die Mehrzahl der Arten scheint endemisch zu sein und hat Verwandte in der Sino-Himalaya-Region.StichwörterColeoptera, Scarabaeoidea, Scarabaeidae, Rutelinae, Anomalini, Mimela, Vietnam, Dalat, new species, taxonomy, Oriental region.Nomenklatorische Handlungenamphichroma Zorn & Prokofiev, 2016 (Mimela), spec. nov.campyloclados Zorn & Prokofiev, 2016 (Mimela), spec. nov.dalatocoerulea Zorn & Prokofiev, 2016 (Mimela), spec. nov.galb

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9

PROKOFIEV, ARTEM M. "New species and records of Maechidius Macleay, 1819 from New Guinea (Coleoptera: Scarabaeidae: Melolonthinae)." Zootaxa 5205, no. 5 (2022): 445–62. http://dx.doi.org/10.11646/zootaxa.5205.5.3.

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Seven species of Maechidius Macleay, 1819 from New Guinea are described, namely M. addarcis Prokofiev, new species, M. astrolabius Prokofiev, new species, M. bombycinus Prokofiev, new species, M. echinoides Prokofiev, new species, M. macrosoma Prokofiev, new species, M. penicilliger Prokofiev, new species, and M. telnovi Prokofiev, new species. Males of M. interruptocarinulatus Heller, 1914 and aedeagus of M. seriepunctatus Moser, 1920 are described for the first time. Key to the Indonesian and New Guinean species is amended for inclusion of the newly described species.

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10

MURDY, EDWARD O. "Corrections and clarifications to the descriptions of Biendongella and Sovvityazius (Perciformes: Gobiidae)." Zootaxa 4276, no. 1 (2017): 127. http://dx.doi.org/10.11646/zootaxa.4276.1.7.

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Prokofiev (2015a) described two new genera and species of Amblyopinae and reported new amblyopine records from waters off Indonesia, the Philippines, and Vietnam. In reviewing Prokofiev’s figures and reading the descriptions of his new genera, Biendongella Prokofiev, 2015 and Sovvityazius Prokofiev, 2015, it appeared likely that these new taxa were based on species also under examination by Koichi Shibukawa and me. However, some differences existed between our specimens and those described by Prokofiev in the pterygiophore formula (DF), the presence/absence of hypural 5, and the number of epur

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11

RIFKIN, DEBORAH. "The Quiet Revolution of a B Natural: Prokofiev's ‘New Simplicity’ in the Second Violin Concerto." Twentieth-Century Music 6, no. 2 (2009): 183–208. http://dx.doi.org/10.1017/s1478572210000162.

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AbstractThis essay explores changes in Prokofiev's compositional style that occurred in the mid-1930s, around the time that he was making his decision to return to his homeland. In his diary Prokofiev wrote about a desire for a ‘new simplicity’, a style that featured simple melodies and comprehensible form. Compared to the avant-garde aspirations of his earlier works, his ‘new simplicity’ features a self-conscious return to Classical precedents. Prokofiev believed his new lyricism would be a uniquely modern yet accessible music for the Soviet people. Many of his most popular works, including L

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12

Савкина, Н. П. "Correspondence of B. V. Asafyev and S. S. Prokofiev in the Collection of Columbia University." Музыкальная академия, no. 3(783) (September 29, 2023): 112–55. http://dx.doi.org/10.34690/328.

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В статье впервые опубликованы все ранее не издававшиеся письма Б. В. Асафьева С. С. Прокофьеву и несколько писем Прокофьева Асафьеву 1925–1935 годов, хранящиеся в Архиве Сергея Прокофьева Колумбийского университета (Нью-Йорк). Представленные документальные источники содержат новые сведения о круге интересов и деятельности отечественного ученого, композитора и музыкального писателя Б. В. Асафьева. Выясняются ранее неизвестные жизненные обстоятельства, в непривычном свете предстают факторы творческие. Асафьев в своих письмах пишет о крупнейших музыкантах и деятелях искусства XX века. Докумен

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13

Савкина, Н. П. "More About Gorchakov, Prokofiev’s Secretary." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 70–89. http://dx.doi.org/10.26156/om.2021.13.2.004.

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Цель статьи — представить новые сведения о секретаре Сергея Прокофьева Георгии Николаевиче Горчакове (1902–1995), сосредоточенные в неизвестных документальных материалах. Это был музыкант, который расшифровывал музыкальные и литературные рукописи Прокофьева, писал под его диктовку, в течение нескольких лет был проводником литературной и музыкальной мысли композитора, довел до стадии завершения несколько крупных прокофьевских партитур. Их связывало и общее вероучение, которому оба были привержены: Христианская наука. Письма Горчакова — его рассказы Прокофьеву о себе — обновляют знание о повседн

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14

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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15

MacDonald, Hugh. "Shostakovich, Prokofiev." Musical Times 127, no. 1720 (1986): 391. http://dx.doi.org/10.2307/965251.

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16

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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17

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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18

Shaikhutdinov, R., and A. Rumyantsev. "MUSIC OF THE BALLET ON PIANO: "ROMEO AND JULIET" BY SERGEY PROKOFIEV IN THE AUTHOR'S TRANSCRIPTION." ARTS ACADEMY 13, no. 1 (2025): 46–64. https://doi.org/10.56032/2523-4684.2025.1.13.46.

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This article is dedicated to the study and reflection on the transcriptional features of the author's piano version of the ballet "Romeo and Juliet" by Sergey Sergeevich Prokofiev (1891-1953). The field of orchestral transcriptions is a special area of creativity for pianists – both performers and authors of transcriptions. The mask and the living human face, the "theater of representation" and the "theater of experience", the theatrical pathos and lyrical confession, sarcasm and philosophical reflection – the essence of the intense antithesis of many of Prokofiev's compositions. Based on the

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19

Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.

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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to

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20

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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21

Bartig, Kevin. "Restoring Pushkin: Ideology and Aesthetics in Prokofiev's Queen of Spades." Journal of Musicology 27, no. 4 (2010): 460–92. http://dx.doi.org/10.1525/jm.2010.27.4.460.

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Immediately following his repatriation in 1936, Prokofiev composed a film score for a screen adaptation of Pushkin's The Queen of Spades. Although the film was never finished, Prokofiev's completed score reveals an idiosyncratic approach to film music, one that is strikingly different than that found in his better known scores such as Alexander Nevsky. Reconstruction of the production and its context demonstrates how Prokofiev's aesthetic goals of a "new simplicity," characterized by lyricism, spare textures, and avoidance of dissonance, would successfully intersect with the ideological goals

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22

Clark, Robert S. "The Prokofiev Marathon." Hudson Review 56, no. 3 (2003): 531. http://dx.doi.org/10.2307/3852702.

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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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Prokofiev, A. M. "New and little known perciform fishes from the Upper Oligocene – Lower Miocene boundary deposits of the Caucasus (Osteichthyes, Perciformes)." Zoosystematica Rossica 11, no. 1 (2002): 209–17. http://dx.doi.org/10.31610/zsr/2002.11.1.209.

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Several new and little known perciform fishes (Pirsagatia sytchevskayae gen. et sp. n., Epibatichthys corruptus gen. et sp. n.; Apscheronichtys bogatshovi Prokofiev, 2001; Pelates islamdagicus Prokofiev, 2001; Leiognathoides minutus (Daniltshenko, 1980); Pomacentridae gen. et sp. indet.; Bestiolablennius eugeniae Prokofiev, 2001), including two new genera (Pirsagatia and Epibatichthys) of Percoidei incertae sedis, from the terminal Upper Oligocene or basal Lower Miocene of the Caucasus are described.

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Poldiaeva, Elena G. "Sergei Prokofiev: Unfulfilled Ideas of the 1920s." Contemporary Musicology, no. 3 (2020): 111–40. http://dx.doi.org/10.56620/2587-9731-2020-3-111-140.

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This article deals with the artistic plans that Sergei Prokofiev had for the 1920s, but failed to implement. In particular, the article focuses on the project of a musical drama Human / Automatic Sun, based on the text by Pyotr Suvchinsky, a friend of Prokofiev’s. In detailed correspondence, they discuss the relationship between the word, music and drama. Prokofiev also shares his reflections in his diary. The article cites both sources. At that time, the composer’s focus was on the art of melodeclamation. It may seem unexpected, yet, it was a follow-up to his quest in the field of opera. Melo

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Orlov, Vladimir. "Prokofiev and the Myth of the Father of Nations." Journal of Musicology 30, no. 4 (2013): 577–620. http://dx.doi.org/10.1525/jm.2013.30.4.577.

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Prokofiev’s cantata Zdravitsa (1939) was appreciated by Soviet officialdom immediately upon its premiere, and its fame lasted throughout subsequent decades. In post-Stalin times, however, critics re-evaluated the cantata, arguing that Zdravitsa had not been written as pro-Stalinist propaganda. Eventually, the idea that it was not Stalin but “the people” whom Prokofiev actually glorified in this cantata became the accepted interpretation of the piece, unchallenged even today. Based on insights drawn from the musical and literary sources of Zdravitsa, its relationship to the pseudo-folk Soviet t

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Ivanova, Nadezhda Sergeevna. "The influence of the first productions of S. S. Prokofiev's opera "War and Peace" on the composition. Birth of new versions of the work. (To the history of the production of "War and Peace" on the stage of the Maly Opera House, 1946-1947)." Философия и культура, no. 11 (November 2023): 1–11. http://dx.doi.org/10.7256/2454-0757.2023.11.68835.

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The subject of the study is the peculiarities of the formation of the canonical two-evening edition of S. S. Prokofiev's opera "War and Peace" and the influence on this process of the authors of the first production of the composition at the Maly Opera House in 1946 - the musical and stage version of conductor S. A. Samosud, director B. A. Pokrovsky and artist V. V. Dmitriev. The main purpose of the work is to identify the key aspects of the impact of the theater and the production process on the appearance of the legendary opera epic S. S. Prokofiev. The methodology of work is based on the pr

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Palmer, Christopher. "Prokofiev, Eisenstein and Ivan." Musical Times 132, no. 1778 (1991): 179. http://dx.doi.org/10.2307/966131.

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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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Kerr, Morag G. "Prokofiev and His Cymbals." Musical Times 135, no. 1820 (1994): 608. http://dx.doi.org/10.2307/1003123.

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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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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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33

Ho, Hsuan-Ching, Artém M. Prokofiev, and Kwang-Tsao Shao. "Synodus cresseyi Prokofiev, 2008, an unnecessary replacement for S. macrocephalus Cressey, 1981, and a description of a new species from the Western Indian Ocean (Teleostei: Synodontidae)." Zootaxa 2419 (December 31, 2010): 63–68. https://doi.org/10.5281/zenodo.294029.

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Ho, Hsuan-Ching, Prokofiev, Artém M., Shao, Kwang-Tsao (2010): Synodus cresseyi Prokofiev, 2008, an unnecessary replacement for S. macrocephalus Cressey, 1981, and a description of a new species from the Western Indian Ocean (Teleostei: Synodontidae). Zootaxa 2419: 63-68, DOI: 10.5281/zenodo.294029

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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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35

MELO, MARCELO R. S. "Kali colubrina Melo, 2008: a senior synonym of Kali caribbaea Prokofiev, 2008 (Acanthomorphata: Chiasmodontidae)." Zootaxa 2576, no. 1 (2010): 56. http://dx.doi.org/10.11646/zootaxa.2576.1.2.

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The genus Kali is a member of the deep-sea fish family Chiasmodontidae with seven valid species. A taxonomic revision of Kali was recently conducted by Melo (2008), which included the description of two new species: K. colubrina and K. falx. I was unaware that parallel to that revision, Prokofiev (2008) was describing K. caribbaea. Both publications were published during a very short time interval. Upon having access to Prokofiev (2008), it became clear that K. colubrina and K. caribbaea are actually synonyms. After further investigation about the date of publication of both works, K. colubrin

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36

Dorris, George. "A Review of: “Prokofiev and Ravel at the Ballet: Prokofiev's Ballets for Diaghilev”." Dance Chronicle 30, no. 1 (2007): 131–38. http://dx.doi.org/10.1080/01472520601165750.

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Левая, Т. Н. "Прокофьев-репатриант". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 3(74) (30 вересня 2024): 37–42. http://dx.doi.org/10.26086/nk.2024.74.3.006.

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Статья посвящена мотивам и обстоятельствам возвращения С. Прокофьева из эмиграции в Советский Союз, а также оценкам советского периода жизни и творчества композитора. Возвращению Прокофьева во многом способствовали его успешные гастрольные поездки в советскую страну, начавшиеся в 1927 году и отраженные им в дневниковых записях. Характерен режим благоприятствования поездкам со стороны тогдашних официальных кругов: кроме советских документов, Прокофьев продолжал оставаться обладателем т. н. нансеновского паспорта – т. е. паспорта Лиги наций для «перемещенных лиц», которым владели эмигранты. Обла

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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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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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40

Bartig, Kevin. "Film Music Without a Film: Prokofiev’s Ivan the Terrible, Authorship, and Cold War Politics." Musicology Today: Journal of the National University of Music Bucharest, no. 59 (June 3, 2025): 203–18. https://doi.org/10.69608/mt.59.01.

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Throughout his career, Sergei Prokofiev habitually transformed his stage and cinematic works into symphonic suites and cantatas that often reached larger audiences and proved more enduringly popular than the parent work. Prokofiev’s reworking of his film scores in particular yielded two perennial audience favorites, the Lieutenant Kijé Suite (1934) and the Alexander Nevsky Cantata (1939). Yet Prokofiev attempted no such transformation of his longest and most complex film score, written for the two completed parts of Sergei Eisenstein’s cinematic trilogy Ivan the Terrible (Part I, 1944; Part II

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41

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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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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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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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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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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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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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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Kimmelman, Michael. "La partition stalinienne de Prokofiev." Books N° 14, no. 4 (2010): 55–56. http://dx.doi.org/10.3917/books.014.0055.

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Elsworth, John. "Prokofiev and Twentieth-Century Culture." Slavonica 9, no. 1 (2003): 35–37. http://dx.doi.org/10.1179/sla.2003.9.1.35.

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Taruskin, Richard. "Art and politics in Prokofiev." Society 29, no. 1 (1991): 60–63. http://dx.doi.org/10.1007/bf02695364.

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