Siergiej Prokofjew cytaty

Siergiej Prokofjew Fotografia
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Siergiej Prokofjew

Data urodzenia: 27. Kwiecień 1891
Data zgonu: 5. Marzec 1953

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Siergiej Siergiejewicz Prokofjew, ros. Серге́й Сергеевич Проко́фьев – rosyjski kompozytor, pianista-wirtuoz oraz dyrygent, jeden z najważniejszych twórców awangardy pierwszej połowy XX w. Współtworzył różne nurty modernizmu, w tym futuryzm, ekspresjonizm, prymitywizm i neoklasycyzm , zachowując przy tym oryginalność i idiomatyczność stylu.

Prokofjew jest autorem szerokiego i różnorodnego repertuaru, obejmującego większość klasycznych form i gatunków: muzyki operowej, baletowej, kantat, oratoriów, muzyki symfonicznej , kameralnej , utworów na fortepian solo , muzyki scenicznej i filmowej, a także transkrypcji.

Popularność zawdzięcza przede wszystkim Symfonii Klasycznej, bajce symfonicznej Piotruś i Wilk, III Koncertowi fortepianowemu C-dur, baletowi Romeo i Julia, suicie Porucznik Kiże oraz muzyce do filmów Siergieja Eisensteina.

Cytaty Siergiej Prokofjew

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„This is my best work, but only because The Flaming Angel is my greatest.“

— Sergei Prokofiev
He made a rare admission to a visiting musicologist when he was conducting his Third Symphony in Rome in 1934. [http://content.time.com/time/magazine/article/0,9171,864759,00.html time.com]

„The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.“

— Sergei Prokofiev
Page 36-37; from his fragmentary Autobiography.

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„Formalism is music that people don’t understand at first hearing.“

— Sergei Prokofiev
Quoted in Boris Schwarz Music and Musical Life in Soviet Russia, 1917-1970 (1972) p. 115.

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