SERGE
PROKOFIEFF
and
HIS ORCHESTRAL MUSIC
By
LOUIS BIANCOLLI
Written by
LOUIS BIANCOLLI
(Author of “The Analytical Concert Guide” and co-author, with Robert Bagar, of “The Concert Companion”)
and dedicated to
the
RADIO MEMBERS
of
THE PHILHARMONIC-SYMPHONY SOCIETY
OF NEW YORK
Copyright 1953
THE PHILHARMONIC-SYMPHONY SOCIETY
of NEW YORK
and
LOUIS BIANCOLLI
THE PHILHARMONIC-SYMPHONY SOCIETY
OF NEW YORK
113 West 57th Street
New York 19, N. Y.
A COMPOSER’S CREED
The principal lines which I followed in my creativework are these:
The first is classical, whose origin lies in my earlyinfancy when I heard my mother play Beethovensonatas. It assumes a neo-classical aspect in the sonatasand the concertos, or imitates the classical style of theeighteenth century, as in the Gavottes, the ClassicalSymphony, and, in some respects, in the Sinfonietta.
The second is innovation, whose inception I traceto my meeting with Taneieff, when he taunted me formy rather “elementary harmony.” At first, this innovationconsisted in the search for an individual harmoniclanguage, but later was transformed into adesire to find a medium for the expression of strongemotions, as in Sarcasms, Scythian Suite, the operaThe Gambler, They are Seven, the Second Symphony,etc. This innovating strain has affected not only theharmonic idiom, but also the melodic inflection, orchestration,and stage technique.
The third is the element of the toccata or motorelement, probably influenced by Schumann’s Toccata,which impressed me greatly at one time. In this categoryare the Etudes Op. 2, Toccata, Op. 11, Scherzo,Op. 12, the Scherzo of the Second Piano Concerto,the Toccata in the Fifth Piano Concerto, the persistentfigurations in the Scythian Suite, Le Pas d’acier,and some passages in the Third Piano Concerto. Thiselement is probably the least important.
The fourth element is lyrical. It appears at first aslyric meditation, sometimes unconnected with melos,as in Fairy Tale, Op. 3, Réves, Esquisse automnale,Legend, Op. 21, etc., but sometimes is found in longmelodic phrases, as in the opening of the First ViolinConcerto, the songs, etc. This lyric strain has for longremained in obscurity, or, if it was noticed at all, thenonly in retrospection. And since my lyricism has for4a long time been denied appreciation, it has grownbut slowly. But at later stages I paid more and moreattention to lyrical expression.
I should like to limit myself to these four expressions,and to regard the fifth element, that of thegrotesque, with which some critics are trying to labelme, as merely a variation of the other characteristics.In application to my music, I should like to replacethe word grotesque by “Scherzo-ness,” or by thethree words giving its gradations: “Jest,” “laughter,”“mockery.”
SERGE PROKOFIEFF
SERGE PROKOFIEFF
By