Prokofiev's Paddy Wagon

[Hattoff]

I'm halfway through reading the 3rd volume of Prokofiev's diaries (just published). For you who know your Prokofiev there are some big surprises. All biographies to date will have to be revised. Here's a little summary.
Prokofiev had a profound belief in the existence of god. He was raised as a Russian Orthodox christian but had interest in other religions including Roman Catholicism and, particularly, Christian Science.
He could not understand atheists and did not like them in general.
He hated communists with a loathing that included anyone who even associated with them.
He was friendly with people and organisations who were looking to overthrow the Bolsheviks.
He was a capitalist who invested in stocks and shares and in the 1920s was actively trying to sue a Russian bank for the losses he suffered during the Russianrevolution.
It is remarkable that with those views, not that he returned to Russia, but  that he survived there at all.
It is also remarkable that until the publication of these diaries nobody at all really knew what Prokofiev's views were.

[Mirror Image]

I'm halfway through reading the 3rd volume of Prokofiev's diaries (just published). For you who know your Prokofiev there are some big surprises. All biographies to date will have to be revised. Here's a little summary.
Prokofiev had a profound belief in the existence of god. He was raised as a Russian Orthodox christian but had interest in other religions including Roman Catholicism and, particularly, Christian Science.
He could not understand atheists and did not like them in general.
He hated communists with a loathing that included anyone who even associated with them.
He was friendly with people and organisations who were looking to overthrow the Bolsheviks.
He was a capitalist who invested in stocks and shares and in the 1920s was actively trying to sue a Russian bank for the losses he suffered during the Russianrevolution.
It is remarkable that with those views, not that he returned to Russia, but  that he survived there at all.
It is also remarkable that until the publication of these diaries nobody at all really knew what Prokofiev's views were.

Interesting, but one question I have is why did Prokofiev go back to Russia?

[Hattoff]

Interesting, but one question I have is why did Prokofiev go back to Russia?

That's the million dollar question, particularly in view of the above.

Quite an enigma, our Prokofiev.

[Karl Henning]

Interesting, but one question I have is why did Prokofiev go back to Russia?

At a time when his fortunes in the West appeared to be declining, his buddy Myaskovsky made it look like coming back home would be all cakes & ale.

[Karl Henning]

That's the million dollar question, particularly in view of the above.

Make the check out to "Karl Henning." PM me for the mailing address.

[Mandryka]

Someone here, I forget who, spoke very highly of Nikolai Malko's Symphony 7. Anyway I tried the recording out and didn't like it and so put it away and forgot about it, and continued to listen to my Paris Orcjhestra/Martinon record, which was my favourite.

I say "was"  because a few weeks ago I gave Malko another try and like  . . . wow!!! From now on no-one else will do, everyone else is too sentimental or overly dramatic or just plain vulgar. Malko's tops.

So whoever it was, thank you.

[North Star]

In the document The Unfinished Diary, they read a passage written by him, saying that he knew how bad things were in Russia (his friend had been killed recently), but he still felt a need to go home, and to live with his countrymen. He certainly didn't feel at home in the US or Paris, and perhaps hoped that his music would gain more recognition in USSR.

[Hattoff]

There were several different reasons for SP to leave Russia in the first place and several different reasons for him going back. The order in which the reasons are placed depend entirely on the writer's political views.
The difference now, is that we know that he was strongly religious and that he hated Bolsheviks. If SP went back to Russia for just one reason, it must have been a bloody good one.

[Karl Henning]

The difference now, is that we know that he was strongly religious and that he hated Bolsheviks. If SP went back to Russia for just one reason, it must have been a bloody good one.

Well, "strongly religious" is a curious phrase. It doesn't surprise me in the least that he was out of sympathy with either atheists or Bolshevism. And I for one have never imagined that there was "just one reason" why he repatriated. That's an iconic instance of the artist's life being a tangle.

[Hattoff]

Well, "strongly religious" is a curious phrase.

Nethertheless you will be surprised at the depth of his belief.
By the way, like the first two books, this volume is a very good read, except for the religious statements which are, unfortunately, embarrasing.

[Herman]

If SP went back to Russia for just one reason, it must have been a bloody good one.

Career advancement is the reason I have always heard.

I also often heard that Prokofiev was a rather conceited and awkward person.

The situation with the wife swap is pretty hard to swallow.

I love his music. I'm enjoying his ninth sonata a lot, lately.

[Mirror Image]

I also often heard that Prokofiev was a rather conceited and awkward person.

Then what you heard isn't what I read. He was a kind, gracious, and humble human being unlike many of his contemporaries.

[Mirror Image]

A Prokofiev phase is just around the corner I suspect...

[Mirror Image]

Time to resurrect this thread...



I've been digging through the symphonies yet again. This time comparing and contrasting two sets: Ozawa/BPO and Rozhdestvensky/Moscow RSO. Both cycles couldn't be more different from each other. While Ozawa prefers broader tempi and precise articulations from the orchestra, Rozhdestvensky favors swifter tempi and an overall harder edge. I like both approaches a lot.

[Mirror Image]

It's always nice to be able to compare performances. I feel this Ozawa set is a very well-played and definitely consistent. One advantage it has going for it over the Rozhdestvensky is audio quality, but the Rozhdestvensky is still good and serviceable audio. Rozhdestvensky's performances, however, are what steal the show and take a lot of the fire away from Ozawa I think. Ozawa is a good Prokofiev conductor. I think a lot of his Romeo & Juliet with the BSO, but I think, overall, his set lacks a lot of the punch I get from Rozhdestvensky or Jarvi. I'm still going to be doing some more comparing with the rest of the symphony sets I own.

[Mirror Image]

By the way, GMG's Karl Henning, wrote a good review on the Ozawa set if anyone wants head over to Amazon and read it.

[TheGSMoeller]

It's always nice to be able to compare performances. I feel this Ozawa set is a very well-played and definitely consistent. One advantage it has going for it over the Rozhdestvensky is audio quality, but the Rozhdestvensky is still good and serviceable audio. Rozhdestvensky's performances, however, are what steal the show and take a lot of the fire away from Ozawa I think. Ozawa is a good Prokofiev conductor. I think a lot of his Romeo & Juliet with the BSO, but I think, overall, his set lacks a lot of the punch I get from Rozhdestvensky or Jarvi. I'm still going to be doing some more comparing with the rest of the symphony sets I own.

Just wrote this, wanted to share it here...

Full sets - Ozawa, Gergiev, Rostropovich, Kitajenko and Jarvi.
Then the (almost) sets of Ashkenazy and Leinsdorf. And the countless individual discs from Previn, Muti, Levine, Mravinsky, Kuchar, etc...

The Ozawa is more consistent throughout than the other sets. Every performance highlights Prokofiev's colorful orchestrations, and the DG engineering assists with this immensely, wearing a good pair of headphones with this set is the way to go, the music truly comes to life. I'm also very big on hearing that piano in the 5th, 6th and 7th and it's perfect within these recordings.
Ozawa has great control over the music, never too sluggish, never too fast. And the Berliner's playing is clean, warm and balanced, with avoiding ever becoming overly bombastic, which is an issue I have with Jarvi's, very spirited and energetic, but a bit over-the-top at times, and with a bit too much reverb. Perfect example is the climax midway through the finale of the 6th, when the opening theme returns along with a fanfare of brass. in Jarvi's account the trombones take over and drown out the other lines (my brother would disapprove of me saying that), but with Ozawa every melody and instrument is clear. Biggest downside though of Ozawa is the lack of Original 4th. But overall I find the Ozawa set covers all the facets of Prokofiev's lyrical, problematic and animated music.

Along with the non-sets/individuals, Abbado and has a great "Classical", Leinsdorf has an electrifying 2nd. Muti gives a brutal 3rd while Chailly's 3rd is polished. Kitajenko and Gergiev make strong cases for both version of the 4th to become concert hall favorites. Levine and Chicago SO tear up the 5th (in a good way). Mravinsky and Jarvi's 6th are as powerful as the music's subject matter (I know I knocked Jarvi earlier, but I still can't deny the power of the performance). And thank goodness for Tennstedt's 7th (Ozawa and Gergiev are also steller). All three with the original ending.

[Mirror Image]

Let's get this thread moving again...

[TheGSMoeller]

Let's get this thread moving again...

I suggest a "listen and discuss" for The Fiery Angel.

[lescamil]

I suggest a "listen and discuss" for The Fiery Angel.

Or, for the durationally impaired, the much more accessible 3rd Symphony, my favorite of the set, which is based on the opera.