Soviet period
Although he enjoyed material well-being, success with the public, and contact with outstanding figures of Western culture, Prokofiev increasingly missed his homeland. Visits to the Soviet Union in 1927, 1929, and 1932 led him to conclude his foreign obligations and return to Moscow once and for all. From 1933 to 1935 the composer gradually accustomed himself to the new conditions and became one of the leading figures of Soviet culture. He finally closed his Paris apartment in 1936 and made his last Western tour in 1938. In the two decades constituting the Soviet period of Prokofiev's work—1933 to 1953—the realistic and epical traits of his art became more clearly defined. The synthesis of traditional tonal and melodic means with the stylistic innovations of 20th-century music was more fully realized.
In the years preceding World War II, Prokofiev created a number of classical masterpieces. These included his Violin Concerto No. 2 in G Minor (1935) and the ballet Romeo and Juliet (1935–36). His work in theatre and the cinema gave rise to a number of charming programmatic suites, such as the Lieutenant Kije suite (1934), the Egyptian Nights suite (1934), and the symphonic children's tale Peter and the Wolf (1936). Turning to opera, he cast in the form of a contemporary drama of folk life his Semyon Kotko, depicting events of the civil war in the Ukraine (1939). The basis of the brilliantly modernized opéra bouffe Betrothal in a Monastery (composed in 1940, produced in 1946) was the play The Duenna, by the 18th-century British dramatist Richard Brinsley Sheridan (Sheridan, Richard Brinsley). Testing his powers in other genres, he composed the monumental Cantata for the 20th Anniversary of the October Revolution (1937), on texts by Karl Marx (Marx, Karl), V.I. Lenin (Lenin, Vladimir Ilich), and Joseph Stalin (Stalin, Joseph), and the cantata The Toast (1939), composed for Stalin's 60th birthday.
On his last trip abroad, Prokofiev visited Hollywood, where he studied the technical problems of the sound film; what he learned was applied brilliantly in the striking national music for Sergey Eisenstein (Eisenstein, Sergey Mikhaylovich)'s film Alexander Nevsky, depicting the heroic Russian struggle against the Teutonic Knights in the 13th century. The cantata Alexander Nevsky was based on the music of the film. One of the summits of Prokofiev's art was the production of his ballet Romeo and Juliet in Leningrad, with Galina Ulanova (Ulanova, Galina) in the leading role. Throughout the 1930s Prokofiev took part in the organizational work of the Composers' Union, made appearances as conductor and as pianist, and traveled much throughout the country.
On the eve of World War II, he left his wife and sons for poet Mira Mendelssohn, who became his second (common-law) wife. The war sharpened Prokofiev's national and patriotic feelings. Regardless of the difficulties of the war years, he composed with remarkable assiduity, even when the evacuation of Moscow in 1941 made it necessary for him to move from one place to another until he was able to return in 1944.
From the first days of the war, the composer's attention was centred on a very large-scale operatic project: an opera based on Leo Tolstoy (Tolstoy, Leo)'s novel War and Peace. He was fascinated by the parallels between 1812, when Russia crushed Napoleon's invasion, and the then-current situation. The first version of the opera was completed by the summer of 1942, but subsequently the work was fundamentally revised, a task that occupied more than 10 years of intensive work. Those who heard it were struck both by the immense scale of the opera (13 scenes, more than 60 characters) and by its unique blend of epic narrative with lyrical scenes depicting the personal destinies of the major characters. His increasing predilection for national-epical imagery is manifested in the heroic majesty of the Symphony No. 5 in B-flat Major (1944) and in the music (composed 1942–45) for Eisenstein's two-part film Ivan the Terrible (Part I, 1944; Part II, 1948). Living in the Caucasus, in Central Asia, and in the Urals, the composer was everywhere interested in folklore, an interest that was reflected in the String Quartet No. 2 in F Major (1941), on Kabardian and Balkar themes, and in the projected comic opera Khan Buzai (never completed), on themes of Kazakh folktales. Documents of those troubled days are three piano sonatas, No. 6 (1940), No. 7 (1942), and No. 8 (1944), which are striking in the dramatic conflict of their images and in their irrepressible dynamism. (Click here for an excerpt from Prokofiev's Piano Sonata No. 7.)
Overwork was fatal to the composer's health, as was the stress he suffered in 1948, when, along with other Soviet composers, he was censured by the Central Committee of the Soviet Communist Party for “formalism.” During the last years of his life, Prokofiev seldom left his villa in a suburb of Moscow. His propensity for innovation, however, is still evident in such important works as the Symphony No. 6 in E-flat Minor (1945–47), which is laden with reminiscence of the tragedies of the war just past; the Sinfonia Concerto for Cello and Orchestra in E Minor (1950–52), composed with consultation from the conductor and cellist Mstislav Rostropovich (Rostropovich, Mstislav); and the Violin Sonata in F Minor (1938–46), dedicated to the violinist David Oistrakh (Oistrakh, David), which is laden with Russian folk imagery. Just as in earlier years, the composer devoted the greatest part of his energy to musical theatre, as in the opera The Story of a Real Man (1947–48), the ballet The Stone Flower (1948–50), and the oratorio On Guard for Peace (1950). The lyrical Symphony No. 7 in C-sharp Minor (1951–52) was the composer's swan song.
In 1953 Prokofiev died suddenly of cerebral hemorrhage. On his worktable there remained a pile of unfinished compositions, including sketches for a 6th concerto for two pianos, a 10th and an 11th piano sonata, and a solo violoncello sonata. The subsequent years saw a rapid growth of his popularity in the Soviet Union and abroad. In 1957 he was posthumously awarded the Soviet Union's highest honour, the Lenin Prize, for his Symphony No. 7.
Israel Vladimirovich Nestyev Richard Taruskin
Additional Reading
Israel V. Nestyev, Prokofiev (1960, reprinted 1971; originally published in Russian, 1957), was the first serious, systematic study of the man and his music. Harlow Robinson, Sergei Prokofiev: A Biography (1987), is a more recent work that focuses on the man, rather than his music.Richard Taruskin
Richter, Sviatoslav
▪ Russian musician
in full Sviatoslav Teofilovich Richter , also spelled Svyatoslav Teofilovich Rikhter
born March 7 [March 20, New Style], 1915, Zhitomir, Ukraine, Russian Empire [now Zhytomyr, Ukraine]
died Aug. 1, 1997, Moscow, Russia
Soviet pianist whose technical virtuosity combined with subtle introspection, made him one of the preeminent pianists of the 20th century. Though his repertoire was enormous, he was especially praised for his interpretations of J.S. Bach, Robert Schumann, Franz Liszt, Sergey Prokofiev, and Modest Mussorgsky.
Richter's father, an organist and composer, taught his son musical rudiments at an early age—the young Richter largely taught himself piano on the side. As a teenager he became a coach at the Odessa (Ukraine) Opera, where he astounded others with his sight-reading ability. Though initially a composer, by age 20 Richter had devoted himself to the piano. He made his concert debut in 1935 in Odessa, and in 1937 he became a pupil at the Moscow Conservatory. Having met Prokofiev in 1937, Richter went on to premiere the composer's Sonata No. 6 in 1940, as well as Sonata No. 7 and Sonata No. 9 in later years. In 1945 Richter won the U.S.S.R. Music Competition. During the 1950s he toured eastern Europe and China. Meanwhile, the West eagerly awaited Richter's appearance. “Every musician in town was present,” reported the New York Times, for his 1960 debut at Carnegie Hall. To great acclaim, he subsequently toured western Europe, Japan, and elsewhere. Richter made his last appearance in 1970. He favoured intimate venues, such as the Aldeburgh festival in England, where he played Schubert duets with his friend Benjamin Britten (Britten, Benjamin). In 1964 Richter started a lifelong association with the French Fêtes Musicales near Tours. Because he detested the artificiality of the studio, more than half of his recordings were of live performances. Among Richter's distinguished recorded works are his superb performances of Mussorgsky's Pictures at an Exhibition, as well as his controversial interpretation of Schubert's Sonata in B-flat Major, which exhibits an unusually slow, hypnotic first movement.