The people's artist : Prokofiev's Soviet years
著者
書誌事項
The people's artist : Prokofiev's Soviet years
Oxford University Press, 2009
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
A study in contrasts, the career of Sergey Prokofiev spanned the globe, leaving him witness to the most significant political and historical events of the first half of the twentieth century. In 1918, after completing a program of studies at the St. Petersburg conservatory, Prokofiev escaped Russia for the United States and later France where, like most emigre artists of the time, he made Paris his home. During these hectic years, he composed three
ballets and three operas, fulfilled recording contracts, and played recitals of tempestuous music. Scores were stored in suitcases, scenarios and librettos drafted on hotel letterhead. The constant uprooting and transience fatigued him, but he regarded himself as a person of action who, personally and
professionally, traveled against rather that with the current. Thus, in 1936, as political anxieties increased in Western Europe, Prokofiev escaped back to Russia. Though at first pampered by the totalitarian regime, Prokofiev soon suffered official correction and censorship. He wrote and revised his late ballets and operas to appease his bureaucratic overseers but, more often than not, his labors came to naught. Following his official condemnation in 1948, many of his compositions were
withdrawn from performance. Physical illness and mental exhaustion characterized his last years. Housebound, he journeyed inward, creating a series of works on the theme of youth whose music sounds despondently optimistic.
The reasons for Prokofievs return to Russia and the specifics of his dealings with the Stalinist regime have long been mysterious. Owing to their sensitive political and personal nature, over half of the Prokofiev documents at the Russian State Archive have been sealed since their deposit there in 1955, two years after Prokofievs premature death. The disintegration of the Soviet Union did not lead to the rescinding of this prohibition. Author Simon Morrison is the first scholar, non-Russian
or Russian, to receive the privilege to study them. Alongside wholly or partly unknown score materials, Morrison has studied Prokofievs never-seen journals and diaries, the original, unexpurgated versions of his official speeches, and the bulk of his correspondence. This new information makes
possible for the first time an accurate study of the tragic second phase of Prokofievs career. Moving chronologically, Morrison alternates biographical details with discussions of Prokofievs major works, furnishing dramatic new insights into Prokofievs engagement with the Stalinist regime and the consequences that it had for his family and his health.
目次
- Introduction
- Chapter 1: 1935-1938
- Chapter 2: 1938-39
- Chapter 3: The Pushkin Centennial Scores
- Chapter 4: 1940-43
- Chapter 5: The Eisenstein Films and Tonya
- Chapter 6: 1944-47
- Chapter 7: 1948
- Chapter 8: 194953
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