Rethinking ProkofievPub Date : 2020-03-12DOI: 10.1093/oso/9780190670764.003.0011
Julia Khait
{"title":"From Film Score to Art Music and Back","authors":"Julia Khait","doi":"10.1093/oso/9780190670764.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780190670764.003.0011","url":null,"abstract":"Sergei Prokofiev was one of a few composers who worked equally successfully in the fields of film music and art music. His scores for Alexander Nevsky and Ivan the Terrible are as significant for the history of film music as are his operas and ballets for musical theater. He approached film projects with the same creative rigor as his stage and symphonic works. And so we must think of his film scores not as a separate enterprise but, rather, as one of the various theatrical and dramatic genres at which he tried his hand. While the operatic features of his music for Alexander Nevsky and Ivan the Terrible have become widely recognized, Prokofiev’s other film scores can also be placed in a broader context of the composer’s output. The cross-connections between genres can be traced at different levels, from common themes and literary ideas and similar stylistic evolution, to shared compositional techniques and borrowings of musical material from one work to another.","PeriodicalId":185559,"journal":{"name":"Rethinking Prokofiev","volume":"328 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117132980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rethinking ProkofievPub Date : 2020-03-12DOI: 10.1093/oso/9780190670764.003.0007
I. Medić
{"title":"Prokofiev and Shostakovich","authors":"I. Medić","doi":"10.1093/oso/9780190670764.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190670764.003.0007","url":null,"abstract":"Much has been written on the professional and personal trajectories of the two luminaries of Soviet/Russian music, Sergei Prokofiev and Dmitri Shostakovich. Their true relationship, however, has yet to be seriously explored. Many writers have focused on the composers’ alleged personal and professional antagonisms, caused by their supposed individual claims to the title of “the greatest Soviet composer,” referencing anecdotes of questionable reliability. This chapter compares the two composers’ contributions to certain genres; their typical compositional procedures; their collaborations with other highly regarded exponents of Soviet cultural life, and their common predecessors. It also contrasts the two composers’ written assessments of one another’s compositions, and compares their works, in which we can observe not only how Prokofiev influenced his younger contemporary but also how each composer might have inspired the other.","PeriodicalId":185559,"journal":{"name":"Rethinking Prokofiev","volume":"08 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123767481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}