Sergei Prokofieff and Symphonic Forms

SERGE PROKOFISFE AND SYMPHONIC FORMS:
A COMPARATIVE MUSICAL ANALYSIS OF FOUR TYPICAL
COMPOSITIONS BY PROKOFIEFF REPRESENTATIVE OF FOUR MUSICAL
FORMS; THE CONCERTO, SONATA, CANTATA AND SUITE.
A Thesis
Presented to
the Faculty of the School of Music
University of Southern California
In Partial Fulfillment
of the Requirements for the Degree
Master of Music
by
Florence Halliday
June 1947
UMI Number: EP61801
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presented to and accepted by the Co un ci l on
Graduate Study and Research in p a r t ia l f u l f i l l
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MASTER OF MUSIC
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F a c u lty C om m ittee
C hairm an
TABLE OF CONTENTS
CHAPTER PAGE
I. P U R P O S E ................................................ 1
Method of procedure . . . . . . . . . . . . . . . 1
Source of m a t e r i a l ......... ..................... 1
II. PROKOFIEFF, THE MAN ................................ 3
Characteristics of Prokof ief f fsm u s i c ' ............ 8
Influence of national heritage . **. .............. 9
Musical heritage (Russian) • . . . . . . . . . . 12
Musical contemporaries .................. . . . . 15
Associations of middle and late periods . . . . . 17
Influence of contemporary Russia . . . . . . . . 21
III. F O R M ........... 23
Form in Russian music ........................ 23
ProkofieffJs use of musical forms ................. 23
Classical influence ............................... 24
the concerto............................. 24
the piano s o n a t a .................. .'............. 25
the symphony, . 28
the o p e r a ................................. 30
the c a n t a t a .......................... 34
the suite . . . . . . . . . . . . . . 36
ii
CHAPTER PAGE
IV. MELODIC AND HARMONIC MATERIAL OF PROKOFI'KFF’S
COMPOSITIONS IN GENERAL ......................... 38
Source of Frokofiefffs music .................. 38
Prokofieff’s style ... ......... . . . . . . 39
The evolution of Prokofieff’s style . . . . . . 39
Stylistic trends « . . . ...................... 40
Harmony and c o u n t e r p o i n t ............... 41
.
Structural' p a t t e r n s ........... 42
melodic . . . . . . . . . . . ........... . . 42
harmonic . 43
rhythmic ............................... 44
Geographical and racial sources ................ 45
V. VIOLIN CONCERTO NO. 2 IN G MINOR ............. 55
First movement — allegro m o d e r a t o ..... 55
f o r m ................................... 55
h a r m o n y ................................ 57
counterpoint . 59
melodic treatment; alteration of the themes 61
orchestration .................................. 63
r h y t h m ................................. 64
.
treatment of the violin as a solo instrument. 65

CHAPTER PAGE
Second movement - andante, allegretto, andante, 67
f o r m ......... . ..................................67
harmony
orchestration ................................... 70
c o u n t e r p o i n t .......................... ... . . ^ 70
r h y t h m ..............................
Third movement - allegro ben m a r c a t o ............76
f o r m ...............................
rhythm • .......................................78
o r c h e s t r a t i o n ............................ 80
h a r m o n y ........................................... 81
counterpoint ................................... 83
VI. SEVENTH SONATA FOR P I A N O ............. - ............ 84
First movement - allegro inquieto, andantino,
allegro inquieto....................... 8
f o r m ............................................. 85
h a r m o n y ........................................... 87
rhythm ..........................
counterpoint ................................... 89
Second movement - andante caloroso ............. 91
f o r m .............................
"harmony” .~ . N .~ ........................... 93
rhythm and counterpoint . . . . . 95

iv
CHAPTER PAGE
Third m o v e m e n t .......................... . . . . . 96
form and r h y t h m .................. . ........... 96
harmony and counterpoint . . .................. 99
VII. ALEXANDER NEVSKY CANTATA ............. . . . . . . IOO
1. Russia under the Mongolian yoke
molto lento ....................... 101
f o r m ........................................... 101
instrumentation and orchestration . . . . 104
h a r m o n y ............. .. .................... 106
rhythm ...................... 109
counterpoint . .............................110
2. Song about Alexander Nevsky .................. Ill
lentu piu mosso
f o r m ........................................ 112
instrumentation and. orchestration . . . . 113
counterpoint . • • • • . . . . 113
r h y t h m ............................... 114
harmony .~ . • 116
3. The Crusaders in Pskov
largo, andante ............................. 116
f o r m ........................................... 117
o r c h e s t r a t i o n _. ._L . . . . 119
counterpoint ............................... 120

V
CHAPTER PAGE
harmony • .................................. 122
rhythm . . . . . . . ................... . 124
4. Arise, yo Russian people
allegro risoluto . . .................... 127
f o r m .................... , ............... 128
o r c h e s t r a t i o n ...........■.................. 130
h a r m o n y .................... ♦ ............. 131
r h y t h m ...................... * ........... 132
counterpoint ............................. 132
5, Battle on ice
adagio; moderato; allegro moderato . . * 133
f o r m ..............................
themes of the teutonic knights . . . . . 134
themes of the R u s s i a n s .................. 137
section I - the i n t r o d u c t i o n ........... 139
section II . . . . . . 140
section I I I ............. . ............... 141
section IV 144
orchestration ............................... 146
counterpoint . . . . . .................... 149
harmony • • • • • • . . . .................. 153
_____ _ .rhythm— —.— ■*— *— ♦- »- .— .— . ._ . . • v 1”

56
vi
CHAPTER P4GE
6. Field of the dead
adagio, meno m o s s o ........................... 160
form ................ . . . . . . ^ 160
orchestration . . . . ..................... 162
counterpoint ................. 164
harmony ............................... 165
rhythm . . • .• ................ . . . . . l6o
7. Al e x a n d e r ’s entry in Pskov
moderato ma n o l i t r o p p o ....................... 166
form ........... 166
orchestration ............................. 169
rhythm ....................................... 170
harmony and counterpoint . ................ 171
VIII. LT. KIJE S U I T E ......... . . . . . " .................... 173
1. The birth of Kije
andante, doppio raovimento ................ 173
orchestration • • • • • 173
f o r m ........... • • • • 174
h a r m o n y ........ • 177
rhythm ............................. 178
c o u n t e r p o i n t ............................... 179
vii
CHAPTER PAGE
2.• Romance - andante, allegretto, andante •• • 181
form ................„ ..............181
o r c h e s t r a t i o n ........* ..................... 182
c o u n t e r p o i n t ....................... 183
h a r m o n y ....................................... 186
rhythm ....................................... 187
3. K i j e ’s wedding -.allegro .fastoso ........... 188
form ...................... 188
orchestration.. ............................. 189
r h y t h m .........................* ..............190
counterpoint . . ......... . , . 190
h a r m o n y ....................................... 192
4. Troika - moderato, allegro con brio • •• • 194
form ............. . . . . . . . . . . 195
orchestration.. ............................. 197
counterpoint ................ . . . . . . 197

*
harmony .................................... 199
rhythm .................... 200

n
5. Burial of Kije -allegro moderato ....'. 201
f o r m .............................. ..........201
orchestration • • • • • • . . ........... 203
counterpoint ....................• . . 204
harmony and rhythm • • • , . • .......... ” 206

viii
CHAPTER PAGE
IX. COMPARISON . r ............... . 207
form ........................... 207
melody ............................
r h y t h m .................................
o r c h e s t r a t i o n ................................. 209
h a r m o n y ..................................... 210
conclusion . . . . . 212
BIBLIOGRAPHY ............................... . . . . . 214
*
CHAPTER I
PURPOSE
Serge Prokofieff is one of the foremost Russian
composers and his music is representative of present day
Russian music* This study was made to determine, firstly,
the characteristics of Prokofiefffs music by a detailed-
analysis of some larger forms of compositions as used by
Prokofieff, and secondly, his place as a composer in Russia.
To acquire a proper perspective of Prokofieff!s music
the second aim was pursued first. Various points covered to
this end were a review of the composer’s training and associ
ations, and a study of the influences of his national heritage.
Form in Russian music was considered, together with the Euro
pean influences in form. The last step made in providing a
background for the analyses of certain of Prokofieff!s compo
sitions was a survey of the melodic, harmonic, and rhythmic
material of Prokofieff!s compositions in general.
In the second section of the study four compositions by
Prokofieff representative of four musical forms are analyzed
and compared. These compositions are: the Second Violin Con
certo in G- m i n o r , the Seventh Piano Sonata, Alexander Nevsky
Cantata, and the Lt. Ki.je Suite.
Material for the study was gathered from four main
sources; books, encyclopedias, periodicals, and newspapers.

Books and encyclopedias provided biographical and historical
data.
Periodicals and newspapers provided far more
detailed information on not only Serge Prokofiefffs life
but also his works, composers in Russia, and music in Russia.
Schools of writing were discussed, covering both Europe and
Russia. Reactions of critics and the public could easily be
discerned in articles from these two sources and Russian music
as affected by the ideological program dominating Russian
life was mentioned frequently and discussed thoroughly from
every point of view.
Had time permitted program notes would have provided
much valuable material pertaining to Prokofieff*s compositions
and their general reception by critics and the public. Only
in one or two instances have program notes been used, but
for a more thorough knowledge of Prokofieff's music these
notes should be consulted in addition to the four sources
employed for this study.

CHAPTER II
SERGE PROKOFIEFF
Serge Prokofieff was born April 23, 1891 , in
the Ukrainian village Sontsovka near Stalino. His
father was manager of the agricultural estate-of
Sontsov.^* As a m a n the father was a serious student
and had a large, ever-growing library of his own. The
mother was talented musically and played a great deal of

2
Beethoven and Chopin for him.
The parents together took the responsibility of
their s o n ’s education and taught him for six hours every
day with the mother in charge of Prokofieff’s musical
training. At the age of five he began to compose small
pieces. By the time he was six, Seryozha, as he was
called by his parents, had composed a waltz, a march,

4
and a rondo. When he was nine the boy wrote an opera
1 Boelza, I., Handbook of Soviet Musicians

(The Pilot Press, LtdTJ London, 1943), pT 43.
2 Ewen, David, Composers of Today (H.W. Wilson

Co., N e w York, 1934), p. 199.
3 Nestyev, Israel, Sergei Prokofieff (Alfred A.

Knopf, New York, 1946), p. 4.
4 Loc. cit.
4
"The Giant" with a piano score* The opera was not orchestra
ted. 5
Se ryozha’s first music teacher, outside of his mother,
was Y. Pomerantsev, who met the Prokofieffs during their
visit to Moscow in 1902.^ Pomerantsev concentrated unduly
upon the traditional studies of harmony which oppressed
his pupil. Pomerantsev was soon succeeded by Reinhold
Gliere, who had a more sympathetic understanding of his

7
p u p i l ’s nature.
"Gliere spent the summers of 1902 and 1903 at
Sontsovka teaching the boy the rudiments of harmony,
analysis of form and instrumentation."® At eleven, while
studying with Gliere, he wrote a symphony in orchestral
score using elementary harmonies, chiefly the principal
triads.9 At twelve Prokofieff wrote an opera based on
P u s h k i n ’s Feast During the Plague with an overture in
sonata f o r m . ^
5 Slonimsky, Nicholas, "Serge Prokofieff".

Thompson, Oscar, ed., Great Modern Composers (Dodd,
Mead & Co,, New York, 1941),, p. 210.
6 Nestyev, I., op. cit., p.5.
7 Ibid., p . 6.
8 Nestyev, I., Sergei Prokofieff, p. 6.
9 Slonimsky, N . , "Serge Prokofieff". Thompson, 0.,

Great Modern Composers, p. 210.
10 hoc, cit.
5
■In the fall of 1904 Prokofieff entered the St.
Petersburg Conservatory. By this time he had composed
"four operas, two sonatas, a symphony, and a number* of
pieces for the p i a n o I n the conservatory he studied
composition under such noted musicians as Rimsky-Korsakoff,
Lyadov and Vitol, conducting under Tcherepnine, and piano
with E s s i p o v a . ^ He was attracted to modernism and became
interested in the works of Scriabin and Max R e g e r . ^
Lyadov taught harmony and insisted upon strict observance
of the rules. This ran counter to Prokofieff*s desire to
learn by experimentation and by the study of Grieg, Rimsky-
Korsakof f and Wagner at first, then Richard Strauss, Reger
and Debussy. The latter three were not liked at the con
servatory and the students were discouraged in their study
of them. -**4
In the two years 1906-7 and 1907-8, Prokofieff
studied in the classes of Lyadov and Rimsky-Korsakoff.
As usual, Lyadov disliked his student *s work in counter
point, thought it harsh and crude. "Rimsky-Korsakoff on
the other hand, was coldly ironic, and. often ridiculed what
ge considered to be the unevenness and incoherence of his
11 Nestyev, I., otd . cit., p. 8.
12 Boelza, I., Handbook of Soviet Musicians. p. 43.
13 Ewen, D . , Composers of T o d a y , p. 199.

6
IS
p u p i l ’s exercises in instrumentation." In addition to
class work Prokofieff had to present piano pieces in the
simplest forms at L y a d ov’s lessons. He also attempted
outsideoof his regular work, some larger compositions
which later were rewritten as his First, Third, and Fourth
Plano Sonatas . ^
In conjunction with studies at the conservatory,
Prokofieff was active in a society called Evenings of
Modern Music, which he joined in 1908. This organization
and the St. Petersburg Conservatory played the two major

i„■
roles in Proko f i e f f 1s development as a composer. The
principles of the Evenings of Modern Music were an "em
phasis on original and non-repetitive forms, and a rejection

IV
of the social and educational implications of art".
The group tried out all the new compositions written in
Russia or abroad. Some of the foreign composers whose works
were performed were Debussy, Faure, Chausson, d ’Indy, Schoen
berg, Reger, Wolf, and Richard Strauss. The Russian composers
recognized by the society were Scriabin, Stravinsky, Medtner,
Rachmaninoff, Rebikoff, Tcherepnin, G-uessin, Steinberg, Rimsky-
Korsakof f and Prokofieff.^"®
15 Nestyev**, I . , Sergei Prokofieff-. p. 12.
lo L o c . c i t .
17 Nestyev, I., Sergei Prokofieff, p."15.
18 Ibid. / p* 14.
Stravinsky and Prokofieff were first encouraged by Eve
nings of Modern M u s i c .
In the spring of 1908, Prokofieff graduated from
the St* Petersburg Conservatory, but he continued his
studies of piano and conducting for five more years*
Hdftever, during these years he wcrked independently on
his compositions, and by 1914 had firmly established him
self as a performer on piano and as' a composer.
He continued to compose up to 1918 at which point
he felt a need for ne w impressions and ideas* This sig
nified the end of the so-called pre-foreign period, for
Prokofieff decided to travel* As a concert pianist he
toured London, Berlin and Paris. He then toured the United
States giving concerts and. performing some of his music*
On the whole, the American public did not receive his work
favorably, and in April, 1920, Prokofieff returned to Europe
but went back to the United States several times to see
about having some of his work performed.
In 1923 Prokofieff settled in Paris for the next
ten years. Parisians evinced little interest in Proko
fieff 's lyrical qualities, showing a decided preference
for the dynamic compositions Scythian S u ite1', -

’The Buf
f o o n <f, and the Third Concerto for Piano in C Major.
Diaghilev produced most of his ballets.^®
19 Nestyev, I*,. Sergei Prokofieff, p. 96.

In 1933 Prokofieff returned to Russia where he has
remained to the present. In Russia Prokofieff has been en
couraged in his lyrical tendencies. In this final period
Prokofieff became associated with the films, writing much
music for them. His music of this period is frequently
theatrical and nationalistic with much use of folk material
Having made a brief review of Serge Prokofieff's lif
we can now proceed to a consideration of Prokofieff the m a
ture composer, first by noting some critical estimates of
his work a n d then by recounting some of the musical develop
ments which influenced him.
SOME CHARACTERISTICS OF PROKOFIEFF1S MUSIC

AS NOTED BY ANALYSTS AND CRITICS
Music critics are agreed that Prokofieff*s music
is a reaction against romanticism and impressionism. His
rhythm is concis'e, incisive; it has a definite framework.
His melodic line is broad as opposed to impressionistic
arpeggio patterns. Prokofieff1s harmony is the result of
the melodic line with its occasional dissonances at points
of intersection. This harmony is diametrically opposed to
the idea of the use of harmony for tonal beauty. Critics

20
point to his use of form in the place of color.
SO^^Sahaneyev, Leonid0, f,R u s s i a !s Strong M a n ”,

Modern M u s i c , Vol. 6, No. 2 (March, 1929), pp. 3-9.
9
His music is impressive in its virility, opti

mistic joy of living, rhythmic elasticity and dynamism,
The we 11-known ^Scythian Suite (Alla and L o l l y ) ;V is
written as though in protest against the impressionist
over-sensitiveness, against the hot-house atmosphere in
music* The archaic intonations of this work seem to
herald a new dawn--the revival in our age of man's early
joyful approach to nature. The same call to vigor and
courage rings in his other compositions; it alternates
with lyrical moods and sharp sarcasm, scoffing at the
conventions of life and the hypocrisy of society--a
derision which is obvious in one of his early operas
■The G a m b l e r f after Dostoyevsky’s s t o r y . ^
Lyricism is a striking quality which appears in almost
all of P r okofieff’s warks. It is in songs of his that were set
to poems of Balmont and Akhamatova, in the ’Fairy Tales of Old
G r a n d m a 1, and others* In absolute music lyricism can be noted
in parts of the First and Second Violin Concerto, and in the

22
adagio of the Fourth Sonata, to mention a few*
INFLUENCE OF NATIONAL HERITAGE
The influence of R u s s i a ’s past is easily seen in Pro
kofieff ’s compositions. The subject matter of many of his
compositions is the life and history of the Russian people,
as in the cantata Alexander Nevsky depicting events of the
fifteenth century, and the -Semyon Kotka opera $i ich Is based/
21 Boelza, I., Handbook of Soviet Musicians, p* 44*
22 Sabaneyev, L * , ''Russia's Strong M a n ”,- Modern M u s i c ,

Vol. 6, No. 2, (March, 1929), p. 9. Abraham, Gerald, Eight
So viet Composers (Oxford University Press, London, New York,
Toronto^ 1 9 4 3 ) , pp. 32-42.
10
23
upon the Civil War in the Urkraine in recent times.
Many of Proko f i efffs characteristics such as
sarcasm, caricature, and grotesqueness, are also part
of the Russian nature and are to be found in Russian
literature from Gogol on to the p r e s e n t . ^ To illustrate
this, one m a y mention Prokofieff’s b a l l e t .C h o u t .depicting
the mad exploits of a buffoon attempting to hoodwink^
seven other buffoons.
Early in his career as a composer Prokofieff became
interested in historical Russia. One result of this early
interest is the Scythian Suit e , which is similar to Stravin
s k y ^ Le Sacre du Printemps.- The subject is the fTremote past
of pagan R u s s i a " , ^ and concerns prehistoric nomads of the
Ukrainian steppes. The Scythian Suite was written as early
as .1914 and Prokofieff's first important orchestral work.2b
In 1917 Prokofieff wrote Seven, They Are Seven, an
incantation for a large orchestra, chorus and tenor solo.

27
This was based on a Sumerian legend of seven demons.
23 Boelz, I., Handbook of Soviet Musicians, p. 45.
24 Abraham, G. , Eight Soviet Composers, p. 32.
25 Slonimsky, N . , f!Serget Prokofieff”.. Thompson,

> Great Modern Composers, p. 214.
26 hoc. c i t .
27 Slonimsky, N. , ”Serge Prokofieff”. Thompson, ed,

Great Modern Composers, p. 214.
11
After direct history (Scythian Suite O'

1 and then the
incantation based on legend, Prokofieff turned to -works of
Russian writers. He wrote an ooeraz ---------

The Gambler based
y on the
autobiographical novel of the same name by Dostoyevsky and
another opera.The Flaming Angel^based oh the novel by Valery

28
Binsov. The Third Symphony was derived from this opera.
Prokofieff also wrote songs set to poems by Balmont and
Akhmatova. ^
Prokofieff!s literary affinities may be given as Poe
and Dostoyevsky. ‘ ’’His Sarcasms and his Scythian Suite are,
according to some critics, reminiscent of the grotesqueness of
Poe, and he is the first composer to write an opera on a story
by Dostoyevsky.
The works of the Russian writer Pushkin have been used
by several Russian composers, among whome are Moussorgsky in
Boris Godunov, Tschaikovsky In Pique Dame and Eugene Qnegin
and others. Prokofieff was commissioned "to do special music

31
for a cinema and two p l a y s 1’. In these, he utilized the same
material as that in the compositions mentioned above by Mous
sorgsky and Tchaikovsky. Prokofieff’s assignment was for the
28 Boelz, I., Handbook of Soviet Musicians, pi 44
29 Sabaneyev, L . , "Russia’s Strong M a n ”. Modern

M u s i c , Vol. 6, No. 2 . (March,,1929) p. 9.
30 ’’Terrible Infant of Russian Music Finds Refuge In

America”. Current Opinion, Vol. 65. December, 1918, p. 371.
3! Time, Vol. 29. February 1, 1937, p. 38.

32
centenary of the death of Pushkin (1799-1837)*
Polk tales have also been employed by Prokofieff as
subject matter for his compositions* All his life he has
had a liking for fantastic fairy tales. T,His ballets and
his operas often combine reality with fantasy"; for example,
Tale of a Buffoon Who Outwitted Seven Other Buffoons,better
known as Ghout, and hove For Three Oranges, an opera* Pro
kofieff used a non-Russian folk tale for his song^ The Ugly
D u c k l i n g * which is based on a tale by Hans Anderson, TTin
which the beautiful cygnet is shunned and snubbed by the duck-

34
ling, whose idea of bird beauty is the opposite to swans".
MUSICAL HERITAGE (RUSSIAN)
Until 1836 there was no national Russian music. At
this time Glinka's A Life for the Tsar a p p e a r e d . ^ The sub
ject was Russian. The national school beginning with Glinka
followed the German composers, but later a tendency arose to
drop the German influence and to develop a Russian culture.
The leaders of this tendency were Moussorgsky and Tcha.ikovsky*'
52 Ibid, p. 38.
33 Slonimsky, N. , "The Ugly Duckling of Russian M u s i c 11.

Christian Science Monitor Magazine, Jan. 27, 1945, p. 7.
34 L o c ♦ cit.
35 Lakong, W . , "Musical Activities in the USSR".

Etu d e , Vol. 51, September, 1933, p. 586.
36 Lourie, A., "Russian School". Musical Quarterly,

Vol. 18, October, 1932, pp. 519-20.
13
Tchaikovsky wished to develop a Russian character
but continued to use the technical means of the west, follow
ing the French school* At the same time one Russian group
adhered to the German school in opposition to Tchaikovsky.
Moussorgsky, however, worked for a Russian school free from
all foreign influences.^7
Between Tchaikovsky and Moussorgsky was a group which
continued to use the formal methods of the Germans. Rimsky-
Korsakof f occupied a place halfway between Tchaikovsky and
Moussorgsky, using the formal methods of the German school.

*zo
Glazounov was a follower of Rimsky-Korsakoff.
Moussorgsky was the leader in the strictest sense of
a purely Russian national school. He wanted to express the
folk element in his music and was the first Russian composer
to do so. 39 He created a new type of opera. In his operas
there was an nabsence of formal overture, aria, and ensemble"•
The "aria-like recitative" was very prominent,yand the scenes
had an "intense dramatic i n t e r e s t " . ^
Beside dis r e g a r ding.form in his operas, Moussorgsky
also ignored 19th century harmony and modulation.
37 Ibid. , p. 520
38 Hoc. cit.
39 Lourie, A., "Russian School". Musical Quarterly

Vol. 18, October, 1932, p. 521*
40 Swan, A. J . , "Russia and Modern Music". Yale

R eview, Vol. 15, October, 1925, p. 128
14
There are many modal passages in his music, and when the
regular major and minor are used, the dominant is given

41
less importance. x
One form Qf expression that Moussorgsky used was the
"spoken song", which is faithful to the smallest inflections
of the human voice. This is a form that was adopted by De-

40
bussy and later by Schoenberg, who carried it to its extreme.
After Moussorgsky came Liadov, whose great contribution
is to be found in Kikimora, Baba-Yaga, around twenty nursery
rhymes, "and the harmonization of about 150 folk-songs of
Greater Russia".43 Characteristics of L i a d o v ’s music are its
Dorian cadences, endings of the dominant and subdominant, and
the "brevity and conciseness of musical t h o u g h t ".^
With Scriabin, a composer of the late nineteenth
century, aationalism was of secondary importance to
mysticism. In the mature period of Scriabin’s composition
he abandoned all traditions of the Russian school and be
came an "adherent of W e s t e r n i s m " . ^
4 1 I bid. , pp. 127-28.
42 Ibid., p. 130.
43 Ibid., p. 131.
44 Loc. ci t .
45 Lourie, A., o p . cit., p. 521.

15
Scriabin became interested in tonal color to the exclusion
of form and Russian character in his music. He eventually
attempted to combine actual colors with tones so that with
certain t o n a l ,combinations corresponding visual impressions
would be achieved.
By the end of the nineteenth' century harmony was
developing in two directions, one being toward chromaticism,
the complete effacement of tonality, or atonalit^r. Two
composers experimenting in this direction were Scriabin,
who used older forms, and Schoenberg, who ignored the older
harmonies and forms. The other direction harmony took was
diatonic; that is, the tendency to write simultaneously in

A
two or more keys. Stravinsky favored this type of compo
sition, using polytonality frequently in his works. The
harmony as such as more or less accidental, and his chords
are the ’’causal result of part-leading, wherein fragments
of melodies are combined”.^
MUSICAL CONTEMPORARIES
Stravinsky is an ’’exponent of Moussorgsky1s S c y t h i a n 1
p r o b l e m ”; he is a ’’brilliant interpreter of Russian
46 Swan, A. J. , o£. c i t ., p. 134.
47 Swan, A. J., ’’Present State of Russian M u s i c ”.

Musical Quarterly, Vol. 13, Jan., 1927, p. 30.
48 Lourie, A., 0 £. cit., p. 522.

16
folk-lore by means of orchestral colour (L 'Qlseau de F e u ,
1 9 0 9 )tl. ^ The influence of Russia's past is also to be
noted in Stravinsky's music; for example, the Sacre du Prin-
temps written in 1913. This is Stravinsky's "vision of p r e
historic Russia with its unparalled exhibition of primitive

i/ 50
savagery".
The post-revolutionary music of both Stravinsky and
Prokofieff is reactionary although even before the revolution
Stravinsky showed a "sympathy for ways of thinking and feeling

cr n
proper to past ages". (in Le Sacre. ) After the war came
Stravinsky's Oedipus Rex and Symphonie des Psaulmes" Proko
fieff 's reactionary spirit showed itself in the Third Piano
Goneerto against the recent impressionism. ^ As stated
before, Prokofieff's music is a reaction against romanticism
and impressionism.
By 1932 there were several groups of composers in
Russia. 53 One is the Moscow group consisting of Miaskovsky,
A. Erein, Mosolov, Oberin, Feinberg, and others. Members
of the Leningrad group are Shostakovitch, Popov, Ryazanov,
49 Swan, A. J., "Present State of Russian Music".

Musical Quarterly, Vol. 13, January, 1927, p. 29.
50 L o c . cit.
51 Rosenfeld, P., "Newer Russian Music". New

R e p u b l i c , Vol. 75, July 26, 1933, p. 289.
52 Loc. c i t .
53 Lourie, A., ojc. cit. , p. 526.

17
and others* The Western group, which has the most illus
trious members, consists of Stravinsky, Prokofieff, Markevich,
Nabakov, Alexander Tcheropnin, Berezovsky, and many others.
The Western group is so-called because its members have had
contact with Western culture. The last group to be mentioned
is that of the Proletarian composers. These composers are

54
amateurs and have no professional standing. They are the
result of the Soviet government’s interest in music of and by
the workers, who are encouraged to develop their own art.
This art is intended to reflect the pleasant existence of the
workers in the Soviet Regime, and it m a y be described as
radical in that it is the "musical reflection of...social
and economic radicalisms".
ASSOCIATIONS OF MIDDLE AND LATE PERIODS
The middle period of Prokofieff's life as a composer
began in 1918 \nhen he left Russia for America, where he
remained for several years and then went to Paris. ^
54 L o c . cit.
55 Mendel, "Two Kinds of Radicalism". Nation, Vol.

136, February 22, 1933, p. 216.

18
Of his associations in Paris the two most important were
with Serge Koussevitsky and Diaghilev, the Russian ballet
impressario.
P r o k o f i e f f !s association with Koussevitsky began in
1921. The first performances of Prokofiefffs First Violin
Concerto (1923) and his Second Symphony (1925) were given
b y the Paris orchestra under the direction of Koussevitsky*
There were also repeat performances of the Scythian Suite,
the Classical Symphony, the March and Scherzo from the hove
for Three Oranges, and the Suite from the Chout* Kousse
vitsky later commissioned Prokofieff*s Fourth Symphony, which
was played in Boston in 1930* Koussevitsky was also head of
the Russian publishing house in Paris and "published a num
ber of Prokofieff«s works " * ^
In 1922 Prokofieff became associated with Diaghilev
under whose direction the following ballets were produced:
The Buffoon, 1921; Le Pas d *A c i e r . written in 1925 and p ro
duced in 1927; and h» Enfant Pro digue, 1929.
The Qompositions of Prokofieff*s middle, or foreign,
period, are the three ballets just mentioned; the Second,
T h i r d , and Fourth Symphonies; the two operas, Love for Three
~ • 57 Slonimsky, N . , "Serge Prokofieff", Thompson, 0.,

ed., G-reat Modern Composers, p. 216.
58 Ibid*, p. 215.
Oranges and The Flaming A n g e l ; the Fourth Piano Concerto;
59
the First String Quartet; and a cycle of piano pieces*
The late period commenced upon ProkofieffTs return
to Russia in 1933 where the two important associations
were with the motion picture and the t h e a t r e . ^ Eisen-
stein produced the films for which Prokofieff wrote the
music; the first such film was Lt. K i .1e . Lt* K i .1e is based
upon the story of the Tsar's mistake in reading an o f f icer1
name and a fictitious officer.is created* The theme was
suited to Pr o k o f i e f f 1s satirical b e n t . ^ In 1934 Proko
fieff developed it into a suite.
In 1938 the filrn^. Alexander Uevsky^was produced by
Eisenstein with the incidental music by Prokofieff,^ who
later rewrote it as a cantata. The film was based upon
the Russian past, nthe rout of the Teutonic Knights on the

63
frozen surface of Lake Peipus on April 5, 1 2 4 2 M.
In 1942 Prokofieff wrote the musical scores for the
films Lermontov, T o n y a , and Kotovsky. Kotovsky is about
a person of the same name who was fla hero in the struggle
59 Boelz, I., 0 £.. cit. , p. 44.
60 Slonimsky, N . , o p . cit., p. 217.
61 L o c . ci t .
62 I bid*, p. 218.
63 Loic. cit.
64 Nestyev, I . , Sergei Prokofieff, p. 164.

against the German forces of occupation in the Ukraine in
1918".65
Two years later, 1944, Prokofieff went again to
Akma Ata, capital of Kazakhstan, to work with Sergei
Eisenstein on the historical film "Ivan the Terrible '* at
E i s e n s t e i n ’s invitation. Prokofieff and Eisenstein colla
borated closely upon the film. They read the scenario to
gether and then Eisenstein "explained in detail just what

bb
sort of music was required". Eisenstein also "illustrated
every scene by means of drawings. He worked out, very thor
oughly, every detail of the decoration, costuming and make-

b7
up." In this way Prokofieff gained an understanding of
E i s e n s t e i n ’s aims in the production of the film. The
following was the procedure in the writing of the music:
"part of the music was to be written before the filming...
part was to be written after and (Prokofieff) had viewed
the filmed material in order to attune himself to the story
in its visual form. "^8
F o r the theatre Prokofieff wrote Peter and the Wolf
in 1936. This was first produced at the C hildren’s Theatre
6$ Prokofieff, S., "War Years; Autobiography".

Musical Quarterly, Vol. 30, October, 1944., p. 424.
21
in M o s c o w . ^ 9 In the same year the ballet Romeo and Juliet
from Shakespeare was written. In 1940 Prokofieff wrote
two operas, Simeon K o t k o , based on the civil war in the Uk
raine, and The Duenna Opera, based on a play by Sheridan.
In 1941 the opera A Monastery Wedding and the ballet Cin
derella a p p e a r e d . ^
To summarize, in the late period the following compo
sitions were written: Lt. Ki je Suite, 1934; Alexander Nevsky
Cantata, 1938; the narrative Peter and the W o l f , 1936; the
ballet Romeo and Juliet, 1936; the operas Simeon Kotko and
The Duenna Opera, 1940; A Monastery Wedding, opera, 1941. <
In this period Prokofieff also wrote the Sixth, Seventh,
and Eighth Sonatas for piano, instrumental songs, choruses,

71
ballads, etc.
INFLUENCE OF CONTEMPORARY RUSSIA
The influence of contemporary Russia can be seen in
m a n y of Proko f i e f f 1s compositions. ”In the ballet Le Pas
d 1Acier he turned, for the first time (1925) to Soviet themes,

72
dealing with the building of a new life in the Russian village."
69 Slonimsky, N . , pp. cit., p. 218.
70 Ibid., pp. 218-19.
72 Boelz, I.1
,: o p . c i t . , p. 44.
22
This composition was intended as a tribute to Soviet Russia,
and was dedicated to the !Tsocial values of factories and
to the dignity of l a b o r " . ^
The Russian Over ture, 1936, is "based on national themes
...This work comes close to the dominant Soviet movement, char-

74
acterized by 'national f r a m e w o r k ’ and ’contemporary content’’.
In 1937 Prokofieff wrote the Cantata for the Twentieth
Anniversary of the Scwiet Revolution, which was "composed to
the texts from the gp eeches and writing of Marx, Lenin and Sta-
lin". The Year 1941 Suite was written after the outbreak of
hostilities between Germany and Russia. u
73 Ewen, D . , Twentieth Century Composers.

(Thomas Y. Crowell Co., New York, 193777 p"* 125.
74 Slonimsky, N. , ojd. ci t . , p. 217.
75 Loc. cit.
76 Boelz, I., Q£. c i t ., p. 45.

CHAPTER III
MUSICAL F ORMS USED BY PROKOFIEFF
FORM IN RUSSIAN MUSIC
The Russians, with the exception of Stravinsky, have
consummate command of the element of form* From the

the time that the big classical forms were implanted
in the Russian soil (Balakirev, Tchaikovsky), there
has been a rapidly increasing determination on the
part of Russian composers to make their use second
nature* Alongside with such big forms as the symph-
only, sonata, and concerto, with all their roots in •
Europe, there grew up peculiarly Slavic miniature
forms--the prelude, poem, fairy-tale (skazka), m a
zurka, that were chiseled.to perfection by Liadov,
Scriabin, etc. All these forms are still used by
almost unanimous acclamation.
Prokofieff is an exponent of this school.
PROKOFIEFF*S USE OF MUSICAL FORMS
The tendency of modern composers is to return to the

2
classic forms. Prokofieff is no exception. In the field
of instrumental or symphonic music Prokofieff has felt no
inadequacies of the forms already existing. He said at
one time, j
v7
I am well content with the forms already perfected.
I want nothing better, nothing more flexible -or
more complete than the sonata form, which contains
everything necessary to m y structural p u r p o s e . 3
1 Swan, A. J., flPresent Sta'te of Russian Music".

Musical Quarterly. Vol. 13, January, 1927, p. 32.
2 Prunieres, Henry, "Tendencies of Modern Com

posers". New York T i m e s, 1932. October 23, IX, 8:3.
3 Downes, Olin, "Prokofieff Speaks". New York T i m e s ,

1930. February, 2, Vol. VIII, 8:4*
24
In only one type of music has Prokofieff questioned
the value of the existing form, and that is in opera. Pro
kofieff expressed the view that "the form of the opera must
be determined essentially by the form of the dramatic sub
ject. T!^
CLASSICAL INFLUENCE
The Concerto. In the nineteenth century the concerto
was a virtuoso piece for soloist with the orcestra providing
an unobtrusive background. The modern concerto Ishows a
return to the "antiphonal relationship and equality of impor-
tance between the solo instrument and the orchestra which
characterized the baroque concerto.
The f,equaility of importance" between the sold instru

ment and the orchestra characterizes Prokofieff*s Third Con
certo in C Major for piano. In this concerto Prokofieff has
maintained
a nice balance between orchestra and solo instrument.

He uses the piano as a foil to the more sustained
and varied tone of the orchestra, allowing the per
cussive and staccato effects of the instrument full
play.6
The forms of the concerto "are clear and easily re-
lated to classic designs"^
4 Loc. cit.
5 Moore, Douglas, From Madrigal to Modern Music

(W. W. Norton & Co., Inc., New York, 1942 )*^ pi ^8151
6 I bid., p. 291.
7 Loc. cit.
the first movement is in sonata form, which Prokofieff con-
Q
siders entirely adequate for his demands. The slow
9
movement is in theme and variations form.
The concerto bears a definite relationship to the
nineteenth century, also, in that it is a virtuoso p i e c e ^
although maintaining the aforementioned antiphonal relation
ship between the solo instrument and the orchestra, "In
brilliant Russian tradition", the concerto is "built on

..11
t h e m e s . . . i n the Slavonic f o l k -s on g style." The c om po sition
IP
is polytonal, ^ with modern dissonances used not for their
own sake but as "enrichment of the harmonic s c h e m g . ^
The Piano Sonata. The pianoforte sonata is a
comparatively recent development in Russia. The Russian
composers of the late nineteenth century were preoccupied
with symphonic music, and Scriabin was the leader in the
development of the modern Russian piano sonata.
8 Slonimsky, N . , "Prokofieff", Ewen, David, ed.,

The Book of Modern Composers (Alfred A. Knopf, New York,
19431, p. 143.
9 Downes, 0 ., "Prokofieff"(heard in his own works)

Ne w York T i m e s , 1933. Jan. 20, 20:1.
10 L o c . c i t .
11 Rosenfeld, P., "Newer Russian Music". New Republic

Vol. 75, July 26, 1933, p. 290.
12 L o c . cit.
13 "Prokofieff: Portrait", Outlook, Vol. 142,

February 17, 1926, p. 238.
14 Martens, Frederick H . , "Modern Russian Pianoforte

Sonata". Musical Quarterly, Vol. 5, July, 1919, p. 357.
26
ffThe norm of the sonata form is in its first movement
so that whether a sonata is written in one or more movements
does not affect the essential characteristics of the form it
self. Scriabin1s sonatas are written in various movements.
In the first period Scriabin wrote four piano sonatas which
adhere most closely to the classical form. The Fifth Son-
at a is the beginning'of his second period.
Scr i a b i n 1s Six t h . Seventh and Eighth Sonatas are noted
for their complexity of development and Scriabin’s harmonic

17
scheme of a natural chord built up by fourths.x
In the third period Scriabin wrote the Ninth and Tenth
Sonatas. which are characterized by the exploitation of pre-

1Q
vious means (of writing), clarity and simplicity. Scriabin's
music is recognized by its qualities of mysticism or "psychic
aspiration". ^
G-lazounoff wrote two piano sonatas, the First Piano
Sonata in b minor, and the Second Piano Sonata in e minor.
These sonatas differed from Scriabin’s by their *nationalistic,
15 IbidT, p • 358 •
16 I b i d ., p. 357.
17 . p. 358.
18 Ibid., p. 359.
19 Ibid** P- 360.
27
20
more down to earth, characteristics*
Rachmaninoff also wrote two piano sonatas by 1919*
Tlie Sonata in d minor was programmatic with Faust as
the subject. The three movements are‘'Faust” “Gretchen, and
‘Vephistopheles*l The Second Sonata is i'n ^ minor.
N. Medtner wrote ten piano sonatas, some simple and
some complex. The E m i n o r . Opus 25, is the most important,
has fine themes and development, and is long and complex.
Medtner wrote a "Sonata- B a l l a d ’: in F # minor with the first

21
movement in "epic pastoral style", and the last movement
a fugue. The Sonata-Triad, Opus 11, is a suite of three
sonatas in a simpler style and. less complex than the E minor
Sonata.^
In a discussion of the development of the Russian
sonata in his article "Modern Russian Piano Sonata" written
in 1919, F. Martens states that ,f
In the work of these three composers (Scriabin, Mya-

skovski, and Prokofieff) the modern Russian piano .
sonata m a y be said to reveal itself in its most char
acteristic form, in the most finished development of
an expression based on radically different individu
alities and artistic trends.
By 1919 Myaskovski had written two sonatas. The
20 Martens, F., ojd. c i t ., p. 360.
21 I bid. , p. 361.
22 L o c . cit.
23 Martens, F., o p . cit., p. 361.

28
First Sonata, in D minor, is unique. The first movement
is a fugue, beginning simply and.is carried b y a stretto
through every register of the piano with a crescendo of
effect. The second movement is sonata allegro, the third
and fourth movements are heavy and long. The Second Son-
.ata is in F # minor. In one movement the theme Dies Irae

24
is used with unusual harmony.
By 1919 Prokofieff had written four sonatas. The
First Sonata, in F minor was in one movement in academic
form, "passionate and dramatic in m o o d 11. The harmony is

p5
not especially m o d e r n or characteristic of the composer.
Prokofieff*s Second Sonata in D minor,- Opus 14 (1912)
, has the usual four movements, Allegro, Scherzo, Andante and
Vivace. The Third Sonata in A minor .was written in one m o v e
ment with "dissonant complexity" and "harsh realism" in
contrast with a lyric theme. ^ Bis Fourth Sonata, in G
minor, has a multiple theme combination and a decorative

27
counterpoint. The "tonally unessentialM was avoided.
THE SYMPHONY
Nineteenth and twentieth century symphonies by
24 Loc” c i t .
25 I b i d ., p. 362.
26 Martens, F., oj3 . cit., p. 363.
27 Loc. cit.
29
Russian composers are nationalistic, the composers using
actual folk tunes or writing in the style of folk s o n g . ^ 8
The Russian composers also construct their symphonies in
classical sonata form,
Tchaikovsk?/ used the Russian folk idiom in his
symphonies but wrote according to Western traditions so
that the indigenuous character of the folk material was

pg
not always preserved."" Of the "Russian F i v e ” Balakirev
and Borodin wrote some symphonies, which contain folk
songs or are in folk song idiom and bear a distinct
Russian character. Glazounov is another such writer.
Prokofieff has followed this tradition in the
writing.of his five symphonies. His latest symphony,
the F i f t h . was written in 1944, and is the first purely
symphonic work since the ,fBoston Symphony commissioned his
Fourth to celebrate the orchestra’s fiftieth anniversary
in 1930" Prokofieff gathered themes for the Fifth in
a special notebook for several years, wrote the entire
score for it in one month and orchestrated it in another
month. ^
28 Aldrich, R. , "Symphony# Influence of Nationalism".

G r o v e 1 s Pictlonar’
y of Music and Musicians. 1928, Vol 5, p. 238.
29 L o c .c i t .
30 Ibid., p. 239.
31 "Prokofieff!s Voice is Cosmopolitan, His Theme Is

The Spirit of Russia". N e w s w e e k , Vol. 26, Nov. 19, 1945, p. 82.
32 Magidoff, R . . "A Report on Prokofieff". New York

Times 1945, March 25, II, 5:5.
The symphony is "large in scale, a great brassy
creation with some of the intricate efficiency and dynamic
energy of a Soviet power plant and some of the pastoral lyri
cism of a Chekhov country s i d e " . ^
The witty inventions associated with P r o kofiefffs

familiar Classical Symphony are there in brilliant
abundance, but present also is an emotional tension
far removed from . * .the fantasy of Peter and the
Wolf or the theatrical effectiveness of film scores
like Alexander N e v s k y " .^4
Although the source of this composition is Russian,
its spirit transcends that of nationalism.
The Fifth was written during the war in the summer

of 1944, , , TI strove to write music which was su
premely h u m a n ’, Prokofieff wrote. ’It is a symphony
about the spirit of man. ’^5
The symphony is in four movements, Andante, Allegro
marcato, an Adagio "built around a funeral march", and an

37
Allegro giocoso, "sparkling, joyous, brimming with life".
THE OPERA
The first opera in Russia was G l i n k a ’s \A Life for
33 "Composer, Soviet-style". Time, Vol. 46, Nov. 19,

1945, p. 57.
34 "Prokofieff’s voice Is cosmopolitan, his theme

Is the spirit of R u s s i a ." Newsweek, Vol. 26, Nov. 19, 1945
p. 82.
35 Loc. cit.
36 Magidoff, R., "A Report on Prokofieff". N e w 'Work

T i m e s , 1945. March 25, II, 5:5.
the Czar the subject f o r which was si^ggested by Zhukovsky,*^
a Russian writer, Glinka had adesire to compose music of a
national character just as his friends Pushkin, Gogol, and
Zhukovsky wished to create literature of a purely Russian
character.^ A Life for the Gzar was the beginning of n a
tionalism in Russian music. Glinka's second opera Russian

40
and Ludmilla was from a poem by Pushkin, The music showed
an improvement over that of the first with original’harmony
foreshadowing the use of the whole tone scale with, an influence

41
apparent in the music of Borodin and Rimsky-Korsakoff. Glinka
used the sonata form overture and wrote choruses for women's
42
voices, showing the way for his followers.
Dargomyzhsky was another important Russian composer
of operas. The Stone Guest was
composed in the light of his (Dargomyzhsky's) firm

conviction that the lyric element in opera was des
tructive of dramatic continuity. The music consisted
almost entirely of recitative with brief interludes
by the orchestra, . .Dargomyzhsky wished to stress
the drama in opera by means of a heightened declama
tion. 'I wish the note to be e|^ressive of the word*
was his oft repeated statement.
38 Hill, E. B., "Russian Nationalistic Composers 11

E t u d e , Vol. 59, Sept., 1941, p. 636.
32
The Stone G-uest, which was unfinished at Dargomyzhsky’s
death, was completed by Gesar Cui and orchestrated by

44
Rimsky-Korsakoff•
D a r g o m y z h s k y ’s conception of tho U 3 e of declamation
in opera influenced directly and powerfully Moussorgsky,
who attempted first the opera^ the M a r r i a g e . w h i c h m a d e

45
excellent use of D a rgomyzhsky’s idea.
Rimsky-Korsakoff also showed the influence of Dar
g o m y z h s k y ’s declamatory style. He wrote the one act operetta
Mozart and Salieri based on a poem by Pushkin. The reci
tatives were written first, in declamatory style, and the

/]K
orchestration was written afterward.
Russian opera now is one of the strongest and most
influential recent art forms in music. The Russian compo
sers of opera so far mentioned are G-linka, Borodin, Rimsky-
Korsakoff and Moussorgsky, and "perhaps the greatest of

. 47
them all--Moussorgsky . This heritage has influenced
recent Soviet composers.
After the Revolution the application of a social
policy to music was apparent; the Soviet composer had to
create "mass operatic spectacles that would reflect the
revolutionary events in the genesis of the new society " . ^ 8
44 Hill, E. B. , ojc. c i t . , p. 636.
45 L o c . cit.
46 L o c . c i t .
47 Kozlenko. W . , "Soviet Music and Musicians".

Musical. Quarterly,Vol. 23, July, 1937, p. 303.
^48l[iOC. cit.
33
A type of opera developed with a distinct style and conception;
larger, a more complex form, and of m u c h sociological signifi
cance* "During the years of development in the USSR, the comp
osition of this type of opera was carried on under the category
of TThe Picturization of Soviet Events* ."49
Of Prokofieff*s operas, one of the most important to
mention in this respect is War and P e ace, The twenty-second
of .June, 1941, the Nazis attacked Russia. This event inspir
ed Prokofieff to write the opera based on T o l s t o y 1s novel^
War and Peace* Prokofieff focused his attention upon the part
about the "struggle of the Russian people against the hordes
of Napoleon in 1812 and. . .the rout of his a rmy”, ^ which
was especially significant.
While in the Northern Caucasus in 1941, Prokofieff
worked on the first six scenes of the opera presenting

ft 51
"the peacetime lives of the main characters *
After the trip to Tbilisi, the capital of Georgia,
he finished the opera; that is, "the scenes describing the
struggles of the Russian people, their wrath, their courage,
and their final victory over the enemy who invaded the Russia
of 1 8 X2 ".52
49 Kozlenko, W . , ojd. cit., p. 303*
50 Prokofieff, S., "War Years; Autobiography".

Musical Quarterly, Vol. 30, Oct., 1944, p* 421.
51 I b i d . , pp. 422-23.
52 Loc* cit.
34
Prokofieff wrote the libretto of War and Peace in
collaboration with Mira Mendelssohn and tried
to preserve T o l s t o y ’s style and language. Wherever

his dialogues were insufficient for the purposes of
the opera, we built our own in strict conformity with
the text of the novel and with the traits Tolstoy had
instilled in his characters. In addition to T o l s t o y ’s
story we availed ourselves tf the notes 1812 written
byoyh& poet-partisan, Denis Davidov, and acquainted
ourselves with a y u m b e r of works on the history of
the war of 1812.^3
The completed opera has five acts, in eleven scenes,
"In addition to the arias and duets, an important place is
given to the choruses of the peasant volunteers, Cossacks
and p a r t i s a n s •
THE CANTATA
In modern times the word ’c a n tata’ is applied to
large choral works of a certain type. In the case of a
secular cantata, it is "a lyric drama or story adapted to

55
music, but not intended to be acted".
In Russia the subject matter, as always, is of a
patriotic nature. In 1942 while Prokofieff was at Tbil
isi, he read a poem called "The Ballad of the Unknown
Boy" by Pavel Antokolsky, which appeared in "newspaper
53 Prokofieff, S., ojd* c i t ., p. 423.
54 Ibid. » p. 424.
55 Parry, C H . , "Cantata". G r o v e ’s Dictionary of

Music and Musicians (Theodore Presser Co., Philadelphia,
1916), Vol. 1, p. 457.
c /•
and art literature". The story is about a happy little'
boy in a Russian village. The German invaders entered
the village and shot the b o y fs mother and sisters. The
boy revenged the death of his family by blowing up a Ger-

57
m a n staff car with a hand grenade. Prokofieff
decided to write a cantata to this text for drama

tic tenor, soprano, chorus and orchestra. . . 1
(Prokofieff) strove to preserve the mounting fervor
of the text in the music and to render the cantata
impetuous in spirit and dramatic. ®
That some of P r o k o f i e f f 1s cantatas are largely con
ceived can be seen by considering their instrumentation, as
in the Cantata for the S o v i e t ’s Twentieth Anniversary, which
was written in 1936-7.
This cantata was scored for four instrumental groups
and two choral groups. The four instrumental sections con
sisted of a full-sized symphony orchestra, a military band,
a band of Russian accordians and a percussion band. The
two choral groups were comprised of one-hundred trained voices
for difficult portions, and two-hundred untrained voices to
sing simpler passages and to increase the volume where needed. 59
The subject of the Twentieth Anniversary Cantata was
the Revolution. The cantata is in ten sections, each section
56 P r okofieff, S., ojd. cit. , p. 424.
58 Prokofieff, S., ojd. cit. , p. 424.
59 "Prokofieff completes cantata for S o v i e t ’s Twentieth

Anniversary". New York T i m e s , 1938, Feb., 13, X, 7; 7.
36
about a particular phase of the Revolution. The texts, from
Lenin, Stalin, and Karl Marx, were chosen more for their
■ 60
dramatic value than for any polemic value*
The form of the cantata as written by Prokofieff de
pends upon the story, as is the case with his operas. The
Twentieth Anniversary Cantata deals with ten phases or as
pects of the Revolution, which determined the number of
movements. Continuity in this instance is not so important
as in the Alexander Nevsky Cantata, in seven movements, but
here again the subject matter has determined the form both
as to number of movements, and the treatment of the movements
separately and as a whole.
T H E .SUITE
The mo d e r n suite is derived from the seventeenth
and eighteenth century suites, but the "traditional scheme
of dances is replaced by a free succession of movements of
different character. . . Two types of suites are heard
today, one is the program suite which is an arrangement of
orchestral music from operas and ballets, and in Prokofieff*s
case, from film scores. The second type of suite is composed
directly in suite form and resembles the divertimento of the
60 L o c * c i t .
61 Apel, Willi, Harvard Dictionary of M u s i c . (Harvard

University Press, Cambridge, M a s s ., 1944), pp. 716-718.
37
classical p eriod which containednassorted dances, marches
and the like, with occasional pieces of symphonic architec-
ture". Prokofieff uses the "program suite, which has

63
concrete, theatrical associations”.
The Semyon Kotko Suite by Prokofieff is derived from

64
themes of the opera Semyon K o t k o . This suite is in eight
movements. The suite^Lt. Ki .je , in five movements, was taken

65
from the musical score for the film(Lt. Ki 1 e .
In 1944 Prokofieff wrote a suite from his Romeo and

66
Juliet ballet, in six movements. In the same year he wrote
the suiteÂ S u m m e r 1 s D a y . This is a chil d r e n 1 ssuite for
small symphonic orchestra in seven movements "based on my

67
(Prokof ief f 1 s ) c h i l d r e n s songs".
62 Moore, D . , From Madrigal to Modern M u s i c , p. 122.
64 Prokofieff, S ., o p . cit., p. 426.
65 Nestyev, I., ojo. c i t . , p. 128.
66 Prokofieff, S., ojd. cit., p. 427.
67 Loc. cit.
CHAPTER IV
MELODIC A N D HARMONIC MATERIAL OF
PROKOFIEFF rS COMPOSITIONS IN GENERAL
SOURCE OF P R O KOFIEFF1S MUSIC
The roots of P r o k o f i e f f fs music are to be found
in nthe coarser elements of the Russian folk-song and
dance".^ The melodic material is derived from "popular
music" which is especially apparent in the compositions

p
of his "later period"; and the subject -matter is the
life and history of the Russian people, as in the can-
t a t a .Alexander Ne v s k y , the Scythian Suite, the ballet#
Le Pas d* A c i e r , etc. Compositions such as the Third
Piano Coneerto and the Classical Symphony show in their

4
broad melodies their relationship to Russian folk-song.
1 Swan, A. J . , "Russia and Modern Music". Yale

R e v i e w , Vol. 15, October, 1925, p. 135.
2 Boelza, I., Handbo ok of Soviet Musicians,p. 45.
3 L o c . cit.
4 Swan, A. J . , "Present State of Russian Music".

39
PROKOFIEFF»S STYLE
Prokofieff*s desire in writing music has been to
express himself with originality; when a composition did

5
not have a distinctive character he destroyed'it. Although
Prokofieff violates academic rules his music is logical*
The outstanding characteristic of his music is its material-
ism. Prokofieff*s materialism is not mere naturalism; it
does not recall pictures to mind; it is matter itself.^ The
Gamblerj an opera from Dosto y e v s k y *s novel of the same name
is illustrative of this materialism, — ffits style derives
from the realism of Moussorgsky; there is even literal imi
tation, as in the musical picturization of the whirling
roulette ”•®
THE EVOLUTION OF PROKOFIEFF*S STYLE
Slonimsky cites five steps in the evolution of
Prokofieff*s style.^ They are as follows:
1. Classical. In infancy when Prokofieff*s

mother played Beethoven piano sonatas, C h o p i n ’s
music.
Neo-classical. In his Gavottes, Classical
Symphony and somewhat in the Sinfonietta.
^ Ewen, D . , Twentieth Century Composers, p. 120.
6 '’Terrible Infant of Russian Music Finds Refuge

in A m e r i c a ”. Current O pinion, Vol. 65, Dec., 1918, p. 371.
7 L o c . ci t .
8Slonimsky, N . , "Sergei Prokofieff”. Thompson, 0.,

e d •, Great Modern Composers, p. 215.
9 Ibid., p* 213.
40
2. Innovation* The search for individual harmony,

and later for a harmony expressive 6 f strong emotions,
"as in Sarcasms, Scythian Suite, The Gambler, They
Are Seven, the Second Symphony, etc, ". Innovation is
found in four phases, the " h a m o n i c idiom, melodic in
flection, orchestrations and stage technique".
3* "Toccata, or Motor E l e m e n t 17. The Etudes Opus 2 ,

Toccata Opus 1 1 , Scherzo Opus 1 2 , the Scherzo of the
Second Piano Goncerto, the toccata in the Fifth P i a n o '
Concerto, the persistent figurations in the Scythian
S u i t e , Le Pa-S d *A c i e r , and some passages in the Third
Piano Goncer t o . This element is not very important.
Ly r i c a l . Lyrical meditation* Fairy Tale Opus <3,

Rev e s , Esquisse Automnale, Legend Opus 1 2 , etc,,' the
First Violin Goncerto, songs, etc.
5* Grotesque. A variation of the other steps in the

development of Prokofieff*s style.
STYLISTIC TRENDS
No big changes in P r o k o f i e f f !s style or technique
are perceptible, ^ b u t some trends m a y be traced,
IT h e main components of his style are dynamism, sar
casm, and lyricism, but in his Soviet period Prokofieff has
tended more toward lyricism.Jjjj^The Second Violin Goncerto
(1935) shows well the increased lyricism; it is "character-

12
ized by a perfect proportion of lyrical and dynamic power".
Prokofieff*s five piano concertos also are lyrical, but at
the same time have a percussive quality which is natural to
10 Nabokov, N . , "Sergei Prokofieff . Atlantic,

Vol. 170, July, 1942, p. 6 8 .
V 11 Slonimsky, N., '7Serge Prokofieff". Ewen, D . ,

ed., The Book of Modern Composers, p. 145.
12 Ibid., p. 147.
the instrument•^3
iAo*Pij.n in the Soviet period P r o kofieff’s music
has shown a trend toward simplification,14 îjhis may
be a natural trend or one forced upon Prokofieff by the
ideological program in effect in Russia.
HARMONY AND COUNTERPOINT
y The harmony which Prokofieff uses is tonal and
modal with occasional chromaticism. He avoids impress
ionism; \as mentioned before, his music is literal

15 1G
pictorialism, a materialism derived from Moussorgskv.
The harmonic texture is harsh, but well fitted to
portray the ’’world of Russian fairy-tales (Tales of the
Old Grandmother--a distant echo of L y a d o v ’s Baba-Yagas
and K i k i m o r a s )”.^
Prokofieff ’’uses dissonance. . .sparingly, to
inject acidity into his thought”.1® Dissonance is ’’con
tingent principally upon the meething of the melodic
13 kQQ* cit.
14 Ibid., p. 141. Also, see Nabokov, N. , ’’Music in

the U S S R ”. New R e p u b l i c , Vol. 104, March 31, 1941, p. 437-8
Nabokov, N.”J ffMusic Under Dictatorship”. Atlantic, Vol. 169
Jan., 1942, p. 94.
15 Slonimsky, N . , o p . c i t ♦,p. 147.
16 Slonimsky, N. , ’’Serge Prokofieff”.Thompson, 0.,

ed . , Great Modern C o m posers, p. 215.
17 Swan, A. J. , ’’Present State of Russian M u s i c ”.

18 *Ewen, D . , Twentieth Century Composers, p. 117.
42
19
lines"* ' Regarding the melodic line^Prokofieff is of
the opinion that the greater the simplicity and the more
melody, the better the style. When using melodies contra-
puntally, he contends that the ear cannot distinguish more
than three melodies at a time and only when "the melodies
are clearly sounded, and contrasted in pitch and tone

20
color". In polyphony Prokofieff believes that the com
poser should strive for simplicity and clarity so as not
to exceed the limitations of counterpoint. 21
STRUCTURAL PATTERNS
Certain patterns are apparent in the structure of
P r o k o f i e f f rs music, especially in the melodic line and

22
harmonic relations.
1Melodic construction. P r o k o f i e f f ’s chief concern

t
is the writing of melodies that are original in character
and that bear his stamp. He has an aversion to character
less melodleaT^j"To realize this emphasis upon melodic
invention is most significant for the comprehension of
19 Slonimsky, N . , "Serge Prokofieff", Ewen, D . ,

ed . , Book of Modern Composers, p. 141.
20 L o c . cit.
21 L o c . cit.
22 Nabokov, N . , "Sergei Prokofieff". Atlantic,

Vol. 170, July, 1942, p. 6 8 .
Prokofieff»s music.
r~—
I The patterns of melodic construction are, (1)
conventional rhythmic figure is selected, and tied up
with a conventional melodic pattern that is simple and
obvious. Then the melodic pattern or line is placed

x 24
in a harmonic frame that "seems disconnected” , gives
melody freshness, vitality, (2 ) unexpected, abrupt leaps
in m e l o d y — ”the intentional breaking up of conventional
patterns”. j
P r o k o f i e f f !s music lacks any consistent polyphonic
style. He dislikes imitative counterpoint, fugues,

canons,
*
as he says it "makes the style necessarily derivative of
and like eighteenth century polyphonic m u s i c ”. T h e incon
gruity of this statement can be seen when one considers
that Prokofieff uses constantly eighteenth century musical

27
form and "applied it to the very structure of his themes.”
Harmonic Structure. The chords which Prokofieff uses
are usually faiirly simple and are characteristically
associated in an unexpected manner. "Back of them (chord
23 Ibid., p. 69.
24 I bid., p. 68 .
25 L o c . cit.
26 Nabokov, N., ojd. ci t ., pp. 69-70.
27 Ibid., p. 70.
44
relationships) is an organic logic of relations which
Prokofieff discovers and establishes in his music.
Patterns of R h y t h m . P r o kofieffTs rhythm is square,
concise; his "actual rhythmical inventiveness (is) not
very far-reaching".^^ He is not primarily concerned
with rhythm as are some contemporary *composers, but with
the invention of distinctive melodies.
Regarding formal construction, one might say that
the forms of P r o k o f i e f f 1s music were more or less prede
termined, and the structures are easily analyzed and
categorized. Prokofieff has consistently used the standard ^
classical forms fo r his compositions.
\ P r o k o f i e f f Ts music has fine orchestration, some

\ . • ■
'
of this due to his having studied.nrchestration under
y
Rimsky-Korsakoff at the St,“'Petersburg Conservatory, and
partly due to P r o k o f i e f f 1 s having made a study of the works
of various other Russian composers; mainly, Glinka, Tschai-

30
kowsky and Rimsky-Korsakoff•
28 IbidT, p. 69.
29 Nabokov, N . , ojo. c i t . p. 69.
30 Ibi d . , p. 70.
45
GEOGRAPHICAL AMD RACIAL SOURCES
An interesting phase in the government control of
musical activities in the Soviet Union is the "growth of
musicological research in the folk music of the various

rz "J
nations" in the Union. The object of this work is to
develop "national schools of music based on the folklore

70
of the various peoples of the Union". Collections of
the music of the "Georgians, Armenians, Tartars, JFurk-

rz *2
menians, Lapps and others have appeared containing
folk songs, dances, .army songs, w o r k e r 1 s songs and

even religious music. . .Some of these collections
have b e e n compiled carefully and scientifically,
and the particularities of the tonal systems of
every racial group have been respected.34
The collecting and use of Russian folk songs has
imbued Russian music with certain discernable traits.
These traits are (1) the "use of folk songs or melodies
imitating the folk song style",® (2 ) the use of modal
harmonies from the "influence of the Russian Orthodox
31 Nabokov, N. , "Music Under Dictatorship".

A tla n t i c , Vol. 169, January, 1942, p. 92.
32 k o c « c i t .
33 L o c . ci t .
34 Nabokov, N . , "Music in the USSR". New Republic

Vol.104, Ap. 7, 1941, p. 470.
35 Hill, E. B., "Russian Nationalistic Composers".

Etude, Vol. 59, September, 1941, p. 630.
46
36
Church both in folk song and art m u s i c ’1, (3) the "use
of insistent rhythm and the frequent change in time sig-

37
n a t u r e ”.
Source material for both music and drama are found
also in the Russian folk tales, legends and epics, used by

38
domposers, poets and playwrights.
The first Russian composer to use folk tunes was
Glinka. His c o m p o s i t i o n La Kamarinskaya îs a fantasy
on two Russian folk tunes and ’’incited all Nationalists

39
to compose orchestral works based on Russian t h e m e s ”.
Glinka*s opera , Russian and Ludmilla } is based on a folk

fol
tal e. 40
In the modern period there is not a composer who
does not utilize to some extent folk melodies and folk
tales.
Some of the younger composers are Khachaturian,
Schecter, Shaponin, Peinberg, Alexandrov and others.
Khachaturian is the composer of G a yane, ’’based on the
musical folklore of Armenia and treating subject matter

,, 41
pertaining to m o d e r n Armenia .
36 Hills, E. B. , ojd. cit., p. 630.
37 L o c . c i t .
38 Ibid., p. 590.
39 I b i d ., p. 636.
40 I b i d ., p. 590.
41 Prokofieff, S., "War Years; Autobiography”.
Musical Quarterly, Vol. 30, October, 1944, p. 425.
47
Boris Schecter wrote the Symphonic Suite on Turkoman Melo-

42
dies, an immense work, both in form and scope”,' The
composers Shaporin, Peinberg, Alexandrov and Miaskovsky
are among those ?,engaged in the creation of a war-time
literature by working up the musical folklore of the Slav-

t» 43
onic nations .
The top-ranking "Old Guard" composers are Gliere,

44
Miaskovsky, and Prokofieff, One characteristic of the
45
Russian school of music is the use of "Oriental folklore",
and Gliere is an exponent of this school, from the start
being interested in the songs and dances of Oriental peoples

4b v
and utilizing their folklore. Among G l i e r e 1s compositions
are the opera Shah- Senem (Azerbaijan), the opera Leily and
Medjnun (Uzbekistan) and The Heroic March of the Buryat-
Mongolian A.J3.J3.R. . "In these I (Gliere) have made ample
use of folk-lore, to interpret the spirit of the Oriental

47
peoples who were emancipated by the socialist revol u t i o n . "
42 Kozlenko, W , , "Soviet Music and Musicians".

Musical Quarterly, Vol. 23, July, 1937, p. 300.
43 Gliere, R . , "Music Maintains Its Pace Under

Seige". Musi c i a n , Vol. 47, March, 1942, p. 43.

Vol., 104, Ap. 7, 1941, p. 469.
45 Gliere, R., ojd. c i t . , p. 23.
46 L o c . cit.
47 Loc. ci#.
48
In his Overture on Popular Slavonic Themes Gliere
states that he '’utilized four songs: Hey Slavsi— common
to all Slavs; the Bulgarian song, Dear Motherland; a heroic

48
Bohemian song; and a Russian song of p r a i s e ”. To Gliere,
"the combination of these themes symbolizes the unity of the
Slavonic n a t i o n s " . ^
Miaskovsky is "one of the most prolific and ablest

50
symphonists of our t i m e ” and takes his place with Proko-
51
fieff as a composer of piano sonatas. In keeping with
the requirements of the Soviet government, Miaskovsky
tends more and more ”to work with themes of a folk orig i n " . ^ 2
At the beginning of the war with Germany, the Soviet govern
ment sent some of the Russian composers to the Northern
Caucasus where they could continue their work safe from
any danger. While there some of the composers became
interested in the manuscript collections of Caucasian songs
compiled by Taneiev. Miaskovsky used some of the material
for his Twenty- third S ymphony. °
48 Gliere, R . , o£. c i t ., p. 43.
49 L o c . c i t .

Vol. 104, Ap. 7, 1941, p. 469.
51 Martens, P., "Modern Russian Pianoforte Sonata".

Musical Quarterly, Vol. 5, July, 1919, p. 361.
52 Nabokov, N. , ojd. c i t ., p. 470.
53 Prokofieff, S., o£. cit., p. 422.

49
Prokofieff has always evinced an interest in
folk melody* In the first period of his work the follow
ing compositions contain folk melodies or are written in
the folk idiom: the Second Piano Concerto in G minor,

54
the subordinate theme of the finale (1913); The G a m bler,
opera, in the "portrait of Babulenka" (1915-16); The Buf
f o o n , or Chout (1915); Visions Fugitives (1915-17); Tales

5S
of Old Grandmother (1918), Prokofieff frequently has
rewritten his compositions. The Buffoon first appeared in

56
1915, and the second, version in 1920.
In his foreign period P r o k o f i e f f ?s compositions
incorporating folk themes are Le Pas d i c i e r , the A minor

57
theme in the Train of Speculators, episode, 1924; the
58
songs White Snowflakes and Guelder-R o s e . 1931.
Except for a Romeo and Juliet suite, nearly every

thing he (Prokofieff7) has written in the USSR (the
Soviet period) has been built on Russian folk
themes and to glorify R u s s i a ’s past and p r e s e n t . ^
55 Ibid., p. 74.
56 I b i d . , p. 189.
5B Ibid., p. 106.
58 Ibid., p. 120.
59 "Composer, Soviet-Style". T ime, Vol. 46.

Nov., 19, 1945, p. 60.
50
Nestyev, in his b o o k | Sergei Prokofieff t bears this point out
further in his comment, page 153:
He has increasing recourse to folklore sources, poring

over volumes of Russian and Ukrainian songs before
sitting down to write any music associated with n a
tional themes, and a few folklore quotations are
bound to occur, especially in works like Semyon Kotko
(central episode in F r o s y a ’s song, second theme in
the wedding chorus), or the Russian Overture, Opus 72
(two dance melodies in the ma in t h e m e )•
In 1933 Prokofieff wrote the score for the film L t .
Ki.je and rewrote it as a suite in 1934* This piece of music
contains themes in folk song style
in the plaintive theme of Kije which form s the frame

work of the entire Suite, and in the ironic stylization
of the old-fashioned, 'heart-rending* love song (T h e ,
Little Blue Dove is Co oi ng )*^
Some simple piano pieces for children were composed
by Prokofieff in 1935 ,fin the style of a Russian fol k- so ng ri,
The IVIoon Goes Over the M e a d o w s , ^ Evening*^ and others*
In 1936 Prokofieff wrote an important composition
from the standpoint of folk art. This is the Russian
O v er tu re , which "might be called the apotheosis of the
60 Nestyev, I., Sergei Prokofieff, p* 152.
61 Ibid., p. 129.
62 Ib id ., p. 153.
o3
Russian d a n c e 11. The overture is in folk dance idiom
and was written in rondo sonata form. It "is built up
on the simplest juxtaposition of Russian dance images

64
and broad Russian song melodies.*. In the subordinate
theme in major--"the best theme in the overture, one
hears echoes of the broad, rolling Russian peasant-girl
songs like I Was At a F e a s t M. ^
In 1936-37 a most important event in Russian music
took place. This was the purge to end "formalism 11 in
music; that is, to stop the writing of music too complex
for the m a s s e s . ^ Shostakovitch received the brunt of
this attack and was in disgrace for several year s. ^7 ^he
requirements of the Soviet government for simplicity in
music have resulted in "an over-simplified style in which
experimentation in harmony, counterpoint or form is ex
cluded",^® and also in too great a use of folk-tunes or
melodies written as folk-tunes. Prokofieff commented in
64 Ibi d ., p. 153.
65 I b id ., pp. 153-4.
6 6 "Composer, Soviet-styleff. T i m e , Vol. 46, Nov. 19

1945, p. 61.
67 L o c . cit .
68 Nabokov, N . , "Music Under Dictatorship".

A tlan ti c, Vol. 169, Jan, 1942, p. 94.
69 Nabokov, N., "Music in the USSR". New Republic

Vol. 104, M a r c h 31, 1941, p. 438.
52
1939 upon the use of folk song, "What is real; what is good?
• . .music with its roots in the classics and in folk-songs".
In an article in the Hew York Times newspaper in A u
gust, 1942, Prokofieff discussed the activities of the
musicians who sojourned in the Forth Caucasus in 1941. He
stated that the group of composers remained at Nalchiek in
the center of Kabardinobalkaria and
came into contact with original song creators in the

persons of local people. The wealth of regional
folklore which formerly had not attracted attention
now proved an inexhaustible source of inspiration
ffor composers of widely differing styles and schools
of musical writing.
In another article Prokofieff mentioned that this group
of composers also became interested in the manuscipt col-

72
lections of Caucasian songs noted down by Taneiev. Mia
skovsky based his Twenty-Third Symphony on these Kabardino
balkarian melodies, and Prokofieff wrote his Second
String Quartet using some of the same material.
It seemed to m e that a combination of the new

and virgin folklore of the East with the most
classic of musical forms, such as that of the
string quartet, might yield startling and in
teresting results.74
In 1937 Prokofieff wrote Songs of Our D a y s , a
70 ~Ne's t y e v , I., otd. c i t ., p. 125.
71 Prokofieff, S., "New Works of Soviet Composers".

New York Times 1942. August 9, VIII, 5:3.
72 Prokofieff, S., "War Years; Autobiography".

Musical Quarterly, Vol. 30, October, 1944, p. 422.
73 L o c . c i t .
74- LOc. cit.
series of songs for chorus and orchestra based upon some
verses of Marshak, Lebedev-Kumach and Preshelets, and
f,a number of poetic folk texts (Russian, Ukrainian, By-

75
elo-Russian)'11. The series of songs is descriptive of
various phases of Russian life.
Stalin*s sixtieth birthday in 1939 was the occasion
for which Prokofieff wrote the Cantata Zdravitsa.
The text was a successful combination by the com

poser himself of seven folk-songs to Stalin by
various Soviet nationalities (Russian, Ukrainian,
Byelo-Russian, Mordovian, Mari, Kurd and Kumykian).
Russian folk me lo dy predominates in this music,
which is written in an extremely clear melodic
idiom. . .
In this cantata
Prokofieff strove to embody the elements of Russian

choral singing. The new Soviet folk-songs that
form the basis of this little folk cantata demanded
a m ax imum clarity of musical style: Zdravitsa is
a cycle of choral songs merged in one rondo-like
pattern.^
In the Sixth Sonata for Pian 9 1939-40, are
fragments of Russian nationality in a-number of

themes (subordinate themes in the second m o v e
ment and finale). In both cases the Russian
melodies are active and exuberant rather than
feebly contemplative.^®
7b Nestyev, Sergei Prokofieff, p. 136.
76 Ibid. , p. 138.
77 Ibid., p. 154.
54
In 1944-5 Prokofieff adapted for solo voice and
piano nten Russian folk-songs, collected originally by
the distinguished folk-lo'rist Yevgeni Hippius .

79 „
Some
of the melodies that Prokofieff wrote in folk-song style
are the Cooing D o v e , song i n the Lt. Kije suite; the
Ukrainian song All is Ahum and Abuzz in the opera S e m y o n ,

80
K o t k o , and Commandments, the text by Shevchenko,
P r o k o f i e f f fs compositions showing the influence of
Oriental folk-lore are the Cinderella ballet and the opera
Betrothal in a Convent in the oriental dances. The m u s i
cal score by Prokofieff for the film 7Ivan the Terrible
contains some Tartar strains, and the Second Quartet the

81
Kabardini.an-balkarian themes.
79 Nestyev, I,, Sergei Prokofieff, p, 170.
80 Nestyev, I,, Sergei Prokofieff, p. 153.
81 Ibid., p. 178.
CHAPTER V
VIOLIN CONCERTO NO. 2 IN G MINOR
Prokofieff composed the Second Violin Concerto
in 1935. This composition in in G minor and has three
movements. The first movement is in sonata form. The

b
G m i n or melody, is the first theme, the B majo r melody
the subordinate theme. The second movement is lyrical,
"pensive. . .with melancholy figurational patterns. . . ,f^*
The third movement has highly developed rhythms and is
technically quite difficult for the solo instrument.
FIRST MOVEMENT
ALLEGRO MODERATO
FORM
The first movement is in well proportioned sonata
form. It opens with theme I entering alone, in the sc lo
instrument in g minor.
1 Nes.tyev, L. , Sergei Prokofieff, p. 144

56
This theme is repeated immediately by violas and
cellos in b m i no r while the solo instrument carries a
countersubject. A short, rhythmic development in the
entire string section is followed by a. third entrance
of the theme in g minor again, the solo in canon with
cello and bass. Another repetition in C# minor follows
in canon between solo and bassoons.
Then an interesting twenty four bar transition
carries us to the entrance &f the second theme in
major. It, also, enters with the solo.
There is, however, considerable development of
this theme in the woodwinds before the close of the ex
position with a short codetta theme, again played by
the solo instrument at measure ninety-one.
The development, which is the same length as the
exposition, begins with a suggestion of the codetta but
soon concerns itself with the main theme which, on the
whole, dominates the section.

57
In the recapitulation the cello and contra-bass
present the main theme first. The second theme re-enters
in G- major. The coda presents some development of the
first theme in counterpoint.
HARMONY
The first movement is in G minor. The exposition
presents Theme I in G minor and Theme II in the relative
major, B*5. The development section begins in P minor and
passes through related keys, going back to G- minor at the
recapitulation.
The harmonic structure is characteristically simple.
Chromatics are used in the melodies against simply con
structed chords associated in an unexpected manner. To
illustrate this a few measures of ‘

^ heme II and its harmonic
background,, are shown.
In measure two a chromatic modulation takes place.

58
The second chord of the measure has the characteristic sound
of a 11^ chord built as a minor triad with added seventh.
The C# of the next chord is a delayed 2-1 suspension. In
the third measure the A# of the melody is a chromatic passing
tone going to A natural, the seventh of the dominant chord
of the key of E major. The jump from A, the seventh of the
dominant, up a ninth to B is an example of the unexpected leaps
in P r o k o f i e f f fs melodies.
Two interesting cadences are:
ft u
Cadence (a) comes at the close of a chromatic passage and

59
enters in G minor. Cadence (b), at the close of the
development section and another chromatic passage, enters
G- minor. The recapitulation starts here and Theme I is
heard in the cellos and double basses. Chromatic cad-
ences, lightly scored, are characteristic of the first
movement•
COUNTERPOINT
The movement is essentially contrapuntal. Theme I
is used against itself.
Cill*
Against Theme II are heard some counter-melodies
or motives of a few measures.

The counter-melody In the clarinet appears several times
against Theme II.
Measure one is shown f o r the approach of Theme II into the
counter-melody taken by. the same voice with Theme II appearing
in the oboe. Measure three is answered by four.
Theme II, slightly altered, is used against itself.
rings ?
An example of contrary moti on of the bassoons and
cellos which occurs frequently is shown below.
MELODIC TREATMENT
The themes themselves are dynamic, long in line and
are characterized by shifting rhythms within the phrase, wide
range, and chromatic skips. They are violinistic in character,
ALTERATIONS OF TH E THEMES
Theme I is varied in the following ways;

In the previous example two variations occur. First the
theme is in the low part of the ‘broken chord, and in the
second part of the theme the melodic line is placed above,
but each time it is the single note indicated by an accent.
In the third alteration, shown above, the melodic line is
reinforced again by accent.
In the following example Theme I.is played in
broken octaves. f
Theme II is altered in the following ways:

In both the solo and first violins the theme is augmented.
In the solo the theme is ornamented and the melodic line
indicated by stresses.
The above alteration is extended soon after into the fol
lowing phrase.
ORCHESTRATION
The orchestration for the first movement is light.
Strings are .used the most and brass very little. The s6 lo
violin stands out clearly without effort.
The first theme is played alone by the solo violin
which continues with a countermelody when the theme is
taken b y the violas and double basses two octaves apart.
When the solo violin plays Theme I at the octave'two beats
later to the theme in the cellos and double basses, there
is no accompaniment.
Theme II enters with an ostinato accompaniment in
the strings s o o n _augmented b y the woodwinds, flute and
clarinet.
When Theme I enters at the beginning of the develop
m en t it is played by the bassoons and cellos and double
basses. The reedy quality of the bassoons adds an inter
esting tone color to the low strings. The bassoons, cellos
and violas are used together in a prominent descending
pizzicato passage that occurs several times. This use is
very effective. Another use of bassoons and cellos that
has been discussed in regard to counterpoint is the passage
in contrary motion.
RHYTHM
4
The first movement is in4, and for the most part,
the rhythm is duple. However, the rhythmic pattern or
phrase length of Theme I begins with a pattern of five beat
The five beat pattern, indicated by the broken line,
resolves itself into a three plus two beat pattern, so
that the entire theme can be shown in the following

65
manneri
j n \ .
rri i <
3 -h X \ 3
Both, of the themes are broken down rhythmically
into measures of eighth notes treated in various ways
harmonically. Theme I also appears written in triplets,
as follows:
0 H tc 'iUftL J- J J J~~l J
t r Ipizts £Y fff fff tttf LU
The rhythm of the orchestral accompaniment is

4
a square 4.
TREATMENT of the VIOLIN AS A SOLO INSTRUMENT
The orchestration bears a close relationship to the
general treatment of the solo instrument. In each of the
three movements the orhhestration Is light. Also, when

66
the solo instrument is playing thematic material the m o v e
ment in the accompanying instruments is slight, except,
of course, for the highly contrapuntal passages.
Another point for consideration in regard to the
general treatment of the solo instrument is that when the
thematic material is carried by the full orchestration the
solo violin is still distinctly heard although in a suppor
ting role, in elaborate ornamentation of the thematic
material and in a different range. This is a reminder of
what appears to be a general practice carried out by Pro-
kofieff in his compositions. That is, the contrapuntal
theory that the human ear cannot distinguish more than
three melodies at one time, and these three jonly if they
are contrasted in pitch, timbre, and context. Applied to
musical composition in general, and the G Minor Violin
Concerto specifically, the tutti carries melodic material
at one tempo and in one range while the solo instrument
plays a passage in a contrasting tempo and pitch. The two
separate elements are easily distinguished in the mind of
the listener because they are treated in opposing ways.
Prokofieff well understands the technical and
lyrical possibilities of the violin and exploits both in
the G Minor Concerto. In the first movement the violin is
used in both capacities. The second movement is lyrical
and the third highly technical.

67
SECOND MOVEMENT
ANDANTE, ALLEGRETTO, ANDANTE
F ORM
Quietness of* line and color mark this movement,
an Andante revealing the romantic and lyrical tendencies
of the composer.
The second movement m a y be said to be kefirst
rondo. The first section, (a), contains the first two themes.
The second section, (b), an Allegretto, contains Theme III.
Section A returns with Theme I. Theme II is not used, the
second time.
The two themes of Section A are:

Theme III of Section B is shown below.
The first theme is diatonic both as to melody and
harmony. The middle section, by way of contrast, is
chromatic and the return to part one is presented with
a somewhat involved accompaniment for a background.
The tonalities occurring in the andante are dis
cussed in the section on the harmony of the second m o v e
ment.
69
HARMONY
Pure, elemental harmonies are used with the themes,
As an illustration, the harmony of Theme I is cited below,
-J. J J 1 J. ll n {J mf0' rt (Z s(■•

■ **
12 n4
4 0( 40 00
X '< 0,1IE M x X 2" T Ji r
n
-QT 0n 0 r0 i CM It I 1TT7 n
A 0 0 0 0' J 00
* Jfc-
XT TT T w ii S 61 X n 2T x
Unusual harmonies are apt to occur at the cadences.
In the first section after the two themes have been presented,
a passage without thematic material is heard. This passage
begins in B majo r and goes to G-# minor. By a chromatic, se
quential melodic progression the tone A natural is reache.d*
Upon this tone a dominant seventh chord is built, going into
the key of D major. Section B and the third theme begin at
this point. The cadence at the close of Section A is:.
§
70
ORCHESTRATION
The strings and woodwinds accompany the solo violin,
and the brasses are used for transitional passages or
interludes. This movement is not to be noted for its
unusual tonal colors; however, at the interludes the horns,
one muted trumpet and one trumpet without a mute provide,
as a relief from the sobriety of the strings, a jaunty
quality of tone. The bassoon appears in this ma nn er at
the close of Section B, Once it is heard alone, and the
second time at the cadence with the cellos.
The orchestration at the close of the movement is
very mellow. Theme I is played by the clarinet in a low
register, and by the horns and cellos, and the last bar
is played by the clarinets and double basses in the m o v
ing parts with the horn and cellos playing sustained
tones. The blending tones of the low clarinet and double
basses are beautiful and quiet,
COUNTERPOINT
'Counterpoint is used to a great extent in the second
movement. One characteristic of the melodic treatment is
that a theme will not be played -in its entirety by one

voice but will be found in several voices. This is true
also of the countermelodies. Below is an illustration of
the shifting of Theme I and its countermelody.

72
In the example, Theme I, begun by the first and second
violins, is continued by the solo violin without a break.
Also, the countermelody begun by the clarinet is picked up
the flutes where the clarinet stops. Theme I has two parts,
countermelody (1 ) accompanies the first part and counter
melody (2 ) accompanies the second.
Theme II has three countermelodies. The first is
shown on the following page with Theme II, and the other
two are shown by themselves.

v
(
c
c
c
4 - 1,
' m m *
• f f lb SB> imp
• Theme III does not have a countermelody but is
varied by ornamentation and appears as follows:
In the ornamented theme, the notes of the theme are
indicated by stresses*
RHYTHM
12
The second movement is written in 8 and has a
duple rhythm, sometimes simple and sometimes compound.
The second theme is the one exception, being a triple
rhythm •
Contrasting rhythms occur when a simple rhythm
in the solo is played against a compound rhythm in the
ap.companiment, anôstinato played by the ^strings.

'' i.
vt-w.soio ia j j Jp*iJ.. h,
J p. n J &
OSTivATO 8 J lJ J J ] SJJ w j t \ JJJ JT1
J m
•94
£50L0) J } IX J-
XTc-
<, m m m JJ1 /
JJ} J ?7 JJi o /// /// *** ***
Theme II which occurs first in this pattern
is varied rhythmically as follows
I Jznh/n fh .feb sh
Each note of the original is played as triplets.
4
Theme III Is in 4 and has a regular rhythm.
THIRD MOVEMENT
ALLEGRO, BEN MARCATO
FORM
This movement is in a free ABA form. The first section
presents three themes. The first is a vigorous theme played by
the solo violin and accompanied by the strings and clarinet and
bassoon. Theme II also played by the solo violin i s ,accompanied.

-
77
by the flutes, clarinets and first violins. The trumpets play
the third theme which is subordinate to the first two themes.
The solo violin plays with the trumpet the theme highly orna
mented, outlining the harmony of the theme. The notes of the
theme are stressed by the violin to bring them out against the
harmonic figuration.
Section B begins at the return of the first theme, which
is played several times. At this point the solo violin plays
the fourth theme, making up the three principal themes of the
third" m o v e m e n t , Themes I, II, and IV.
Section B continues with the development of the fourth

j
theme by the solo violin until the return of Theme I at
the beginning of the third section (or Section A) which
differs from the first in that a coda is heard at the end.

78
RHYTHM
The rhythm of the third movement is very interesting,
and perhaps the most important element. Theme I has a strong-

3
ly marked 4 rhythm; the third and first heats are accented,
but the first is very strong-
3 r|f
ill f
H
The upper strings play a pizzicato chord on the first beat

£
and the cellos and double basses play an accented half note,
reinforcing the solo violin at the first of every'measure.
After the first theme has been heard several times a
four measure interlude is played by the horns, bassoons and
clarinets. The rhythm of the interlude is as follows:
3 * JJ 1 J J J J 3XJJ tJJJJ ?
V *P> f> 1?> ?> f
The time value or duration of the quarter note remains constant.
3
Theme II has a regular 4 rhvthm. The third theme is
7
quite irregular. It is in 4 and is composed of the following
combination of beai?s--two plus three plus two--in a measure.
The phrase length is two measures with two phrases to, a p e
riod; there are two periods. Of* this theme, therefore, one
might say that the rhythm is irregular, but it is balanced
in its melodic construction; ie., phrase length, equal num
ber of phrases and periods.

79
3
Theme IV has a regular 4 rhythm.
t
At the return of the first section Theme I is shifted
so that the heavily accented note is on the second beat. The
upper strings support this rhythm while the violas sand double
basses accent the first beat.
P ro m the above illustration it can be seen that the rhythm
shifted from a
3| ! £ to o- Z x 3.
1> >
Theme I is heard two more times, but as It was originally.

5
The coda is written in 4 and has a rhythmhc pattern
of two plus three in a measure. The bass drum and double
bass carry the pattern as follows:
? til! | I-! f * ! 1/
*4 ui[t tfr i ^ (F
V
1_________ (___ - 3 c— ±
3
Latern the rhythm changes to a regular 4 with the first beat
3
accented and remains as a 4 to the end of the movement,
orchestration
Strings and woodwinds plus the horn accompany
the solo violin in the third movement as exclusively
as in the first two movements. Brasses are used very
little throughout the entire composition. The trumpet
is used more in the third movement, however, than in
the first two, and even carries a theme.
In general the orchestration is light and subor
dinate to the solo instrument. The string section is used
as a group or choir with the solo instrument and in brief
interludes of two or three measures. At the beginning a
choir of woodwinds composed of two oboes, two clarinets
and two bassoons p l ay a legato phrase which is answered
immediately by a string choir composed of first and second
violins, viola and double bass. In the third sections the
strings play an ascending forte passage which mounts rapid
ly in intensity to the entrance of the solo violin again.
Violins a n d the cello and double bass are used in this
fast passage. The vigor and force, especially of the
lower strings, bring about rapidly a powerful climax.
The strings play pizzicato chords in the accompaniment
of the m a i n Theme I played by the solo violin. The most
effective use of the strings in this way is at the con
clusion of the movement, however, when thematic material

81
is not heard but the solo violin plays broken chords. The
percussive treatment of the strings is very effective in a
movement in which rhythm plays such an important part. More
over, P r o k o f i e f f fs understanding of the possibilities and
limitations of the strings is proven by the fact that the
first and second violins alternate groups of three p i z zi ca
to chords at a time, as shown.below.
It would be impossible for a performer to maintain a con
tinuous eighth note pizzicato figure. For this reason,
Prokofieff alternated the first and second violins to
achieve the effect of a continuous pizzicato.
HARMONY
The harmony of the third movement is simple, but
has some chromatic passages, even in the themes. The
subordinate theme, number III, is chromatic and seems
to have no key. Theme IV is basically in B° major.
Theme III is quoted again in its entirety for the purpose
of examining its harmony.

This theme is composed of sequential melodic material
which changes key in almost every measure.
Theme IV also has some sequential melodic m a t e r
ial, but basically it is in the key of major. Theme I
is definitely in the key of major.
Theme II presents an interesting problem h a r m
onically and is quoted below. The theme is in S and
changes from major to minor mode.
ill ^ - 1 •, ■*,— r• ■■71 T “

±zi=±z:
f ~
-i'-
y* —
\k=
f i
a t *
COUNTERPOINT
The third movement is largely homophonic. When two
instruments are given the same theme, it is in unison or
treated in a harmonic way as is the case with Theme III
played by the trumpet and ornamented by the solo violin:
i i
Theme III is altered once again, this time by the
clarinets with the theme proper taken by the solo violin
r'/
Cwrft - f c f - — f -------------- —
M - t 1 ;
^ T i : i n
f c f c y V ' ..... 1
______ _ i _ ^
The violas follow a chordal outline of the thematic harmony
but in their ornamentation they do not follow the melodic
line. For this reason the viola part is considered as har
m onic only, although it bears a resemblance to the ornamen
tation played before by the solo violin.

CHAPTER VI
SEVENTH SONATA FOR PIANO - 1939-42
r^îe Seventh Sonata for Piano, in three movements,
is somewhat Tfsubjective and romantic. The satire :com-
m o n to Prokofieff is lacking in this sonata.
The first movement, marked Allegro inquieto, An-
dantino, Allegro inquieto, is complicated as to tonality
and number and treatment of themes. It is the most ela
borate of the three movements and includes m any idea.s
with "developments and sharp contrasts between episodes

p
of the m o v e m e n t , " J In regard to the tonality of the
first movement 0 1 in Downes has commented:
Are we on the track of a polyharmonic or poly-

tonal animal, or are we nearer certain emphasized
key centers than we had supposed? The printed
page, at least, bears out the latter supposition.
Chords are seen to be sufficiently altered in
matters of anticipation or retarded resolutions,
so that what at first may seem an arbitrary group
of unrelated tones becomes on further reflection
only an advanced application of laws of harmonic
progression, obeyed, but with increasing latitude
and flexibility, by generations of c o m p o s e r s . ^
The second movement, an Andante caloroso, is
melodic and lyrical. The theme is developed by variation
a.nd extension, g r o w i n g into a remarkable bell effect.
1 Downes, 0. , "Seventh Piano Sonata, ” New York

T i m e s . 1944. January 16, II, 5:1.
2 Loc. cit.
3 Loc. cit.
85
The finale, marked Precipitato, is the simplest of
the three movements. It is almost entirely rhythmic, with
powerful, electric, swiftly movi ng rhythms.
FIRST MOVEMENT
ALLEGRO INQUIETO, ANDANTINO, ALLEGRO INQUIETO
FORM
The form of the first movement is unique in that
it follows no predetermined pattern. The tempo alternates
between an Allegro *and an A n d a n t m o . In these two alter
nating sections are many melodic ideas, but three seem
especially prominent or important in that they are carried
throughout the movement and are developed. The Allegro
contains themes I and II.

86
Theme III is in the Andantino.
M ^mnvjjpgj
>
i
The second theme is subordinate to the other two themes
which are expanded more. Themes I and III are the two
m a i n themes of* the first movement.
The first movement proceeds in the following manner!
6
8 Theme I
Theme II
9
8 Theme III
6 Theme I
(Âllegro 8 Theme II
Theme III
9
[Andantino 8 Theme III
6
Allegro 8 Theme I
The form could be Interpreted as a three part song form
expanded into a five part song form by the final re pe t i
tion of parts two and one in the order n a m e d .^
4 The source for this analysis is,

Goetschius, Percy, Homophonic Forms of Musical
C o m p o s i t i o n s , (New York: G. Schirmer, 1915. ) pp. 196-203.
87
In the Allegro theme I is presented and then dev
eloped. Theme II is presented, next. It has an episodic
character and is used to proceed to the Andantino. Theme
III enters at the beginning of the Andantino and is ex
panded immediately.
The Allegro returns at the concha sion of the
Andantino and is developed as a whole. Theme III also
appears in the Allegro, which is followed again by the
Andantino, also developed as a whole. The movement closes
with the Allegro and theme I as the melodic material.
HARMONY
Major and mino r tonalities are not used in the
first movement. In their place one m a y find tonal centers;
that is, the melody, whether chordal or diatonic in struc
ture, tends nevertheless in a certain direction, toward a
tone which is passive, or without a tendency t.o move to
another tone. Viewed broadly, the first movement has the
note as a tonal center. Always, acts as the pivot-
note. Theme I revolves around and ends on this tone and
the episodic passage which follows continually reiterates
B^ as the tonal center of a broken-chord passage. This is
characteristic of the harmonic background of the themes, also.
The A.ndantino is more complex harmonically than the
Allegro. No one tone is stressed or serves as a tone of
rest or pivot-tone. However, the melodic structure shows
a directional tendency toward a single tone, as in the

88
Allegro; for example, the first time the Andantino is played,
Theme III eventually settles on the tone B or its inharmonic
equivalent The melodic structure of the Andantino is
similar to that of the Allegro in i.t's chromatic progression,
al so •
RHYTHM
The first movement alternates between a highly rhythmic

9
Allegro in 8 and a lyrical, flowing Andantino in 8. Some
of the rhythms of the Allegro are shown below. These are
heard all through the first movement.
The rhythmic figure shown b e l o w is perhaps the most
frequently heard.
{— J
Example (b), shown below, is a powerful rhythm used
to lead up to Theme I#
In example (b) the insistent duple time is brought
out more strongl?/- than in example (a).

89
The final leading figure is given below, In this
the bass stands out strongly.
C .
f r
The Andantino is in contrast to the Allegro. The

9
m el o d y is in 8 and is very lyrical and flowing.
COUNTERPOINT
Counterpoint is used to some extent in the first
movement. The following figure,
whi ch occurs in the episode following the presentation of
the first theme, is played against itself at the octave
in strict imitation.
This imitation is repeated four times to be replaced by a
rhythmic figure leading to Theme I,
A contrapuntal development of the first movement
occurs once more in the augmentation of the motive of
Theme III, the theme of the Andantino. The motive appears
in the bass in the following manner:

91
SECOND MOVEMENT
ANDANTE CALOROSO
The second movement Is In the usual three sections
dominated by a broad and romantic theme. This theme is
shown below.
The following illustration contains a phrase 'from the
first sedtion which is an extension of the theme and is heard
to a further degree in the midd_le section.
In the middle section the theme is varied and drawn
out, building up to a most interesting passage of bell ef
fects* Some of the passages derived from the theme are
shown below. The first opens the middle section.

This passage recurs frequently and is heard in several
different ways, two of which are shown below in order of
appearance.
f ♦
Another passage derived from the theme is given
below. This is heard less often than those illustrated
above•
The last five preceding examples illustrate p o r
tions of the development of the theme which build up to
a highly impressionistic realization of the sound of bells

\
After the theme has been varied and extended, the
final section is heard again, and it is the same as the
first; the theme is played in its original form.

93
HARMONY
The second movement is similar to the first in
its chromaticism. The impression of tonality is not
conveyed by the melody, which consists of small steps,
usually half-tones, and an occasional large leap.^ -It
is in the accompaniment that a feeling of tonality, E
major, is heard despite considerable chromatic harmony.
The opening measures contain a key feeling of E
m a j o r with the E m a j o r triad predominating. At the end
of the first section the harmony begins to be chromatic
and becomes increasingly so until the passage of bell ef
fects in which impressionistic groupings of chords are
heard.
Illustrations of the development of chromatic h a r
m on y are given below. The first example is heard near the
end of the first section, the others occur in the middle
sedtion.
1 The reader is referred to^the illustration of the

theme on page Cfj for an example of the melodic treatment.
94
The example above is followed soon after by the illustra
tion below.
In the example Just given the bass and alto proceed u p
ward more or less chromatically. The soprano and tenor
alternate on an E major triad and a c m i n o r first inver
sion triad. The tones move one-half step from one triad
95
to the other. The alternation from the E major to the
c mino r forms the basis for the beginning passage of
bell effects which is quoted below.
RHYTHM AHD COUNTERPOINT
The me lo di c and. harmonic interests are so strong
that the rhythm is correspondingly simple in order not to

3
detract or disturb the focus. The movement is in 4 time
and the rhythm is regular. The theme, for example, begins
w ith an anacrusis and the accent falls on the first beat
of each measure.
Counterpoint is used only incidentally; the theme
is developed by extension and variation.

96
THIRD MOVEMENT
FORM AND RHYTHM
FORM
The third movement is almost entirely rhythmic,
being based on syncopations of tremendous vitality. The
movement has been described by one critic"*' as monothematic
because only one melodic theme is used. However, it seems
to this writer that the thematic material is rhythmic, and
the movement will be analyzed accordingly.

7
The time signature of the third movement is 8 and
the rhythm is built up on phrase lengths of seven beats.
Two rhythms or rhythmic figures constitute the tw o themes.
Also, it is by these two rhythms that the form- of the
movement is determined. The first figure is presented
and constantly reiterated in the left hand. The right
hand maintains a chordal rhythmic background which d e v
elops a percussive melodic line, and finally presents a
melodic theme whic h appears with b o t h rhythm themes.
1 Mr. Downes is correct when the movement is

analyzed according to the melodic material. The reader
is referred to the interesting and pertinent article by
Mr. Downes appearing in the New York Times paper of
January 16, 1944, section II, page 5.
97
After the melodic theme has appeared with the
first rhythm, the second rhythm theme appears, commen
cing a new section w i th a different rhythmic unit. The
m elodic theme is m u c h mo re apparent in the middle section.
The first rhythm theme returns suddenly and the
first section is heard once again. The movement concludes
with the first section.
RHYTHM
The first rhythm theme is as follows:

PRECIPITATO
7 " “ ' '

>
f? Stk-
The basic rhythmic pulsation consists of eighth notes of
equal length, which is true of the entire composition;
the rhythm is built upon the phrase length of seven beats
with two eighth notes to the beat, and the pattern is
3 plus 4 or 3 plus 2 plus 2. This can be represented, as
follows:
f./ 7?* I v / / A ’-yVZ- ?
H f C 7 i I 31 << * c y
u tl U Lll u u u t f u t i u t r t n i v
0 0 0 0 * * * 9 0* 0* * *
( t r* r r rj,
98
The second rhythm theme is shown below,
The basic rhythmic pulsation consists of eighth notes of
equal length; the rhythm is biTilt upon the phr.ase length
of S'':ven beats with one e i gh th note to the beat in con
trast to the first theme with two eighth notes to the
beat. The pattern is 2 plus 2 plus 3. This can b e repre
sented as follows:
^ J i i-h T 67
lt 't/crr -
f' tf (U
r r r' f r r
2- 3 + t- + % + s
With both themes, which, are played by the left hand,, the
right hand maintains the following rhythm:
I ffl
This m a y change to the following

99
but the pattern remains constant; that is, 2 plus 3 plus 2.
The melodic theme, shown below, is constructed in the
same manner.
j5 |
H ARMONY AND COUNTERPOINT
The movement is w r i tt en in the tonality of Bib major.
Some of the chords are simple, others contain tonal g r o u p s
ings such as two seconds (major or minor), a third and a
fourth. The harmony is important only in that it conveys
a very pleasant, good-tempered impression.
The mo vement is homophonic in the melodic sense.
Rhythmically it is contrapuntal in the first section in
that the rhythm theme is opposed by a differing rhythmic
pa tt er n in the right hand, as shown below.
JrJ JJ/JJ
7 J 7 J Jl
w t * 7*
7l ' , U
£
The p at t e r n of the right hand is the same as the second
rhythm theme and has the same characteristics.

CHAPTER VII
ALEXANDER NEVSKY CANTATA
The film "Alexander N e v s k y 1’ was made by Sergei
E isenstein in 1938 and was based on the Russian past,
"the rout of the Teutonic Knights on the frozen surface
of Lake Peipus on April 5, 1242. ft^ Alexander Nevsky was
the Russian hero of the thirteenth century who, with

4 *<•
the Russian people, defeated and expelled the Germanic
o
invaders f rom Russia.
Serge Prokofieff wrote the film score, which was
highly descriptive, stirring and often very beautiful.
In 1939 Prokofieff rewrote the score into a cantata for
chorus and orchestra in seven movements.
1. Russia Under the Mongolian Yoke
2. Song About Alexander Nevsky
3. The Crusaders in Pskov
4. Arise, Ye Russian People
5. The Battle on Ice
6. Field of the Dead
7. A l e x a n d e r 1s Entry into Pskov.
1 Slonimsky, N. , ’’Serge Prokofieff J’ Thompson, 0. , ed.

Great Modern Gomp os er s, p. 218.
2 ’’Cantata Alexander N e v s k y lf, New York T i m e s ,

1943, Feb. 19, 22:4.
101
Two characteristics of the cantata are "the
theatrical and descriptive trend, and the national trend,M
The musical style of Alexander Nevsky is a compromise

between P r o k o f i e f f s early m o d e r n i s m of the period
of the Scythian Suite and the new conception of a
nationally Hussian style, d e r i v e d .m a i n l y from Boro
din, and to a lesser degree, from Moussorgsky.
Hence, the luxurious orchestration, with bells,
xylophone, • .4
I, RUSSIA UNDER THS MONGOLIAN YOKE
M0LT0 LENTO
FORM
The first movement, "Russia Under the Mongolian
Yoke, !f essays to p o rt ra y the devastation of Russia after
the invasion of the Tartars, and is sombre and grim. It
is in three-four time and is modal.
The movement begins with a four measure forte
introduction using strings, woodwinds and a tuba in oc
taves, producing an unusually hollow, empty sound.
At *the conclusion of this four measure phrase
the first theme appears (fourth measure, third beat)
in the first oboe and bass clarinet three octaves apart.
The theme is accompanied by the second violins and violas
3 Nestyev, I., Sergei Pro ko fi ef f, p. 155.
4 Slonimsky, N . , ag. c i t ., p. 218. Also see

Nestyev, I., op. cit., p. 156.
102
in an ostinato figure until measure nine. At this point
a melodic pa t tern very characteristic of Prokofieff is
pla ye d alone by the violas with the theme carried by
the oboe and bass clarinet. At measure eight the Eng
lish horn enters with a pedal tone. As Theme I approaches
its conclusion, the strings, woodwinds and brass strike
a clear cho rd which is held one measure, and then resolves
(measures eleven and twelve)#
Theme II enters very clearly on the third beat of
measure twelve, played by oboe II. The orchestration is
extremely light and the theme Is followed distinctly to
its last two measures where again a chord is struck by
the strings and resolves in the next measure.
A short four measure m e l o d y is introduced b y the
bassoon at measure nineteen, but it does not stand out.
The pitch is low, and the melody is played at a !p i a n o f.
All the strings accompany it at a 'pianissimo1# This m e l
ody seems to serve as a bridge to the third theme, and as
the end of the first section of the movement.
Theme III is played by the English horn (measures
twenty-three to thirty), and has the same type of accom
paniment âlready noted for Theme II and partT of Theme I.
This is a h’armonlc figuration which is taken by the first
violins. The second violins and violas have G two octaves
apart as a pedal against the theme and harmonic figuration.

This section is played more slowly than the first part,
and- at its conclusion the four measure introduction is
heard again. Theme I follows. Only five measures are
played^by the oboe and bass clarinet. The English, horn
picks up the second half of the theme wlth a slight inver
sion of the m elody in the bassoon. The English horn com
pletes the theme, and the movement ends on a chord which
is held several measures, ending softly.
It can be seen that the movement iia in ABA form.
There are three important themes, the first two appearing
in section A, and the third theme in section B. It gives
the effect of a prelude in sustained mood.

104
INSTRUMENTATION AND ORCHESTRATION
The first movement is scored for two oboes, E n g
lish horn, two clarinets, bass clarinet, two bassoons,
contra bassoon, tuba, tenor saxophone, four cornets,
violins, violas, cellos and double basses.
At the beginning the woodwinds, tuba and strings
enter together on the note 0 in several octaves. The
treatment of the octave beginning is very forceful. The
sound is ho ll o w and dark.
On the second beat of the fourth measure the strings
(vln II and violas) sound a third. On the next beat the
oboe and bass clarinet pl a y Theme I three octaves apart.
The strangeness of sound apparent in the four introductory
measures is more notable in the combination of these two
instruments on the first theme. The chord progression
in measures eleven-twelve concludes the first theme with

additional tone color. The strings play sul ponticello
creating a whispering effect despite the fortissimo, and
the brass are muted. The instruments die down to a piano,
and the second theme enters clearly and quietly, played
by the oboe.
The second theme is accompanied very lightly by
a rapid harmonic pattern in the violins and a pedal in
the contra bassoon and bass clarinet.
The third theme introduced by the English horn
has the same orchestral background as the second theme.
The first theme, or Section A, comes back. At
the close the cellos are heard in a low diatonic p r o g r e s
sion from D up to G-, The bass clarinet enters a few
beats after outlining the G minor triad, starting on
the fifth. These two low parts stand out a little
against the quiet pedals in the English horn, clarinet
and violas, and. bring the first movement to its conclusion
The first mo vement is intended to portray the
country as it is after the Tartar invasion. The use of
the reeds exclusively for the themes, and the octave p r o
gressions give the illusion of oriental influences in
the first instance, a n d desolation or emptiness in the
second. Prokofieff has created a g r i m picture indeed.

H AR MO NY
The composition is modal. In the first movement
the key signature has three flats with 0 as the tonal
center. The mode is the natural m in or scale.
The four measure introduction consists of parallel
octaves in all voices; the progression is
3 C & C D C D C
The first theme is hear d in the first oboe and b ass clarinet
three octaves apart. The accompaniment is a progression of
thirds in the second violin and viola until the eighth m e a
sure, at whic h point a pedal is added in the English horn.
Measures nine and ten have pedals in the viola, English
horn, and bass clarinet. Triads occur in the theme or '
m o v i n g part, against the thirds in the accompaniment.

A distinct chord progression is found at measures
eleven and twelve; a r,t a l l ff chord is built b y all the
voices at measure eleven and is resolved in measure twelve
The chord at measure twelve is a dominant seventh with
a non-harmonic pedal in the bass.
The active tones, as differentiated from the
"passive” tones, are the moving tones in the inner parts.
Theme II enters on the third beat of measure twelve
and has a greater harmonic background than ’

T heme I. The
harmonic figuration present in the first violins outlines
triads against which the second theme is heard. For the
mosj^ part a diminished triad is the basis for the violin
accompaniment. The harmony for Theme II is as follows:
the low E natural pedal is present in the bass. The theme

108
is heard with the ‘diminished seventh chord built on B natural.
Another distinct chord.progression occurs between
measures seventeen and eighteen. The active tones again
are the mo vi ng tones. The E natural pedal goes to F, which
is the fifth of a dominant seventh chord built on B^0.
The harmonic treatment of section'B is the same
as in section A, which is repeated after B. This m o v e
ment is to be noted for its m a n y parallel octaves; i.e,
in the themes, and for the general parallel movement in
all the parts. Secondly, the harmony frequently is out
lined in the mov in g parts, -the figuration in the violin.

109
While the violins give a, tremulous effect with the har
m onic pattern, the bass carries a pedal tone in octaves.
A third, and most important characteristic, is that
the harmony is modal, as already pointed out# The r e s o
lutions that Prokofieff chooses for his "tall" chords
that so rarely occur, sound natural and logical nevertheless.
They have a mournful beauty that enhances the entrance of
the theme that always follows immediately after.
RHYTHM
The rhythm of the first movement is a straight
three-four, the emphasis almost always being on the first
beat# In one instance, in anticipation of the entrance
of the first theme on the third beat of measure four,
the strings enter strbngly on the second beat of m ea su re
four. The accentuation of the second beat occurs once
mo re upon the re pe ti ti on of the introductory phrase at
the beginning of t h e third section of the movement.
Themes I and II begin with an anacrusis, but the
rhythmic impulse is felt on the first beat, or beats.
W i t h Theme I this is due to the m e l od y itself, the higher
tone falling on the first beat, or a tone of longer
duration occurring on the first beat. W ith Theme II the
f irst beat following the anacrusis is reinforced b y the
introduction of the first and second violins, the first

violins with a harmonic pattern and the second violins
w ith a pedal.
The most characteristic rhythmic figure in this
M ovement occurs in the introduction:
3 ta tu- -feu.
il J 91
i
I m i ! HI
# •• • # J u
>
.Frequently this following rhythmic figure occurs in the
first and second violins, and sometimes in the viola:
This is played in one or two groups to a measure and
outlines the tones of a chord or merely follows a turn*
These two rhythmic patterns occur in section A. In sec
tion B, which is slower, the harmonic outline is revolved
more slowly with the following figure, occurring as always
in the uppers s t r i n g s :
fFFFH
COUNTERPOINT
The first movement is homophonic* The voices other
than the one with the theme are strictly harmonic. For the
most part they are practically stationary.

Ill
II. SONG ABOUT ALEXANDER N EV S K Y
LENTO PIU MOSSO
"Song About Alexander N e v s k y ”, sung by the
chorus, is about the brave exploits of Alexander Nevsky.
The songs also tell of the determination of Nevsky and
the people to repe l the invaders. -> The themes are strong
and melodious.
The words of the song are as follows:
”Yes, t ’was on the River Neva it occurred,

On the Neva *s stream, on the waters deep.
There we slew our f o e ’s p ic k of fighting men,
Pick of fighting men, army of the Swedes.
Ahi How we did fight, h o w we routed them.’

Ye si We smashed their ships of war to kindling wood.
In the fight our r e d b lo od was freely shed
For our great land, our native Russian land.
Where the broad-axe swung was an o pen street.
Through their ranks ran a lane where the spear
was thrust.
We mowe d down the Swedes, the invading troops
Just like feather grass, grown on desert soil*
We shall never yield native Russian land.

They who march on Russ shall be put to death.
Rise against the foe, Russian land arisei ^
Rise to arms, arise, great town Novgorod J '1
ST Prokofieff, S., ’’Alexander N e v s k y ” score.

(Leeds Music Corporation, New York, 1945) pp. 10-19.
112
F OR M
"Song About Alexander Nevsky" has three parts, the
third a repetition of the first. Section A is a lento; in
section B the tempo is d ec i d e d l y faster.
Section A is in major, and has one theme which is
not e x p a n d e d ’in any way due to the sho rt ne ss of the section.
jg f f l M q A v1? i r. h *•
Section B i s writt en in the same m a j o r mode of B^3,
but reflects the relative m i no r mode of g, the m i n or of
B^3. This section is longer and t h e theme is developed a
little. Different keys are used in the development, and
the section ends in F major.
After the middle section is ended a four measure
phrase is heard in the original tempo but still in F
major, which is used as the dominant of B^ major, and
then goes right into section A in the original key.

113
INSTRUMENTATION AND ORCHESTRATION
The second movement Is scored for springs, two
flutes, two clarinets, bass clarinet, saxophone, two
bassoons, contra bassoon, tuba, harp and chorus* The
woodwinds open the movement w i th an ostinato accompani
ment* The strings have held notes at the beginning,
but almost immediately the violas and cellos have the
same ostinato background while the double basses and
violins p la y the sustained notes.
The alto an d tenor voices eater on the second
beat of the ei gh th measure. The m e l o d y is diatonic and
in the folk idiom. The smooth legato of the first
theme changes with the second theme to powerful abrupt
notes at a faster tempo. The w i n d instruments have

* '-'A.- w.
staccato notes on 'the beat, and the strings play
pizzicato. A strumming effect is achieved in the strings.
All the instruments are treated in a percussive manner,
complementing the vigor of the theme.
COUNTERPOINT
In the choral part of the second, movement Proko
fieff has used a little counterpoint# The theme,

which occurs in the alto and tenor, is followed in the
bass to a small extent,
entering on the last measttre of the theme. This occurs
twice.
In section II a secondary melody appears to be, a
free imitation of the theme of this part. The theme,
ds altered as follows:
p— — -wrrr— .
— ^r*'*r'
—' —--- 1
-
RHYTHM
The first section of %the ” Song About Alexander
N e v s k y ” maintains a slow, steady duple time. The theme
keeps a two-four time while the accompaniment is a basso

115
ostinato, having throughout the^ figure
m rr ate-
Section B, however, alternates from a two-four to
a three-four, and in t h e theme itself there is a change of
rhythm. The theme is only three measures long, the first
two are in two foyr and the third is three-four. The p e r
cussion support the rhythm of the theme. An the instruments
are treated in a percussive m a n n e r to reinforce the accent.
Only in one instance do any of the instruments have a melodv,
the bass sings, and then it is pizzicato. &
■4 * '*
J41TflfiV pf <wr T*
*'» z
The strings are pizzicato in almost all of the
section, and the vdnd instruments have short staccato
notes which fall on the beat.

116
HARMONY
The harmony of this movement is simple, being com
pos ed of el ementary triads in b oth sections. In the first
section the two chords heard are I and IV. I is almost
always in root position, IV is used occasionally in first
inversion.
In the first part of section B, the chords I and
the m i no r vi are used. As the section extends, a new key

V\
E major, is used fo r a new melody, and the chord pr og re s
sion is as follows: I
IV 5 Ifi V
4 4
The V chord is taken as I in major, which goes
into P major, and the section is concluded in this key.
A four mea sure lento phrase is heard next in the
original tempo. This is played by the woodwinds and is
still in F, the dominant of major. The last chord of
the phrase is the F major, which is used as V for the re
petition of the first section in B^ major, the original key.
III. T HE CRUSADERS IN PSKOV
LARGO, ANDANTE
The cruel, barbarous Teutonic Knights and their in-
humanity are described in this movement. The Knight.s are
suggested, by an ecclesiastical theme. ‘Their barbarity
seems suggested by clashing, brutal-sounding chords at the

opening of the movement. The chords are played by the
brass, with cymbals and bass drum and are very heavy and grim.
The ecclesiastical theme was composed by Prokofieff
only after m u c h research in a fruitless effort to discover

6
an authentic Crusaders* song.
F OR M
The form of this movement is clearly ABA, It begins
with an introduction written as a Largo. The m ai n p or tion of
section A is an Andante with the chorus singing the Teutonic
recitative and theme.
Hi • M if • y[
*" ^ Sheldon, H. 9 ” ’Alexander Nevsky *Program Notjes, n

'Alexander Nevsky"score, (Leeds Music Corporation, New
York, 1945).
118
Pf•ft**Gv.i *i>» Hjfjf

j fjt* o$
* »■ z±
The horns play a m e l od y against the chorus theme.
The horn theme is heard again in the fifth move m en t with
the chorus theme*
.Ttotf £ ) m m < .■m ■ ■— .. ■ ■l a ■ ,.m * |
i A"■V jn A •f ^ f; §
The second section, B, contains .a very beautiful

-
Russian m elody d ep icting "the mour n in g of the Russian people
* i
for those who were slain in battle by the attacking Germans."
'KfT'eTdev, Paul, Columbia Masterworks Set

tf-MM-580. "Program Notes: 'Alexander Nevsky Cantata*
119
Theme III
. clcUvftft
Section A returns with a f ew measures of the Largo
introduction and is a little shorter this time.
ORCHESTRATION
The introduction is written for a full brass section;
strings and^woodwihds ha'jê very .l i t t l e ’.to do. The v e r y slow

r
tempo and heavy brasses m a ke the music ponderous and sinis-
ter'. An ecclesiastical quality is apparent at the cloBe of
the introduction due par tl y to the min or tonality, and due
to a great extent to the brasses, which p l a y with an open,
clear, or "puren tone at the cadence.
The recitative enters alone after the "cadence, and
the ecclesiastical quality is carried over from the i n t ro
duction. After the recitative the chorus sings the first
*»*
p art of the first'theme, and the violins and flutes p lay
t&e second part. (When section A returns after section
B, the chorus sings the entire t h e m e . ) The recitative is
sung once more* with the full orchestra, sounding very
heavy and grim.
In section B the violins p l ay the Russian theme al
m o s t entirely unaccompanied; the woodwinds play a sustained
chord every other measure. The second time the theme is
p layed Theme II from Section A is played by the brasses,
and the woodwinds augment the strings on some parts of the
theme. The orchestration of section B Is simple. The
strings predominate,, to a great extent. The appearance of
the brasses the second time Theme III is played is not a
m a tt er of orchestration, but of counterpoint, which is used
psychologically to remind one of the presence of the T e u
tonic Knights as the Russians sing their song of mourning
for those slain by the Knights.
COtWTGR POINT
This movement is more homophonic than contrapuntal,
but there are some examples of poly ph on y to be found.
The horns play an important m e l o d y against the theme
sung by the chorus. These two themes are as follows:

121
14 *1^0
r.w '>«i .
râk.Aw- r a-r *
Theme II appears again in two ways, first as shown

*
above, and in diminution at the same time, against the first
theme •
■ il
- -■M •TTTTTffT:TF t *1
,af
L B ' A
-- !--=> 01
^'1
\j |px*4_
lA \ f rrit l i. ir »" " I 'l: . ~^r:~ k \ I t1 T'r #,~tr '
r^r
.1.
1|4#- \1 1ETQ *H -t t ^
i t n 11
Theme II is played against the Russian theme in section
B by the brasses, trumpets, trombones and horns. Theme II
is shown in the higher voice. It is also played an octave
lower. Fo r legibility the positions of the strings and

122
brasses are reversed*
q u u . i
£ * = -------------- —
r ~ i ~ * T i 1 ...... i -
. - . - ** " • * 9
-TiTt ---,
— 4^----
= 5
— Will— gLii
dolci
i
'LV- ........... U : ~ y ; flt --^=P=:;

\*t > i — 1 (
.... & =
HARMO NY
The introduction begins in G# m i n o r for a i chord
‘which is held for two measures* The third measure is
ha rmonized b y a vi chord, with passing tones* Measures
four through six are harmon iz ed b y the tonic chord again
going to a vi and back to a i chord. At this point a
change of key is effected in the following manner: i
(C#-E-G-#) goes to vi (A-C natural-E) which becomes i in
a minor. As can be seen, the harmonics used are simple:
that is, simple chords or triads are used. Golor is

123
achieved by the use of m i n o r vi chords in a m i no r key and
chromatic passing tones in a lower voice giving a "thick"
sound to a chord.
The four measures preceding the recitative are v e r y
i nteres ti ng * ha rm on ic al l y. The phrase is in a minor. The
m o d ul a ti on from minor to a min or has been examined above.
The first two measures of the phrase contain the chord of
the tonic. The cadence begins on the first beat of the
third measure with the tonic chord and proceeds as shown
below:
It is by such cadences as these that Prokofieff
creates an ecclesiastical tone in keeping with the nature
of the character of Grusaders. However, the true inten
tions of the Teutonic Knights are brought to light by the
Teuton theme (Theme III) played by the horns which sounds

124
like a call t o arms. In describing the Teutonic Knights
the juxtaposition of the ecclesiastical theme and the horn
theme is masterly.
In the Russian theme, played b y the strings, accented
non-harmonic^tones going to harmonic tones, m i n or and major
seconds, and a modal harmony, all contribute to a complex
harmony. Of itself, however, the modal harmony is not dif
ficult. The harmony is made complex by variations of a
m e l o d y present in almost all the voices m o v i n g in the same

O
direction. A pierding clash of minor and major seconds will
occur in the violins to be resolved by the diatonic melodic
line into a m ajor or m i n o r chord relatively free from n o n
harmonic or added tones.
RHYTHM
Section A is in four-four and has a regular rhythm.
The introduction has a characteristic rhythmic pattern,
which is as follows:
GASS 4
Idrom H
This pa tt er n is answered hy the following:
«A55 H
Duo;*) V
Some rhythmic patterns of the Andante are shown
below.
4 i o i
PP^*P^>
This particular example always appears in the or
chestral accompaniment in the recitative and is used again
w ith the recitative in the fifth movement f,The Battle On

*5'
Ice. "
This pattern is taken fr o m the recitative.
n n
At one point in the Andante the rhythm becomes
somewhat complex, as shown below.
]
Actually, the rhythm is simply duple against
triple time, the chorus ha ving the duple time. The
triplet eighth notes written below the chorus and string
parts are not taken by another instrumental group, but
are intended to facilitate determining the time value of
the triplet quarter notes as against the other two parts
The rhythm of the theme in the middle section is
the most interesting of the whole movement. There are
m a n y changes of time signature, but the melodic phrase
maintains its balance although it is very extended.
The example di own above includes the entire phrase
which is seven me asures long.

127
IV. ARISE, YE RUSSIAN PEOPLE
ALLEGRO RISOLNTO
This is a stirring, rousing song by the chorus
depicting Alexander's efforts to unite the people and
make them part of his army.
The words of the song are as follows:
"Arise to arms, Ye Russian folk

In battle just, in fight to death.
Arise Ye People, free, and. brave
Defend our fair, our native land.
To living warriors h igh esteem,
Immortal fame to warriors slain.
F o r native home, for Ru ssian soil,
Arise Ye People, Russian folk.
Arise to arms, Ye Russian folk,
Arise Ye People, free and brave,
In our Russia great, in our native Russia

no foe shall live.
Rise to arms, arise, native mother RussJ
In our Russia great, in our native Russia
no foe shall live.
Rise to arms, arise, native mother RussJ
Arise to arms, Ye Russian folk.

No foe shall m a r c h ’cross Russian land,
No foreign troops shall Russia raid.
Uns ee n the ways to Russia are.
No foe shall ravage Russian fields.
Arise to arms, Ye Russian folk.
lK*end our fair, our native l a n d . ”
8 P r o k o f i e f f , S., "Alexander N e v s k y ” score.

(Leeds Music Corporation, New York, 1945,) pp. 3b-49.
128
FORM
This movement is based upon the ABA form. In
this instance it is really ABA. At the repetition of
the first section the first theme Is sung, and then the
chorus sings a new theme.
Section A contains two themes.
Theme I sopranos
»• • . ~
r
n pTf fE
-V'.
H frrt
T* 4*^ (fl *Vii4 ■{# f/i4 M Defend toi/j*.1*><*
#«it -T it Ui*
LmxJ
________ X
Theme II is sung by the tenors in answer to
Theme I and has the same character. It seems almost
like the second half of Theme I, but a change of key
determines it as a response or a new theme.
Theme_ XT *. ___ - -- -------------- — — ---
i
'''iii 111i'
13-« _
^ -/
tinyrt
T*
» , b.k .. ^ * ___ T l
*jl«l tS'Tu'* -•T
Ti
il 'jovA T#
fiik W t f
Section B has one theme, which is used at the
close of* the f i f th movement*
Theme III - altos
Section A returns with theme I, omits Theme II,

*
and presents
* a n e w theme
Jfy in its place.
130
ORCHESTRATION
The orchestration for the fourth movement is rather
light, a welcome change after the heavy, sombre orc he st ra
tion of the third movement, *
In section A the upper strings pl ay pizzicato chords,
the wind instruments playing the melodic phrases and sus
tained notes. The horns double with the sopranos on the
first theme and the second has a strictly homophonic accom
paniment, At the repetition of Theme I the flutes p l a y one
octave and the piccolos two octaves above the sopranos.
Theme III, of Section B, is of a more majestic
nature than the other themes of this movement. The orches
tral background reflects this quality in sostenutos and
slow-moving phrases in the strings and woodwinds. The
brass instruments do not p l a y in section B after the first
eleven measures.
Theme IV is heard for the first time when section
A is repeated. The xylophone plays a fast run against
the theme. The bright color of the instrument gives
spirit and zest to the theme as it is sung b y the sopranos.
The xylophone is heard at the b eginning of the movement,
too, as it assists the strings in accenting weak and
off-beats before the entrance of the chorus. This orches
tration is unusual but very effective and colorful.

151
Aside from the use of the xylophone the orchestration and
instrumentation are somewhat subdued.
HARMONY
The fourth mo vement employs modal harmony, whifih
is characteristic of the composition as a whole. The
chords are simple triads, but. modal progressions give
them unusual import. F or example, the first theme con
tains the following harmonization:
fY*JjUUUs>JL I I ^ 13
TFF -}■
C •. i K I'
c l 7 I f 1
Tr ll-S f-T -T X /Z
y^
In measure six a. mo d u la ti on to. E major is effected
by means of the majo r VI chord in G m i no r which is inter
preted as a m a j o r IV chord In major.
Theme II follows immediately after Theme I in G major
The transition to G^ major from E^ major, is accomplished in
the following manner: The E^ tonic chord goes to the major

y^
VI chord with the lowered sixth, 0 • The VI chord then be
comes I in C*5 major.
The characteristics of. the harmony of the rest of
the movement are the same as those described above.

132
RHYTHM
The rhythm of this movement is regular. The
themes are in duple time with accents on the first beat
o f ■each bar. Three of the themes begin with an anacrusis,
giving a strong impulse to the first beat of the first m e a
sure and a heartiness and vigor ,to the themes themselves.
The beginning of the movement presents an interesting
rhythmic pattern which is represented below.
U>i«© WTK.J Z J J J J J 2. J.
peRCtts*/#^ p £ f £
JClft* j i 2,
STRIVES JI
The above example illustrates the only occurrence of
syncopation and off-beats in the movement. With the entrance
of the voices the rhythm becomes symmetrical.
COUNTERPOINT
This movement is homophonic. The only instance of
contrapuntal writing is near the close of the movement
when the xylophone plays a rapid, running figure against
Theme IV sung by the sopranos. This very fast run played
by the xylophone gives an elan to Theme IV.

i
133
V. THE BATTLE OH ICE
F ORM
This movement is the longest and the most important
of the whole cantata. It is highly descriptive and r e a l
istic, depicting the battle of the Teuton Knights and
Russians on the frozen lake Peipus.
There are four sections to ,fThe Battle On Ice" rep
resentative of progressive stages of the battle. The form
is necessarily free, as the themes are used to represent
the domination of one or the other side in battle or to
p or tray certain actions. Sect-hoh-IV- is the development •sec
tion inasmuch as the battle reaches its climax, and all the
themes are heard together and separately; but it is not the
development section in the sense of formal structure.
The themes descriptive of or representing the T e u
ton Knights were taken from the third movement "The Crusaders
in Pskov". A recitative, which is used in diminution also,
and a choral theme are the two elements from the third
movement. A h o r n theme, n e w to the fifth movement,.is the
third symbol of the Teutonic Crusaders. The choral elements
are ecclesiastical in character and are sung in Latin.

154
T|lw »w .•
j ; M .U t m
« r L * t» Ct*bSA-iJS /Ar crn-BA'US
} r<
Q^t
Ta:m U |i-H M t ' Q.

135
The Russian are represented by three themes from
the fourth movement "Arise, Ye Russian People", and
various themes used for the first time in the fifth
movement. Although in the fourth movement the themes
are sung by the chorus, in the fifth they ar e pl ay ed by
certain instruments. The themes n ew to the fifth m o v e
ment are typically instrumental. —•
a. from the fourth movement
- TfWs [
■ ■ ^ i g j i i j
second theme, fourth movement, sung to words, "to
living warriors high esteem, immortal fame to warriors
slain— "
w.
/fourth theme, f ourth movement, sung to words, "no foe
•shall m a r c h *cross Russian land, no foreign troops shall
Russia raid--'*.
fw \
■
t
-
t*t
o tr
rf.
?|ftfP
' I f ' U t M ' ' T
m m
Augmentation of the third theme, fourth movement, sung
to the words, r,In our Russia great, in our native Russia no
foe shall live--Rise to arms, arise, native mother R u s s - - n.

Themes of the Russians
introduced in the fifth movement

138
to# iiFKto
159
Section I - The I n tr od uc ti on * As stated before,
the four sections of the movement represent the p r o
gressive stages of the battle. The introduction, or
Section I, is short and sets the mood of the movement,-
There is m u c h tone color produced by an interesting use
of the strings, the violas and cellos playing sul ponti-
cello. The cellos carry a short m el od ic fragment which
is arbitrarily designated at Theme I of the first section
because of the importance of its tonal effect.
St G ____________
* 1
^ % ?#*+;«! 6
The second theme is heard at the end of the i n tr o
duction; it is the horn call of the Teutonic Knights and
is played by the English horn and the m u t e d trombone*
1TS
At the close of this theme the second section
begins immediately.
140
Section II. Section II begins with the sound of
the gallop of the horses of the Teutonic Knights, The
gallop, an ostinato in the lower strings, starts out quiet
ly and at a moderate tempo, but rapidly increases in both
volume and speed until Theme I is heard in the tuba. This
theme is derived from the second theme of the introduction
and is inverted.
V-d-
Only the first two measures of the original theme
have been used for this treatment.
The second theme, representing the Russians, is
quite violent. The theme is played in octaves by the
first violins divisi, and the second violins still another
octave lower. The gallop, or ostinato, persists yet in
the lower strings, indicating the oncoming Knights. Their
theme (Theme I) enters on the fourth beat, third measure
of the second theme, heralding their approach.
Theme 2 - violin II
'at^CL
J
141
V -Theme II is always answered by the third theme of

rCft
this section, and the second theme (Teutonic) of the
introduction w h i c h enters one measure after Theme III*
Vo r\
ztmvSt t
The chorus enters next with the Teutonic theme from
the third movement* This and the second theme of this sec
tion are the predominant themes of the section. The second
theme is heard once m or e with its answer*
Section I I I * The third section, an Allegro, com
mences w ith the recitative in diminution of the third
movement *
C v ci * f!o%»Ti‘s %**€
The recitative of the Teutonic Knights is followed
by the second theme of the fourth movement. For conven
ience this theme will be designated as Theme I of section
III. The theme is Russian, and in the fourth movement is
sung to the words nTo living warriors high esteem, immor
tal fame to warriors s l a i n . ”
The recitative is heard again and is answered this
time by the fourth theme of the fourth movement, For
convenience this theme will be called Theme II of section
III. The theme is Russian, and in the fourth movement is
sung to the words, tfNo foe shall m a rc h 'cross Russian land,

143
no foreign troops shall Russia raid. ,f
After a rhythmic interlude two n e w Russian themes
are heard in close succession. The first is Theme III.
i
Theme III is played in unison b y two oboes, two
clarinets, and a m ut ed trumpet. Two flutes play an
» octave higher.
The rhythmic interlude is recalled for four m e a
sures, and Theme IV enters played by two oboes and two
clarinets in unison, and the piccolo and two flutes in
un is on an octave higher.
144
Following the fourth theme the tempo changes to an
Andante* After one measure of sustained tones in the or
chestra, the chorus sings the Teutonic recitative which by
n ow is graced w it h an occasional changing tone* The tempo
then reverts to an Allegro, and the recitative is heard in
the three lower voices*
Section I V * After the last note of the recitative,
the violins enter with a n e w theme in an abrupt change of
mood. This n e w theme is Theme I of Section IV.
Con bKto
145-
Theme I is always answered by another theme that
is also heard for the first time. The first measure of
the theme is played by the horns, and the trumpets enter
just after the second beat of the first measure, playing
the rest of the theme.
ui. la.
,F-\- frt 'Jg-1 -V ?*>
. . . . . . . . . . . ■ J
U±I
ii > m - i r. rM i n v n ^ rv-r^£iM
v : = Mfcr..1 1
Themes I and II are played once more with the same
changes of key, but Theme II keeps the same time in its
entirety the second hearing.
After the two themes of Section IV have b een p r e s e n t
ed, the development section of the fifth movement begins.
The themes of the different sections fo ll o w one another more
and more closely, and then are heard contrapuntally, but
not two different Russian themes. The clash of the Teutonic
and Russian themes represents the clash of the armies. As

the Russians make increasing gains, their themes are heard
more frequently and the Teutonic themes less* The music
reaches a climax when the Teutons are beaten and sink b e
nea th the ice* The movement closes with a very quiet,
beautiful Russian melody w hi ch is pl ayed in h i g h register
by the first violins* The m el o d y is the third theme of the
fourth movement, where it is sung to the following words:
,fIn our Russia great, in our native Russia no foe shall
live--* Rise to arms, arise, native mother R uss—
Violins I
ORCHESTRATION
Orbhestration plays an important part in the fifth
movement due to its hig hl y descriptive character* This is

147
evident f ro m the start* The instrumentation for the in
troduction consists of the strings and a flute with the
gradual addition of other instruments--a bassoon and bass
drum, next the piccolo, bass clarinel, Lrumpfet and.cornet;
then the second flute, contrabassoon, and last of all the
English horn and trombone*
The atmosphere created by the introduction is one
of coldness and stillness, with impending action (Theme II)*
The introduction begins with a G minor chord with wide spa
cing* Some of the strings p l a y a sustained tone and the
others a tremulo. This is held for three beats, and on the
fourth, the cellos enter with the first theme, which is p l a y
ed sul ponticello. Each note is pl ay ed as a tremulo, and
this, played sul ponticello, creates an icy, eerie sound
consistent with the m o o d of the story.
Theme II, h eard at the close of the Introduction,
is played by the English horn and a muted trombone. The
tones of the two instruments blend well and sound as if
coming from afar* The background of the theme is light,
only the strings are left, playing tremulo*
An important idea in the second section is the
"gallop” of the distant Teutonic Knights. The " ga llop”
Is an ostinato accompaniment of the same tone and/or

148
two alternating tbnes pl ay ed by the violas, cellos and

4
string basses. The time signature is a 4 Moderato, and
the ogtinato consists of staccato eighth notes played sul
ponticello, preserving the crisp, cold sound heard in the
introduction. The effect is strong, powerful and massive.
Unusual, also, in its effect, is the placing of the
gross, ma ssive theme of the Teutonic Knights (Theme I Sec
tion II) against the extremely active, vital Russian theme
(Theme II, Section II)* The effect is further enhanced by
the extremes of register and the instruments used. The
violins carry the very high Russian theme with the assis
tance of the piccolo, and the Teutonic theme is played by
four cornets, three trombones and the tuba. An illustra
tion of these two themes played together can be found on
page ///D.
It can "Be seen that the character of the Teutonic
themes is heavy, with the resultant full orchestration,
and especially with the chorus. The nature of the Russian
themes is strong but light, sometimes almost gay but always
virile* The orchestration is in accordance with this nature
and is noticeably lighter when the Russian themes are played
by themselves.
The fifth movement closes with the third theme of
the fourth movement. This last little port io n is Very quiet
and is played by the strings and harp, and the flutes and
149
bassoons for several measures. The first violins play the
theme very h igh and are muted. The other strings, muted
also, play a tremulo of two notes or a single note, and
the violas have a divided chord. The effect is one of tran
quillity; the quiet after a storm#
.COUNTERPOINT
Counterpoint is used functionally in this movement;
it serves to indicate actions of the Teutonic and Russian
armies taking place simultaneously bv sounding together
Teutonic and Russian themes. The most frequent occurrence
of this is during the development, as the battle reaches its
climax* However, some examples can be found in the second
and third section.
In the second section an example of this type of
counterpoint is found as illustrated below. Theme I
(Teutonic) and Theme II (Russian) are the subject used.

As discussed previously Theme II is always answered
by the third theme of the second section and the second
(Teutonic) theme'' of the introduction played together. An
illustration of this can be found by referring to pa gel///.
Further on the chorus enters with the Teutonic theme
from the third movement one meas ur e after the entrance of
the second (Teutonic) theme of the introduction.
In the third section can be found the contrapuntal
device of diminution as it is used in the recitative. The

chorus sings the recitative first in its original form
and then in diminution for one measure after a measure's rest.
In the development m a n y themes are sounded together,
usually in groups of two, and never more than three at a time.
As stated before, it is P r o k o f i e f f 's belief that the human ear
cannot hear or distinguish more than three melodies at a time,
and those three only if they differ in register, character and
tone quality. It seems to the writer that occasionally this
policy results In incongruous combinations that are rather
striking to the ear and difficult to reconcile to any p a r t i
cular logic of action. However, the incongruity and lack of
any particular wlogic are justifiable as a satirical commen
tary.
Early in the development the second theme of the first
section and the first theme of the third section are played
together as follows:
The brass against the strings provide a good
contrast in tone color, and the themes are well contrasted
in character or mood* T h e r e ’is not a contrast in register
or pitch, as the second violins p l a y the theme an octave
b el ow the firsts playing in unison a few notes with the
brass. Nevertheless, the two themes are easily di st in
guishable*
In another p o r t i o n of the development, a rhythmic
variation of the second theme of the first section, or
introduction, enters first in the trumpets. The horns
p ick it up a few measures later in its original form,
and the first

»v
violins enter at the same time with the
first theme of the f o u r t h .section. This sounds as
follows:
153
HARMO NY
For the most part the harmony is not complex, and
usually simple triads are employed. In this movement o n e ’s

\
attention is focussed almost entirely upon the .melodic lines
and the interplay of themes#
In the introduction a key feeling is not firmly estab
lished until the entrance of the second theme, which is in
C# minor# The chords move chromatically from one to another
with a few leaps as shown below#

This example illustrates the substance of the
harmony of the introduction* At the C# m i n o r chord the
second theme is played.
Section II is written in C# m i n o r all the way
through. The themes (except for Theme II, which is chro
matic) are built largely upon the primary tones of G#
minor. The character of the harmony ofthis section can
be best understood by examining Theme III of the second
section and Theme II of the introduction as they are
played together. An example of the two themes is on page
Ml • The h ar mo ny is the tonic G# mino r throughout. After
the themes the chords consist of
j if* -f, ercgrfft*-

4 L
In the third section Theme I is in G major, and
there is *an abrupt transition to F # m a j o r for the recita
tive and Theme II. The recitative is sung in the key of
F # m a j o r with a D natural. Theme II (Russian) is in
the natural F # m a j o r and outlines the tonic triad.
The tonality of Theme III is not very apparent; it
appears to be founded u pon the G m i n o r scale with the raised
si^th and seventh degrees.

Due to the harmonic nature of the themes, the tonali
ties of the fourth section are quite clear. Prokofieff
sometimes uses enharmonic changes in order to enter a n e w
key. There are a few instances of polytonality when the
themes are used c o n t r a p u n t a l l y . For example,

156
Wi th in the short space of ten measures three keys
are heard* Theme I of Section IV is in D major. The first
time Theme II of Section I is in C# minor, the second time
in P minor.
RHYTHM
For the most part the rhythm is quite regular. While
a time signature m a y change the phrase itself is apt to
m ai nt ai n a rhythmic regularity. For example, the second
theme of the introduction is written as follows:
4
The rhythmic framework for the phrase is obviously 4.
The first theme of the introduction is written

4 3
first in a 4 and then a 2 but sounds the same rhythmically.
> >> > > >

157
All of the themes are in duple time* The chorus
theme one time is varied rhythmically by the first and
second violins as f o l l o w s :
choirs- n H ( I f( j j
0 m g • S 0 0 0 •
lie-
Qioutjy.
o.ou^s-. fjf £K» ftf [if (if (Jf
Theme III of the third section is the m ost interes
ting in its rhythm and melodic line# The time signature

2
The accents are played very strongly. The theme is played
by two flutes, two oboes, two clarinets and a m u t e d trumpet.
Prominent in this movement is a rhythmic interlude
in the third section* It is scored for full orchestra and
all the instruments are used in a percussive antiphonal
manner* The strings and higher woodwinds generally answer
the lower woodwinds, brass and percu ss io n section* The

2
time signature is 2. The basic rhythmic pattern is as
follows:
2
x
158
U pon this basis certain effects are achieved by the use of
accents, as follows:
Another example of building upon the same pattern
is shown below*
IJ/1SS
In the example above the triplets b u i l d up to a
greater accent on the first beat of the next bar. In
the second measure the bass drum takes the fourth beat
and plays the first beat of the third m ea su re 'w i th a
double forte pizzicato in the strings and the rhythmic
pattern.
A f e w measures later changes in the metric signature
occur with shifts of accent. The rhythmic pattern dissolves

159
and a p lay of accents is substituted# These changes are
as follows:
rt
4 -*■ * ^ > 2.
4 (it o ta r s t e»ca’csre> t C i ' I f l T i IHw C & M

7 X ^ X 3 3 ^
> 2. ^
The strong beats fall as marked by accents, the weak beats
are indicated b y rests. E ac h quarter note is of the same
duration, permitting the shift of accents.

160
VI. F I E L D OF THE DEAD
ADAGIO, MENO MOSSO
The sixth movement Is a very beautiful, sad song
of a Russian girl m ourning those k illed in battle* The
words of the songs are as follows:
"I shall go across the snow-clad field.

I shall fly above the field of death*
I shall search for valiant warriors there*
Those -to me betrothed, stalwart m e n and
staunch.
One lies quiet where sabres m a n g l e d him*

Here lies one impaled by an arrow shaft.
F r o m their wounds w a rm red blood
Like the rain was shed on our native
soil, on our Russian fields.
He who fell for Russia in -noble death
Shall be blest by m y kiss on his dead eyes.
And to him, brave lad, who remained alive.
I shall be a true wife, and a loving friend.
1 111 not be wed to a handsome m a n

Earthly charm and beauty fast fade and die.
I'll be wed to the m a n who's brave,
Hark Ye, warriors brave, lion-hearted men]
FORM
The sixth movement begins with a .slow introduction
ma rk ed Andante. The first theme is pla ye d by the first
and second violins and is heard again in the violas, and
9 Prokofieff, Serge, ’’Alexander N e v s k y ” score.

(Leeds Music Corporation, New York, 1945), pp. 130-1-33.
161
last In unison in the violas and bass clarinet. The first
time the theme is heard the first and second violins play
It an octave apart, as shown below.
Theme I
4>
§
•»
Theme II enters at Section A proper, and is sung bv
the me zz o-soprano as a solo.
Theme II - mezzo-soprano solo
I fitKro A/oTSo
i
f W 'i s W 4i *■(">*
r fall - ■« - /*'*«
I P
M i ^ ■' litd L
Section B is faster than the first section. The
m ezzo-soprano sings the following solo which was heard

first as a theme p l a ye d by the strings in the third
movement.
Theme III - m e z zo soprano solo
j)*» l ~r
' [1$ kiUm
The second phrase of Theme III is shown below.
•K> ou& Nfr -‘five Soij , oN our fiflLf
when compared with the haunting beauty of the melody, the
words are rather striking.
Section A is heard once again, but starts with
fheme II, the beg in ni n g of the m ai n p o r t io n of the
section.
ORCHESTRATION
The opening theme of the sixth movement presents
a very unusual orchestration. The theme is played in
octaves by the first and second violins playing divisi

as shown below
mm
g
<U ■ C#K
&u -^z^tx
tetutn'c: hrc’&t’
Z--f fjf* :*J 1Vt "tf '•1l.X i-'-t
The melody, played in this way, is strange and
melancholy. The m u t e d trills and tremulos have an eerie
sound which is relieved a little by the legato playing

of the melody.
The violas and second violins play the theme the
second time in a slightly different way. The tremulo
in the second violins consists of alternating tones of
different pitches, the mel od y being in the lower group

164
of tones
ilS i
Sr
m E
I
The third, and last,, time, the bass clarinet and
violas p lay together. The violas p la y without mutes, and
the tones" of the bass clarinet and violas blend well to
gether, w it h the bass clarinet dominating.
The introductory theme, orchestrated as it is,
creates a sombre, m e l a n c h o ^ m o o d in keeping with the
content of the words of the songs (Themes II and III).
The song is accompanied by the strings. The first
flute and first oboe have two measures with the voice,
and the other woodwinds, bass clarinet, oboe and contra-
bassoon, are used at the conclusion of the movement.
The brass instruments are not used at all.
COUNTERPOINT
Contrapuntal devices are used sparingly in this
movement; attention is directed to the m elody sung by
the mezzo-soprano. A motive of Theme III is inverted

by the violas several times as shown below.
*r
Beyond this .example counterpoint is not used. The
m e l o d y appears in the orchestral accompaniment only
when doubled w i th the solo.
HARMONY
The sixtfc movement is written in the natural
m el od ic 0 minor. The chord progressions are mod a l with
the diminished ii chord, m a j o r III, m i n o r IV and V and
m a j o r vi and vii. Theme II, the solo theme, is har mo n
ized as follows:
'M '< -"il-H
for the first four measures. If the harmony of the

»
previous movements is examined, this will be found to
be consistent'%ith it.
16b
RHYTHM
4
This movement is in 4- and has regular rhythm. In
the solo the dynamics follow the content of the words, h o w
ever, and points of emphasis sometimes fall on weak beats,
but this is the exception. The orchestral accompaniment
is very regular.
VII. A L E X A N D E R ’S E N T R Y IN PSKOV
MODERATO: ALLEGRO MA NONNTROPPO
In the final movement the chorus sings a triumphal
hymn celebrating R u s s i a ’s victory and warning all future
invaders of certain failure.
F ORM
The seventh movement has three sections. Only
one new theme is used. It appears in the second section
w it h an original motive played by the chimes, xylophone
and piccolo.
*
Section A recalls the theme used in the second
movement, SONG ABOUT ALEXANDER NEVSKY.
Theme I 1
’i
167
Section B begins with an Interlude In which the
bells, xylophone, and piccolo p l a y an original motive
which adds a great deal of cdlor. The piccolo is used .
to strengthen the two solo percussive instruments at
the motive proper. The rest of the solo part is m e r e l y
ornamentation. The motive and ornamentation are used as
a cheerful, happy background against which Theme II ap
pears. Theme II is the only one that is heard for the
first time.
The interlude beginning the second section is
shown below.
n A /VO/V -moppo
The first three measures in the illustrations shown
above are the ornamentation; measure four contains the
m otive itself.
The second theme follows.
Theme II - sopranos
The second theme is taken by the tenors and is suing
against Theme III (shown below) which is heard first as
the third theme of the f ourth movement, and again as the
concluding theme of the fifth movement.

1"Mtr.------------- ;
— ----------- -------- — r ■■■ - — — —— --
Section G contains Themes IV and V which were heard
first In the B A T T L E ON ICE
Themes IV and V
169
The themes are pla ye d by all the wind instruments,
and then motives of these themes are used for development
against which the chorus sings the magnificent third theme,
ending the movement with a tremendous climax.
To sum up, this movement is in three parts, A, B,
and G, each containing different themes heard in preceding
movements. The form is free but quite clear; it is descrip
tive, telling the story of a war, and a Russian victory,
and gives a warning to those who w o ul d invade and makb war
on the great land of Russia.
ORCHESTRATION
In the second sedtion of the seventh movement a
v ery colorful orchestration is used. Bells, xylophone
and the piccolo play together an original, .sparkling
motive. The bells and xylophone are the solo instruments
supported by the piccolo at the motive proper. The nature
of the ornamentation and motive is one of gaiety and rhythm
to which the two percussive instruments -are admirably suit
ed. The soprano and alto enter with their song, Theme II,
as the bells and xylophone continue developments of the
motive. The quality of the women's voices is well set off
by the sparkle of the bells and xylophone.
Themes IV and V of Section III are the woodwind themes
already discussed in the analysis of the f if th movement.

170
Theme III enters against motives of the fourth and fifth
themes, and the chorus carries it to the end in a growing
powerful climax* The orchestration for the theme becomes
fuller as the climax is reached. The brass enter, and Iheu
all the percussive instruments are used. These are the
tympany, triangle, snare-drum, chimes, kettle drum and
tom-tom, plus the bells and xylophone.
RHYTHM
The seventh movement contains elements of the pre-
vious movements, rhythmic melodic and harmonic. Upon
examination it will be seen that the first section of
the seventh corresponds with the first section of the
second movement, having the same slow duple time.
Section II contains the original elements of the

2
seventh movement. The tempo is an Allegro in 2 in the
first part with the following rhythm:
3
The second theme of the section is in 2 with the accent
always on the third beat. There is a change of rhythm
the second time Theme II is sung. The violins play Theme
III, w h ich is in duple time, against it. The third and

2
fourth measures of Theme II are now in 2 time so that
Theme III will keep its duple time.
T H EM E 1 3J H J JJ J " • • a! A & • *
' / , 1 3
the/me m ^ p- f !P fi P P
i<
9 3
I.'i a J J !J Hj ^
The duple time of Theme III is indicated by dotted
bar lines. The fourth measure contains a whole note in
Theme II, This tone is one beat longer than it was when
first sung. The rhythm otherwise is regular.
In Section III a fast duple time is heard which
becomes slower and majestic at the close of the movement,
H A R M O N Y AND COUNTERPOINT
As m e n t i o n e d in a previous chapter and as has
been seen by. examining the harmony of the Alexander Nevsky
Gantata, the chords which Prokofieff uses are simple but
are associated in an unexpected manner. The harmony of
the seventh movement of the cantata is entirely consistent

172
w ith this principle.
As regards counterpoint in the seventh movement
Prokofieff has followed his belief that melodies sounded
together should differ in pitch, tone quality, and char
acter.
CHAPTER VIII
LT. KIJE SUITE
L t . Ki ,je originally was a film made in 1955 by
Eisenstein, the Russian producer, with the music score
b y Prokofieff*
For a sketch of its story. • .we turn to the

v/ri tings of Mr. Nicolas Slonimsky, who says:
fThe subject of the f ilm Is based on an anec
dote about the Czar Nicolas I, who misread the
report of his military aide so that the last
syllable of the name of a Russian officer -which
ended w i t h fk i 1 and the Russian Intensive ex- .
pletive Tj e !. • .formed a non-existent name, Kije
The obsequious courtiers, fearful of pointing out
to the Gzar the mistake he had made, decided to
invent an officer of that name (as misread by the
Czar). Hence all sorts of comical adventures* •
I. THE BIRTH OF KIJE
ANDANTE - DOPPIO MOVIMENTO
ORCHESTRATION
The orchestration of the first movement conveys
the spirit of Kije. The cornet Is heard first, in the
distance, as L t . Kije approaches. The piccolo and flute
enter next in a v ery jaunty and gay theme and counter-
1 "Program Notes, 11 Victor Recording; M - 4 5 9 *

174
melody. The two instruments are high, and sound snappy
and cocky, as one imagines Kije to be.
Next the horns enter pompously with a m i l i t a r
istic rhythm, broadening the picture of Kije. The
piccolo and flute p l a y together again strengthening the
first impression.
. The middle section is scored in the beginning
for woodv/inds and brass with the brass predominating.
Strings, are u sed in this section but are not important.
The trumpets stand out, playing a fanfare which serves
to round out the picture of Kije as a cocky and p o m
pous, but likeable, m i l i tary figure.
F ORM
The first movement is in ABA form. Section A
begins w i t h a five measure slow'introduction; the cornet
introduces the following theme heard in the distance,
announcing the approach of L t . Kije'.
TT-fe-f | ( j 1 1 ^ Lt t
175
Section A begins with Theme I played by the
piccolo accompanied by the m ilitary drum. The piccolo
repeats the tlieme which n o w has a counter-melody playod
b y the flute. Theme I and its counter-melody are a l
ways hea r d together the rest of the movement.
The oboe plays the second, rather melancholy theme.

176
I with, its counter-melody is heard once
more, and then Section B commences.
Section B can boot be described as a fanfare.
There are two themes in this section.
4 T k « • :
m
In Theme IV the first trumpet enters with the
motive, which is answered by the second trumpet.
,Wlf'Ug* (£
Section B closes with Theme III played b y the oboes
and ornamented b y the first violins.
Section A returns with the playing of Theme II.
Then Theme I and its counter-melody are h e ard together,
and the movement ends with the introductory theme
played v e r y softly in the distance.

177
HARMONY
The interesting phase of* harmony in the first
movement is the changing of key. Changes of key occur
frequently and are abrupt but do not appear awkward.
The sudden change of tonality, in conjunction with the
us e of instruments w i t h a different tone color, is used
for descriptive purposes. This occurs for the first
time after the picc o l o and flute p l a y Theme I and the
counter-melody in major. The horns folloY j immediately
after in D major, w i t h no transitional phrase. The h i g h
woodwinds are alert and jaunty and the horns sound broad
and pompous. The abrupt, unexpected change of key en
hances the character of the new phrase and emphasizes
the difference b e t ween it and the preceding phrase.
The change of ke y discussed above occurs as follows:

178
Another illustration of an abrupt change of key
is shown below. The change of key occurs once more at
the conclusion of Theme I and its counter-melody in the
piccolo and flute respectively. Strings follow the
woodwinds in this instance, and a similar large jump
occurs in the upper voice. The strings are playing the
same phrase p layed b y the horns, but in another key.
RHYTHM.
In "The Birth of Kije" square, militaristic

A
rhythms are used. The movement is in 4.
Some of the rhythmic patterns are shown below*

£
These are representative. The first pattern is played
b y ithe horns following the presentation of Theme I and
Its counter-melody.
3 V
Tills pattern is used twice "by the upper strings.
The next pattern is heard at the beginning of the
middle section.
Below is the pattern of Theme III, the trumpet fanfare.
COUNTERPOINT
Counterpoint in the first movement is limited
to the use of counter-melodies. Theme I and its counter
melody have already been shown together in the discussion
of the form of the first movement;

At the return of Section A Theme II is accompanied
,% „
by a counter-melody as follows:
The counter-melody follows the theme closely.
Theme II is heard once more and is expanded,
counter-melody is also extended.

181
II. ROMANCE
ANDANTE, ALLEGRETTO, ANDANTE
FORM
The Romance is in ABA form. Section A serves to
introduce the middle section which is the important part
of the movement.
The theme of Section A is given below.
The theme, played by the string bass, is cumbrous, gro
tesque and sad. It is taken by other instruments also,
and preludes the main theme of the movement which is in
Section B* The main theme, Theme II, is played by the
tenor saxophone. In the film a solo baritone voice sang
the melody (given below) to these words:

182
Heart be calm, do not flutter;

Don't keep flying like a butterfly*
Well, what has my heart decided?
Where will we in summer rest?
But my heart could answer nothing*
Beating fast in my poor breast*
My grey dove Is full of sorrow—
Moaning is she day and night*
For her dear companion left her,
Having vanished out of sight, ^
Sad and dull has gotten ray grey dove*
Section A returns once more and the movement is concluded.
ORCHESTRATION
The orchestration of this movement very effectively
•creates
&
a most plaintive, dolorous mood. The awkward string
bass is heard lumbering clumsily through a theme which has
much melody and natural grace--the theme taken by the
string bass is ironical. The irony is carried still fur
ther when the viola plays the theme in a high register
with the string bass. Both Instruments are muted.
Theme I is heard next played by the tenor saxo
phone, bassoons and horn. Then the celesta takes it in
octaves. The celesta injects a little brightness.
Theme II, the melody sung by the solo baritone
voice in the film, is taken by the tenor saxophone,
which is full-bodied and mellow. The tenor saxophone
substitutes well for the baritone voice and is heard
several times on Theme II.
2
"Program Notes,” Victor Recording M-4 5 9 .
COUNTERPOINT
Counterpoint is used in two ways in the second
movement; first, and mainly, two themes or a theme and
a counter-melody are heard together, and secondly at the
cadences two distinct voices are heard in two instruments
or groups of instruments.
The first of the counter-melodies appears "below
played by the cello against Theme I in the celesta.
~ \(
Against Theme I in the cello appears a counter
melody in the tenor saxophone that is derived from the
theme. This is shown below.

Theme I in the cello has "been varied. This particular
alteration appears again, played by the cello, "but the
counter-melody is taken this time by the bassoon.
c Them© II is shown below with Theme I. The second
theme is played by the flute at a moderate tempo. The
theme is heard from then on played by the tenor saxophone
at a definitely slower tempo and with a harmonic accompani
ment.
j. .ZAgf... r. » __
k
Theme'II played by'the saxophone appears at first glance
to be In augmentation to the theme as played by the flute.
The flute is playing in an Andante, and the saxophone in
an Allegretto and appears as follows:
The theme as playbd by the saxophone is not in augmentation,
but is sounded at a slower tempo so that the melody re
ceives more stress.

185
An example of two moving voices concluding a
phrase is given below*
m m i
The final cadence is contrapuntal, also, and is scored

lightly.
FI. " ...."
■1
cl ITfr.-'—.-fT:~T-
f V f |
.2L»L. __
i IY •
n;J SSH— r— — : ^ P
..:z?
^.A-i „ a U-J
it
g M = = 4 Y ■ ■ y .. “
* 1 t* - :
u
-+..
'ii-f--: •:;=• '... Tfc'"" - -£—• --A---..-
- i
f a
—f y ^
if..
■" ...
■.^1. . -Sr--i— Y :4
?<*»
In the illustration just given the part Moving
from the cello to the viola and last to the string hass
is heard against the clarinet and flute, and finally
just the flute. The shifting from voice to voice of a
theme or melody is a characteristic of Prokofieff1s style
of writing. The melody remains within the same family
of instruments so that the timbre does not change. In
this instance the melodic fragment used is played by
the stringed instruments, and is heard against the
melody in the flute, a woodwind.
HARMONY
The key relationship of the three sections is
as follows: Section A begins in g minor and goes to b^
minor with lowered sixth and seventh. Section B Is in
e*3 minor. The return of Section A is heard in g minor.
The modulations are interesting. The progression
from g minor to b*5 minor is accomplished very simply.
The flute and viola proceed in contrary motion until the
note B^3 Is reached simultaneously by both instruments.
With B
v as the common tone of g and b
i*minor, the section
continues In the latter key.
The last four measures of Section A are in g
minor. The final chord B^DF is a III chord in g minor

V\
and becomes the dominant of e minor. This transition
is reached melodically and is accomplished quickly.

Section B is in e*° minor until the end when the key b e
comes major*
The final modulation is orthodox* The tonic chord
of major becomes a VI chord in g minor. The movement
ends in the key of g minor.
Other phases of harmony in this movement are quite
simple. The chords are simply constructed; the pro-

❖
gressions are apt to be modal.
RHYTHM
4 '
The second movement is written In a regular 4,
commonly used by Prokofieff. The rhythm is alsojpegular.
Melody and a descriptive orchestration are the two im
portant elements of the movement.

III. KIJE*S WEDDING
ALLEGRO FASTOSO
FORM
The third movement is built upon the design AB
ABA. ,fA" is a short phrase serving to introduce and
conclude Section B. The theme of Section A, played by
the brasses, is shown below.
The main theme of Section B Is a happy, fatuous
melody played by the cornet. The first time Section B
is played Theme II Is accompanied mostly by brass and
woodwihd. At the return of nB rf an important counter
melody is played by the strings.

189
K i j e fs melody is also heard*in Section' B. This
is Theme III played by the tenor saxophone.
Sections A and B return once more, and then the
movement closes with. Section ftA f’.
ORCHESTRATION
Theme I of Section A is played by the brass, and
sounds pompous, impressive. The bass drum and cymbals
enter at the cadence making the theme sound more pompous.
The very ordinary melody played by the cornet
sounds intentionally sentimental ajid banal. It stands
out very clearly played by the cornet. Theme III, which
is Kije's theme heard before as Theme II in the first
movement, is always played by the tenor saxophone.
Strings are not used much in this movement. The
military character is preserved by extensive use of the
brasses supported by the woodwinds.

RHYTHM
The rhythm is regular and in duple time,
COUNTERPOINT
The counterpoint of the third movement is
characteristic of Prokofieff1s contrapuntal style;
in general, it is based upon the combination of in
dependent melodies. In this movement, l,K l j e fs Wedding*',
a theme and counter-melody are heard together and have
the same character. At other times two themes, with
their differing characters, are heard together. This
is a means used by Prokofieff to indicate the assoc-

a
iation of heterogeneous elements as in the rAlexander
Nevsky Cantata", *Battle on Ice1. jTwo opposing armies
in battle are indicated by the simultaneous use of their
respective themes.
The counter-melody of Theme II is played first
by the clarinet, and then by the flute, as follows;

191
/2S?, C\.
i
M y
.jw
The shifting from voice to voice of a melody occurs in
the counter—melody• An inflexible rule of this device
is that instruments of the same group or family must
he used. In this instance two soprano woodwinds are used;
namely, the clarinet and flute which have a very similar
quality of tone.
At the return of Section B Theme II has another
counter—melody which is treated in the same way. Strings
are used.
192
HARMONY
' The harmony of the third movement is extremely
simple. Major keys and harmonies are used except for
K i j e fs theme which is minor. 4
-The cadence at the end of Section A should be noted.
i
Since Section B continues in E major, the cadence is
not a modulation. The tonic chord has an added sharped
four and goes to the dominant chord, making a half
cadence. The movement ends the same way.

IV. TROIKA
MODERATO, ALLEGRO CON BRIO
The troika is a Russian sleigh, and throughout
the movement one hears the bells of the sleigh against
the main theme, which is a Russian tavern song. In the
film a solo baritone voice sings the song which in the
suite is played by a tenor saxophone, two bassoons and
the cellos. The words of the song are quoted below.
A woman1s heart is like an inn:

All those who wish go In,
And they who roam about
Day and night go in and out.
Come here I say, come here I say,

And have no fear with me.
Be you bachelor or not,
Be you shy or be you bold,
I call you all to come here*
So all those who are about

Keep going in and coming out, „
Night and day they roam about.
® "Program Notes,” Victor Recording M-459.

FORM
The fourth movement is in two sections, as indi
cated by the tempo markings* The moderato presents
Theme I, which is heard also,in the allegro.
In the moderato the theme is carried by many different
instruments in phrases. In the allegro it is not
shifted from voice to voice.
In the allegro, or second section, three themes are
heard in addition to Theme I, which is heard first. Theme
II, shown below, is Kije*s theme in a variation.

In the fourth movement the theme always appears as
shown above, played pizzacato by the violins.
Theme III is always played by the trombones and
is a subsidiary theme.
Theme IV, heard in the tenor saxophone and bassoons,

is more prominant than the third theme, having more of a
f
melodic character.
197
ORCHESTRATION
Throughout the allegro one hears the sleigh bells
of the troika with the main theme (Theme I) which is
played by the tenor saxophone, bassoons and cellos, and
with K i j e fs theme (Theme II), which is played pizzicato
by the violins. The sleigh bells are reinforced by the
tambourine and triangle, sounding very gay and spirited.
With a fast tempo, and together with the sleigh
bells and tambourine, Kije*s theme sounds very animated,
interpreted as it is by the strings.
The trombones are heard on Theme III. Theme IV
is always played by the tenor saxophone and bassoons.
The saxophone and bassoons blend well together producing
a tone of reed quality yet with mellowness.
COUNTERPOINT
In the f,Troikafl the themes are heard in succession.
In the latter half of the allegro against Theme I a
melodic figure Is shifted back and forth between the
first violins divisi. This appears as follows:

Otherwise the themes are not developed contra
puntal ly*
HARMONY
Two keys occur in the fourth movement: Section A
begins in D major and proceeds almost immediately into
B*5 major* S'ection B starts in D major with no trans
ition" from the preceding key* The entire section is in
D major except for the conclusion, four-measure phrase
in B*3 major* The modulations which are used will be
discussed below with an example of each*
The first modulation, occurring in Section A,
is shown below. The theme is in the top voice and is
altered chromatically.
This is a modulation to an unrelated key by means of an

1>
altered chord. The harmonib alteration is in the last
chord of the first measure. The D major I moves to its
VI, a major chord with flatted three and six. The

# •' V)
altered major VI chord of D major becomes I in B major.
200
The note ,fA ,? is used as a pedal, not only in
Theme I but also in the second theme. This makes the
VI or I chord a seventh chord, and the IV a IV with
added fourth.
The modulation at the conclusion of the fourth
movement occurs in the following way:
Again this is a modulation to an unrelated key by means
of an altered chord. In this instance also, the harmon
ic alteration is in the last chord of the first measure.
The D major I moves to its vii chord with b2 and b7.
The chord has no fifth. The altered vii of D major be-

V*
comes the ii chord of B maijor.
RHYTHM
2
The rhythm is a square 2 or I, maintaining
duple rhythm throughout the movement.

201
V. BURIAL OP KIJE
ALLEGRO MODERATO
FORM
x ^
XO
The fifth movement is actually a review of K i j e rg
brief existence and contains no element of sadness,
K i j e !s fellow officers being most happy to get rid of
this fictitious character.
The form of the movement has a mosiac quality due
to the use of all the themes heard previously in the
other movements, conveying a series of pictorial images.
However, in a very broad sense, the movement has two sec
tions, the second beginning with the contrapuntal use
of the themes. The tempo is also slower.
Below are the themes in the order of their appear
ance in the fifth movement. Theme I is the theme used
in the first movement to indicate the approach of Kije.
It is also the first theme of the first movement.

202
Theme II, the second theme of the first movement, is
Kije's theme.
I
•tlf
Theme III, from the second movement, is the theme of
K i j e ^ romance.
i
§) , j. . M ? t i i ? -±^
The last theme, ’IV, is Kije1s wedding theme from the third
movement.
These themes are heard separately in the order
given, and then contrapuntally. The movement closes
with Theme I heard softly in the distance.
ORCHESTRATION
The fifth movement is a review of K i j e ’s exis
tence, For this reason the themes appear as they were
orchestrated in the preceding movements so that the
same pictorial images will he recalled.
Theme I, telling of the approach of Kije, is
played alone by the cornet In the distance, as it
occurred in the first movement, "The Birth of Kije".
Theme II, K i j e ’s theme, is played next by the clarinet.
The accompaniment Is light, consisting of the strings,
as in the first movement. The tenor saxophone plays
K i j e ’s theme next. In the third movement, "Kije’s
W edding”, the tenor saxophone is the only instrument
to play the theme.
Theme III, the romance theme, is played In the
f if thmovement also In the high register of a bass in
strument. In the second movement the theme is played
by the string bass, in the fifth movement by the horn
and by the tuba. Later violins and high woodwinds take
the theme.
The last scene to he recalled, of course, is
K i j e Ts wedding. Theme IV, the wedding theme, is played
first by the cornet and next the trumpet in the fifth
movement as in the third (ffK ije,s Wedding?1). In both
the third and fifth movements the strings take the
theme afterward in a'.variation.
*
COUNTERPOINT
Counterpoint i-s an important element of the fifth
and final movement. For the most part the counterpoint
is limited to the playing of one theme against another.
*
However,9 Theme IV is heard twice with the same counter-
melody in the strings which was heard in the third
movement.^
The juxtaposition of the themes occurs in the
following ways:
Themes III and IV, the romance and wedding themes,
are played together by the violins and cornet, respect
ively.
:
4 See page m •
The orchestration of these two themes varies so that
they are played together by the upper woodwinds on
HI and the trumpet on Theme IV.
Themes III and IV are also played together by the
trumpet and first violins respectively, with a very
clever alteration of Theme IV and the characteristic
shifting from voice to voice of the theme. This occurs
in the following manner:

206
Theme IV shifts from one voice to the other in the violins
with the melodic line indicated by accents* When accents
occur in both voices the melody is in the higher voice.
HARMOHY AND RHYTHM
The harmonic background of the themes in the
fifth movement is consistent with the harmony of the
themes as they appeared in the preceding movement.
Major tonalities are used, and the general impression
is happy and gay, or carefree.
The rhythm is also derived from the other move
ments as it is used in the themes and accompaniment.

CHAPTER IX
COMPARISON
FORM
As has already been discovered by preliminary
reading, Prokofieff has made no innovations in form. How
ever, form in absolute music written by Prokofieff differs
from form in his program music. As Prokofieff has remarked
regarding form in opera, the form depends upon the story.
This opinion is apparent in Alexander Nevsky and Lit. K i .1e .
The fifth movement of N e v s k y , nBattle on I c e 1', and the fifth
movement of Lt. Ki 1e , r,Burial of K i j e !f, are a series of p i c
torial images. The r e s u lting form of each has a mosiac
quality.
In absolute music the form Is ordinarily si/nple and
clearly defined, as in the Second Violin Concerto. However,
the Seventh Piano Sonata in its first movement provides a
definite exception to such a general statement. The form
of this movement, although clear, does not fit into any
well-established pattern and therefore is subject to n u m
erous interpretations as to type of formal structure. The
second and third movements are heard in regular formal p a t
terns .
208
MELODY
All of Prokofieff's melodies are very distinctive.
They are simply constructed but are characterized by abrupt
large leaps, as in the second theme of the first movement of
the 0 Minor Violin Concerto and the third theme of the first
movement of the Seventh Piano S o n a t a , Also, the melodic
phrases are often extended. Two characteristic examples of
extended phrases are, Theme I of the second movement of the
violin concerto and Theme III of the first movement of the
piano sonata.
In developing his themes, Prokofieff ornaments them
by placing them in octaves or outlining the harmony between
the notes of the melody or changing the rhythm slightly by
using repeated triplets. Examples of the ornamentation of
themes are, the third theme, second movement of the violin
concerto and the first theme of the first movement of the
violin concerto which appears in three variations including
the rhythmic alteration last mentioned.
Aside from the technical aspect of Prokofieff's m e l o
dies, it is necessary also to note the varying characters
which they assume. For example, in Alexander Nevsky Can
tata the melodies have medieval and folk qualities while
in the Lt. Kije Suite a grotesque element prevails. The
descriptive qualities of P r o k o f i e f f ’s melodies are found
m o s t l y in program music. In absolute music the melodies
have a contrapuntal character, as in the violin concerto

and piano sonata.
Certain of Prokofieff»s melodies are remarkable
for their unusual lyricism. Such melodies are the beau
tiful Russian theme played by the strings in the middle
section of the third movement of Ale xander Nevsky and the
song of the sixth movement ("Field, of the Dead.11) of the
same work# -*-n program music the outstanding characteristi
of the construction of these melodies is that they are
modal *
RHYTHM
Rhythm in the four compositions analyzed is gener
ally regular and clear-cut. However, the violin concerto
and piano sonata in their third movements contain very
interesting irregular rhythms. The third movement ofthe

3* 2 3 2
concerto varies from a 4 to 2, 4, 2 etc. The coda is in
5
4. The third movement of the sonata is even more interes-
7
ting. It is written in 8 and has two constant rhythmic
patterns based upon a phrase length of seven beats.
ORCHESTRATION
The orchestration of the concerto is subdued to
allow the solo violin sufficient latitude for dynamics.
It is in program music that Proko f i e f f fs genius for orch
estration stands out. The orchestration is always highly
colorful and descriptive in the A1 exander Nevsky Cantata

210
and Lt. K i .]e Suite. The orchestration in Nevsky is especial
ly fine. The Teutonic Knights and the Russians are both
well represented by the orchestration. Lt. Kije and his
activities are also adequately described.
HARMONY
Chords used by Prokofieff generally are simple but
are associated in an unexpected manner. The harmonic ac
companiment of the second theme, first movement of the
violin concerto, and the harmony of the first movement
of Alexander Nevsky are typical examples. There are many
other similar examples, as this is characteristic of most
of P r o k o f i e f f 1s compositions. However, one- extreme ex
ception to simple harmony is that of the Seventh Piano
Sonata which is highly chromatic, almost atonal.
The most important elements of P r o k o f i e f f ’s music
are form, melody, and orchestration. Nevertheless, hish
rhythm is occasionally extremely interesting and dynamic,
as is his harmony. F o r m is important as the framework
for his musical ideas. P r o k o f i e f f ’s melodies, some g r o
tesque and satirical, tend more and more to be lyrical.
The melodic themes are presented in all manner of moods
by the orchestration, and Prokofieff is successful in
any musical form. His nationalistic spirit is seen in the

choice of subject matter and the use of Russian folk
melody. This does not make him a better or worse composer
it is merely characteristic of all Russian composers who
are living in the Soviet Union and this influence can be
traced in all modern Russian music.

212
Conclusion
No attempt has been made to trace form historically
up to Prokofieff and to indicate the relationship between
his music and that of the past except perhaps incidentally.
However, an effort has been made to analyze form
as it occurs in P r o k o f i e f f Ts music, or in the four compo
sitions selected for this study, and to analyze all the
other component parts of the music and to determine the
relative importance of each part in the musical structure
of each work.
It has been f o u n d that the value of the various
parts of the musical structure such as form, counterpoint,
and harmony, varies according to the composition. For
example, in the cantata and suite form plays an- inciden
tal part for the following reason. The music is descriptive;
themes are used to portray action and as a result the
form is apt to have a mosaic quality with the interplay
of themes.
The following conclusion has been drawn: that p r o
gram music has little f orm as written :by Prokofieff, but
melody and orchestration, and rhythm and harmony play an
important part. To reverse the picture, in absolute
music form is very important and orchestration m u c h less so.

213
Judging from b o t h the background reading and the
analyses, it is the writer's opinion that Prokofieff is
one of the finest composers of Russia, but that his skill
especially in formal structure and orchestration, is shared
by m a n y of the better Russian composers. His melodies,
however, are unique for their originality and character
whether grotesque or lyrical.

BIBLIOGRAPHY
215
BIBLIOGRAPHY
A. BOOKS
/
Abraham, Gerald, Eight Soviet Composers* y
London, New York, Toronto: Oxford
University Press, 1943.
A slight sketch of life of each composer,

analysis of characteristics of composers,
analysis of several compositions of each.
Boelz, Prof. Igor, Handbook of Soviet Music i a n s .

London: The Pilot Press, Ltd., 1943.
Short articles on m any composers. Good for

a brief survey.
Brockway, W. and Weinstock, H . , Men of M u s i c .

New York: Simon & Schuster, 1939.
No material on Prokofieff. Article on Stra

vinsky.
Ewen, David, e d . , The Book of Modern Compos er s.

New York: Alfred A. Knopf, 1943.
Biography article b y Prokofieff. Article by

Stravinsky.
________ , Composers of ^ o d a y . New York: H. W.

Wilson Company, 1934.
________, Twentieth C entury Composers. N e w York:

Thomas Y. Crowell Company, 1937.
Article on page 117. Bibliography on

Prokofieff, page 291.
Goetschius, Percy, Homophonic Forms of Musical

Compositions* New York: G. Schirmer, 1915.
Ikkonikov, A., M y a s k o v s k y , His Life and W o r k .

N e w York: Philosophical Library, 1946.
216
Montagu-Nathan, M . , A History of Bus si an M u s i c .
London: William Reeves, 1914.
Glinka up to Stravinsky--nothing on Prokofieff.
Moore, Douglas, From Madrigal to Modern M u s i c .

New York: W. W. Norton & Co., Inc., 1942.
Cantata form.
vOSFe styev, Israel, Sergei Prokofieff. New York:

Alfred A. Knopf, New York, 1946.
Much material.
B. PERIODICAL ARTICLES
'’Composer, Soviet S t y l e ”, T i m e , 46, November 19, 1945,

p. 57-8.
Cowell, Henry, "Conservative Music In Radical R u s s i a , ”

New R e p u b l i c , 59:339-41, August 14, 1929.
Attitude of the state toward musical activities in

Russia.
Engel, G., "Views and R e v i e w s , " Musical Quarterly, 10:

622-33, October, 1924.
Very slight mention of Miaskovsky and other contemp

orary Russian composers— amusing, disparaging article.
Fairbank, Janet A., "The Love for Three O ranges,” New

R e p u b l i c , 29:282, Feb. 1, 1922.
Criticism favorable. Boris Anisfeld did scenery and

c o stumes.
Fleisher, E* A., "Music in Present Day Soviet Russia,”

E t u d e , 49:695-6, 774, Oct.-Nov., 1931.
Program for music in Russia as set forth by the Soviet,

government.
217
Gates, W. P., "Music of Soviet Russia, " E t u d e , 50:1-38,
February, 1932.
Music under Soviet Communistic Regime. No material on

Prokofieff.
"Gallery of Musical Celebrities," E t u d e , 47:583-84,

August, 1929.
Biographical sketch of Prokofieff, important compo-

si t i o n s .
Gliere, Reinhold, "Music Maintains Its Pace Under S i ege,"

Mus i c i a n , 47:43, March, 1942.
Good article on folk, music, especially G l i e r e 1s

Compositions.
Gnessina, E . , "Russian Music School in War Time,"

M u s i c i a n , 47:154, November, 1942.
Graduates of Moscow Conservatory.
"Good Music Survives the Test of Social Revolution",

Current O p i n i o n , 67:100, August, 1919.
Nothing on Prokofieff. No pertinent material.
Hammond, Richard, "Ballets Russes, 1928, " Modern M u s i c ,

6 ^To. 1:25-28, November, 1928.
________ , "Viewing Les Noces in 1929," Modern M u s i c ,

6 No. -3: 19-25, March, 1929.
Excellent analysis of Les Noces of Stravinsky.

Mentions P r o k o f i e f f 1s Le Fas d'Acier.
Henderson, W. J . , "Love For the Three Oranges, Criticism",

The Independent, 108:227, March 4, 1922.
Unfavorable to Prokofieff. Anisfeld 1s scenery very

good.
Hill, E* B . , "Russian Nationalistic Composers," Etude,

59:590, 675, 739, 815, Sept.-Dec., 1941.
Kail, A., "Nationalism in Russian Music," Art and

Arch a e o l o g y , 13:78-82, February, 1922.
No pertinent material.
218
Kernochan, Marshall, ”Pas d ’Acier; Criticism,” Outlook,
158:60, M a y 13, 1931.
Kozlenko, W. , ’’Soviet Music and Musicians,'1 Musi cal

Quarterly, 23: 295-305, July, 1937.
Excellent article on contemporary musicians and

different schools in Russia; influence of Soviet
Russia on composers; new forms of types of music.
Lakond, Vladimir, ’’Musical Activities in the USSR, ”

E t u d e , 51:586, September, 1933.
Soviet R u s s i a ’s music program basis#: means of ful

filling it, etc.--schools, radio, phono., films,
opera, etc.
Lourie; A., ’’Russian School,” Musical Quarterly, 18:519-29,

October, 1932.
Historical account.
Martens, Frederick H., ’’Modern Russian Pianoforte Sonata,”

Musical Quarterly, 5:357-63, July, 1919*
________ , ’’Some of R u s s i a ’s Young Barbarians in A r t , ”

Literary D i g e s t , 59:28-9, November 16, 1918.
Mendel, ’’Two Kinds of Radicalism”, N a t i o n , 136-216,

February 22, 1933*
’’Music Under the Allies", M u s i c i a n , 47:10-11, January, 1942.
The care of the Soviet composer by the Soviet govern

m e n t — works published, paid for, performed, etc.
Nabokov, N . , ’’Music in the U S S R , ” New Republic, 104:436-8,

469-71, Mar c h 31-April 7, 1941.
Discussion of the use of f o l k melody in works of

Russian composers; criticism of Russian music.
________ , ’’Sergei P rokofieff,” Atlan t i c , 170:62-70,

July, 1942.
Discussion of Prokofieff»s style, melody, harmony,

counterpoint, orchestration, rhythm.
\
Pettis, A., "Music in Russia Today, " New Republic, 72:73-4
August 31, 1932.
Music composition in Soviet Russia. D a v e d e n k o ’s opera

1 9 1 9 ,- S h o s t a k o v i t c h ’s October for full orchestra and
p e o p l e ’s chorus, words by proletarian poet, Besymensky
No material on Prokofieff.
"Portrait," O u t l o o k ,142:238, February 17, 1920.
Performance of P r o k o f i e f f ’s Third Piano Concer to by

composer m t h Boston Symphony Orchestra, Koussevit-
sky conducting.
Prokofieff, S., "War Years; Autobiography," Musical

Quarterly, 30:421-7, October, 1944.
Film work, folk music, suites, sonatas, operas,

ballets, Fifth Symphony, Interesting article.
"Prokofieff’s Voice is Cosmopolitan, His Theme is the

Spirit of Russia," Newsweek, 26:82, November 19, 1945.
Rosenfeld, Paul, "Newer Russian Music, " New Republic,

75:289-90, July 26, 1933.
Stravinsky and Prokofieff as reactionaries. Criti

cism of S h o s takovitch’s May Symphony as banal, u n
convincing. Criticism of M o s s o l o v ’s atonal string
quartet. Favorable comment on M i a s k o v s k y ’s string
quartet, Op. 33, No. 2. Miaskovsky as one with
Prokofieff and Stravinsky.
Sabaneyev, L., "Musical Tendencies in Contemporary Russia,'

Musical 'Quarterly, 16:469-81, October, 1930.
Fine discussion of Soviet music program for the

proletariat--criticism.
________ , "Russia’s Strong Man," Modern M u s i c , 6 No. 2:3-9,

March, 1929.
Analysis of characteristics of Prok o f i e f f 1s music.
Saminsky, Lazare, "Russian Composers in R e v i e w , ” Modern

M u s i c , 5 No. 2: 36-38, January, 1928.
Review of book written by Leonid. Sabaneyeff--

Modern Russian Composers.
Slonimsky, N., "The fUgly D u c k l i n g 1 of Russian Music,"
Christian Science Monitor Magazine, January 27,
1945, page 7.
Russian taste for fantasy in folk tales, etc.--

U g l y Duck l i n g ; Alexander N e v s k y ; Seven They are Seven
Smith, Wilson G-., "Russia in Music," Etude, 42:20,

January, 1924.
Russian music nationalistic, racial characteristics,

influence of climate and geography, living conditions
on people and their music.
Sokoloff, N . , "Squaring the Triangle," Theatre Arts

M o n t h l y , 14:949-955, November, 1930.
Criticism of the Soviet music program.
________ , "Symphonic Music in Soviet R u s s i a , "

Musical Quarterly, 17:219-26, April, 1931.
Commentary on symphonic music under Communistic

Soviet regime.
Swan, A* J. , "Present State of Russian Music,"

Musical Quarterly, 13:29-38, January *27.
Article covers Stravinsky, Prokofieff, Rachmaninoff,

Medtner, Scriabin, Miaskovsky.
________ , "Russia and Modern Music, u Yale R e v i e w ,

15:126-140, October-July, 1925-26.
Discussion of Moussorgsky and his operas, Debussy

and Schoenberg. Liadov and his songs; Stravinsky,
Prokofieff, Scriabin and Medtner.
"Symphonizing," N e w s w e e k , 11:25, January 3, 1938.
No êttinent material about Prokofieff.
Tiersot, J . , "Russian Composers as Described by Them

selves," Musical Quarterly, 7:376-98, July, 1921.
The big five.

221
"Terrible Infant of Russian Music Finds Refuge in A m e r i c a , "
Current O p i n i o n , 65:371, December, 1918.
"World and the Theatre; Campaign Against Musical Illiteracy, t!

Theatre Arts M o n t h ly, 15:93, February, 1931*
Soviet Music program.
"Young R u s s i a , ” T j m e , 31;46-8, April 4, 1938.
Recent compositions in favor in Russia and some of

their composers.
C. EMCYCLOPEDIA ARTICLES
Apel, Willi, Harvard. Pictionarv of M u s i c .

Cambridge"^ Mass. : Harvard University Press, 1944.
Prokofieff under "Russian M u s i c 11— one paragraph

in all. Discussion of suite, cantata'.
Grove, Sir George, Dictionary of Music and M u sicians. Vol. I.

Philadelphia, Pa. :..Theodore Presser Co. , 1916.
Parry, H . , "Cantata," page— 457. Story and description

of cantata--good article.
________, Dictionary of Music and M u sicians, VQi. 5.

London: Macmillan and Company, Ltd., 1928.
Aldrich, R . , "Symphony, Influence of Nationalism",

pages 238-240.
________, Dictionary of Music and M u s i c i a n s V0 i. 4 #

London, Macmillan and Company, Ltd., 1940.
Blom, Eric, ,rProkofieff. " p. 258.- Unfavorable

criticism of Prokofieff.
Pratt, W. S., editor, The Few Encyclopedia of Music and

M u s i c i a n s , New York: Macmillan Company, 1924.
Paragraph on Prokofieff, page 663.
Scholes, Percy A., The Oxford Companion to M u s i c ,

London, Mew York, T o r o n t o : Oxford University Press, 1938.
Article on analysis of Prokofieff*s style, page 759.

222
Thompson, Oscar, editor, G-reat Modern Composers, N e w York:

Dodd, Mead and Company, 1941*
Article on Prokofieff by Nicolas Slonimsky, pages 209-223.
, International Cyclopedia of Music and Music i a n s .

Dodd, Mead, and Company, 1943•
Article on Prokofieff b y Slonimsky.
Vodarsky-Shiraeff, Alexandria, Russian Composers and

M us i c i a n s , A Bjographical Pictionary. New York:
H. W. Wilson Company, 1940.
One paragraph on analysis of Prokofieff fs works.
Wier, Albert, editor, The Macmillan Encyclopedia of

Music and M u s i c i a n s . New York: Macmillan Company, 1938.
Unfavorable article on Prokofieff, presumably by A. E.

Wier.
D. NEWSPAPER ARTICLES
" ’Alexander N e v s k y 1 in Premiere March 7", New York Times,

1943, F 19, 22:4.
Story of cantata and outline of composition. Article

short, good.
Bonavia, P., "First Violin Concerto Played by Szigetti."

New York T i m e s , 1932, P 28, VIII, 7:3.
adverse criticism of concerto pâssed as brilliant,

but n o t pertinent or very comprehensible.
, "Prokofieff and Modern Works In L o n d o n , " New York

T i m e s , 1938, P 20, XI, 7:3.
P r o k o f i e f f *s "Romeo and Juliet" suite and a violin con

certo performed in London. Not much information given.
223
"Credo of Soviet Composers" New ôrk Times, 1937, June 27,

X, 5:8.
Union of Soviet Composers examined Sftostakovitch*s

Fourth- Symp h o n y . Explanation of Soviet aims in music.
Concerto every month devoted to one composer who ex
plains musical aims. Good article.
Downes, Olin, "Changes in the S o v i e t • Shostakovitch Affair

Shows Shift in Point of View in the U S S R , " New York
T i m e s , 193b, Ap. 12, IX, 5:1.
Follow-up article to one by Radamsky in New York T i mes,

1936, Ap. 5, TX, 5:4. Very good article.
, "Koussevitsky Gives Proko f i e f f ’s Works,", New York

T i m e s , 1930, F 8, 13:1.
Review of "Scythian Suite and Prokofieff's Second Piano

Concerto.
________, "Modern— Symphonies Shorter and Scored for Fewer

Instruments," New Y ork T imes, 1934, June 10, IX, 5:1.
Revolution in instrumentation a n d orchestration. Sym

phonies shorter. Good article.
_______ , "Prokofieff Heard in his Own Works, " New York Timers,
1933, January 20, 20:1.
Slight analysis of last two movements of Third Piano

Concerto and discussion of suite derived from Proko
fieff 's opera The O a m b l e r .
, "Prokofieff Speaks," New York Times, 1930, F 2,

VIII, 8:4.
Prokofieff on counterpoint and its limitations, on

melody.
_______ , "7th Sonata: Prokofieff's New V/ork for Piano

Played by Horowitz at Consulate," New York T i mes, 1944,
January 16, II, 5:1.
Analysis of each movement regarding construction, h a r

mony, thematic development character.
224
"First Perf orm & nc e of 7th Sonata in U.S.," Few York Times,
January 12, 27:3..
Horowitz plays before select group of musicians.
Hall, Raymond,' "Prokofieff in Milan," New York Times,

1934, April 1, 7:3.
Mention made of concert in Milan, but no details.
Ma g i d o f f , Robert, MA Report on Prokofieff, " New York

T i m e s , March 25, 1945, II, 5:5.
Marquis, Francis, "Prokofieff Film S c o r e , " Few York T imes,

1941, A.ugust 24, IX, 5:4.
Alexander Nevsky score.
"Moscow Philharmonic Orchestra Gives Concert," New York

T i m e s , 1937, March 14, VI, 5:3.
Program of Moscow Concert. P r o k o f i e f f fs Overture in

Russian Style performed. No other information.
"Music Festival in Russia~-4th Evening," Few York T i m e s ,

May 25, 25:1.
Prokofieff Classic Symphony played. Shostakovitch

suite for ballet The Golden A g e , Glazounov violin
concerto played. Irma Younsern sang folk songs of
minor nationalities. Article short, Interesting.
"Few Music for 20th Anniversary of. the Revolution," New

Y o r k T i m e s , 1937, July 20, X, 5:3.
List of composers and.compositions for Soviet Jubilee,

Prokofieff--three marches f o r .wind,orchestra, etc.
Very interesting.
"News of Soviet Russia", Few York Times, 1942, November 22,

VIII, 6:1.
Current musical activities discussed. Festival of Music

of Central .Asiatic republics of Soviet held. Discussion
of music based on f oik themes. Very Interesting short
article.
225
Pakenham, Compton, ’’Newly Recorded Music--P r o k o f i e f f -Concerto

N o * 3 in C, Opus 25, for Piano, ” New York T imes, 1932,
October* 30, IX, 8:1.
Adverse criticism of concerto.
________, ’’Record Reviews — Prokofieff* s Piano Concerto No. 3,

b y London Symphony with Composer at the Keyboard, rl New
Y ork Tim e s , 1933, April 30, IX, 5:3.
Victor recording--an indifferent review.
’’Philharmonic at M e t r o p olitan,n New York Times, 1933,

January 23, 10:5.
Announcement of concert of Prokofieff*s works given at

Metropolitan with Bruno Walter and Philharmonic.
Prokofieff, S., nNew Works of Soviet Composers1’ New York

T i m e s , August 9, 1942, VIII, 5:3.
Use of folk-lore of North Caucasus b y Myaskovsky and

Prokofieff. Also by other composers.
, ”0n M u s i c ’s War R o l e , ” New York Times, January 2,

15:2.
List of own and other composers* works based on the war

against Germany. Interesting article.
’’Prokofieff and Simplicity,” New York Times, 1932, ? 28,

VIII, 9:5.
Prokofieff says simplicity n e w order of the day.
’’Prokofieff Completes Cantata for S o v i e t ’s 20th Anniver

s a ry , ” New York T i m e s , 1938, P. 13, X, 7:7.
Instrumentation--4 instrumental and 2 choral groups,

about 500 performers in all. Interesting article.
Prokofieff, S. , ’’Prokofieff Hails Life of A rtist in

S o v i e t , ” New York T i m e s , 1938, P. 5, II, 1:5.
Financial position of composer in Soviet; his sources

of income.
226
"Prokofieff is Honored," New York Times, 1958, I1. 7, 10:6.
Performance of his works--program given.
"Prokofiefffs Hew Ballet", New York Times, 1935, July 28,

X, 5:8.
Romeo and Juliet almost completed. Source of material

Italian, ante-dates Shakespearefs drama. Prokofieff at
work on Lt. K j j e , violin concerto and piano pieces called
Thought s .
"Prokofieff on Soviet Audience," New York Times, 1933,

May 14, IX, 5:7.
Russian audiences, two-thirds of which are workers,

are remarkably appreciative. Exchanges of contemporary
music between Russia and other countries facilitated by
Prokofieff.
"Prokofieff Performed New Piano Concerto with Berlin Phil

harmonic, " N e w Yppk T i m e s ,1952, No. 27, IX, 8:4.
Pifth Piano Concerto in G major in five movements. A

criticism of each movement, balance between piano and
orchestra. Interesting but very short article.
"Prokofieff Piano Soloist in Concert Devoted to His Own

Works," New York Times, 1938, R. 6, X, 7:5.
Announcement of forthcoming concert to be given by

Detroit Symphony Orchestra under Victor Eolar, Feb.
11, 1938.'
"Prokofieff Recitals," New York T i m e s , 1937, January 3, X, 6:3.
Prokofieff composing incidental music for Pushkin centenary.
Prunieres, Henry, "New Prokofieff B a l l e t , " New York T i mes,

1927, June 26, VIII, p. 4.
Return to classic forms.

227
Radamsky, Sergei, "Soviet Direction in Music, M Mew York

■* T i m e s , 1936, April 5, IX, 5; 4.
Explanation of the famous attack on Shostakovitch and

denunciation of formalism. Very good article.
Rapp, Charles H . , "Hew 'works Heard in Moscow, " New York

Times, 1943, October 24, II, 5:1.
P r o k o f i e f f fs Quartet on Kabardiro-balkarian themes.

Interesting mention of ethnic groups in Russia. Shos-
takovitch Quintet for Piano and Strings. Good article.
Shostakovich, D., "Stating the Case for Slavonic Culture;

Soviet Composer Examines Meaning and Roots of P e o p l e ’s
Music," New York Times, 1942, July 21, VIII, t>:5.
Article on Moussorgsky, T s c h a ikovskyTs place, kinship of

Slavonic music with the people, Russian music schools,
Russian culture. Interesting article, propaganda.
"Six Composers D e c o r a t e d," New York Times, 1943, November 7,

II, 5: o.
No information on Prokofieff besides announcement of

ihonor. Prokofieff, Miaskovsky, A. Alexandrov, S.
Vasilenko, Scherbachev and Shaporin decorated. Folk
music discussed.
"Trying Out Soviet W o r k s , " New York Times, 1943, April 11,
'II, 5:3.
Soviet Art Committee's Music Department to listen to

War and Peace opera, Story of a Boy Who Remained U n
known cantata and Seventh Plano Sonata by Prokofieff.
Information about other works already heard of other
composers.

Sergei Prokofieff and Symphonic Forms

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SERGE PROKOFISFE AND SYMPHONIC FORMS:

A COMPARATIVE MUSICAL ANALYSIS OF FOUR TYPICAL

COMPOSITIONS BY PROKOFIEFF REPRESENTATIVE OF FOUR MUSICAL

FORMS; THE CONCERTO, SONATA, CANTATA AND SUITE.

the Faculty of the School of Music

University of Southern California

of the Requirements for the Degree

All rights reserved

INFORMATION TO ALL USERS

This thesis, written by

iXtOHEN CE..ilA LLIDAX 0 7 &

Source of m a t e r i a l ......... ..................... 1

II. PROKOFIEFF, THE MAN ................................ 3

Characteristics of Prokof ief f fsm u s i c ' ............ 8

Influence of national heritage . **. .............. 9

Musical heritage (Russian) • . . . . . . . . . . 12

Musical contemporaries .................. . . . . 15

Associations of middle and late periods . . . . . 17

Influence of contemporary Russia . . . . . . . . 21

Form in Russian music ........................ 23

ProkofieffJs use of musical forms ................. 23

Classical influence ............................... 24

the piano s o n a t a .................. .'............. 25

IV. MELODIC AND HARMONIC MATERIAL OF PROKOFI'KFF’S

COMPOSITIONS IN GENERAL ......................... 38

Source of Frokofiefffs music .................. 38

Prokofieff’s style ... ......... . . . . . . 39

The evolution of Prokofieff’s style . . . . . . 39

Stylistic trends « . . . ...................... 40

Harmony and c o u n t e r p o i n t ............... 41

Geographical and racial sources ................ 45

V. VIOLIN CONCERTO NO. 2 IN G MINOR ............. 55

First movement — allegro m o d e r a t o ..... 55

melodic treatment; alteration of the themes 61

treatment of the violin as a solo instrument. 65

Second movement - andante, allegretto, andante, 67

Third movement - allegro ben m a r c a t o ............76

VI. SEVENTH SONATA FOR P I A N O ............. - ............ 84

First movement - allegro inquieto, andantino,

Second movement - andante caloroso ............. 91

rhythm and counterpoint . . . . . 95

form and r h y t h m .................. . ........... 96

harmony and counterpoint . . .................. 99

VII. ALEXANDER NEVSKY CANTATA ............. . . . . . . IOO

1. Russia under the Mongolian yoke

molto lento ....................... 101

instrumentation and orchestration . . . . 104

h a r m o n y ............. .. .................... 106

rhythm ...................... 109

2. Song about Alexander Nevsky .................. Ill

lentu piu mosso

instrumentation and. orchestration . . . . 113

3. The Crusaders in Pskov

largo, andante ............................. 116

counterpoint ............................... 120

harmony • .................................. 122

rhythm . . . . . . . ................... . 124

4. Arise, yo Russian people

allegro risoluto . . .................... 127

f o r m .................... , ............... 128

h a r m o n y .................... ♦ ............. 131

r h y t h m ...................... * ........... 132

counterpoint ............................. 132

adagio; moderato; allegro moderato . . * 133

_____ _ .rhythm— —.— ■— — ♦- »- .— .— . ._ . . • v 1”

this end were a review of the composer’s training and associ

Form in Russian music was considered, together with the Euro

background for the analyses of certain of Prokofieff!s compo

and compared. These compositions are: the Second Violin Con