EDITORIAL
- A Word from the Editor FROM THE DIARIES
- Ettal 1922-23 (Sviatoslav Prokofiev) PROKOFIEV’S WRITINGS
- A Bad Dog (Serge Prokofiev)
- On Contemporary Russian Music
(Serge Prokofiev) FEATURE: The Fiery Angel
- Prokofiev and Briusov (SimonMorrison)
- Letter to Boris Demchinsky (Serge Prokofiev) ARTICLES
- Anglo-American Attitudes (David Nice)
- Serge Prokofiev: The Composer as Interpreter
(Mark Arnest)
- Story of a Disagreement between Prokofiev and Souvchinsky (Elena Poldiaeva) A PHOTO - A STORY ARTISTS ON PROKOFIEV’S MUSIC
- Prokofiev’s Unfinished Concertino: a Twisted Tale (Steven Isserlis) REVIEWS
- War and Peace at the English National Opera
(David Nice)
- Concert and CD roundup | This, the third Issue of Three Oranges, concentrates on writings by Prokofiev: a short story from 1917, a long and fascinating analytical document on The Fiery Angel and an article on modern Russian composers. These reveal the composer as a man of multiple talents and interests.
As mentioned previously, I am keen that Three Oranges should include some examples of the latest thinking in Russia on Prokofiev’s significance. In this Issue, a Russian musicologist outlines Prokofiev’s relationship with the significant thinker, Pierre Souvchinsky.
In addition, Sviatoslav Prokofiev continues to provide extracts from his father’s unpublished diaries (1907–1933), while I include two documents in translation from the Archive. As the first contributor to a new series of “Artists on Prokofiev’s music,” the cellist Steven Isserlis shares with us a personal and entertaining account of his involvement with the Concertino.
All this, along with the by now customary inclusion of photos which are either little-known or published for the first time, ensure that this Issue, too, will be an invaluable document on Prokofiev’s life and work.
I should like to announce that Vladimir Ashkenazy has accepted to join Valery Gergiev on the Association’s Board of Patrons. See below for details. Noëlle MANN, Editor of Three Oranges
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 I feel privileged to be associated with a composer such as Prokofiev. I have felt affection and admiration for him ever since my childhood and soon after graduating from the Moscow Conservatory, I felt it was my duty to express these feelings. I gave a recital in the Small Hall of the Conservatory, playing the sixth, seventh and eighth sonatas in one evening. Richter attended and made some complimentary comments afterwards. This was a great day for me!
As a pianist, I have a particularly close relationship with the eighth sonata, and find its first movement one of Prokofiev’s most sincere and moving pages. As a conductor, my heart goes particularly to Romeo and Juliet and the Fifth Symphony.
I wish the Serge Prokofiev Association much luck with its dedicated work and I look forward to following and supporting its progress in years to come; starting of course with Prokofiev 2003 during which I am organising a Festival at the South Bank, London, in the second half of March.
Vladimir ASHKENAZY |
