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Three Oranges 4 logo

number six           november 2003


EDITOR
NoŽlle Mann
REVIEWS EDITOR
David Nice
TRANSLATIONS
Edward Morgan
LAYOUT
sprkf.jr
 

OTHER ISSUES

 

UPDATE: 20170111

Summary

Editorial

FROM THE ARCHIVE

Prokofiev’s 1935 recordings (NoŽlle Mann)

FEATURE: Semyon Kotko

Semyon Kotko: a dossier (NoŽlle Mann)
Semyon Kotko on the air
A soldier came from the front (Edward Morgan)
Semyon Kotko: three works (Edward Morgan)

Prokofiev’s vexing entry into the USA (Stephen Press)

REVIEWS

David Nice, “Prokofiev: From Russia to the West 1891-1935” (Simon Morrison)

Desert Island Disc

London Prokofiev celebrations (David Nice)

The Prokofievs: Three Generations (NoŽlle Mann)

Announcements

CONTRIBUTORS

As Three Oranges becomes more widely known, with a consistently rising number of subscribers, I become more acutely aware of the journal’s objectives and responsibility. The only periodical publication in the world dedicated to Prokofiev and his environments, it should be reliable, informed and enlightening. Its ties with the Prokofiev Archive ensure an endless supply of primary sources, while providing dedicated specialist knowledge and academic standards. As writings on Prokofiev have too often been inaccurate, if not altogether misleading, I make it my task to put things right through this channel, and in this spirit, this issue offers a large dossier on Semyon Kotko, a work that suffers from a paucity of documentation. A mix of documentary and critical essays, many in translation for the first time, offer a wealth of information new to the general reader and specialists alike. I am confident it will be an invaluable resource to future writers.
     Biographers and commentators have often written on Prokofiev’s arrival in the USA. But how many have followed his route in a meticulous way? In an article based partly on the newly released Diary and on new documentation from Angel Island, Stephen Press painstakingly (and humourously) follows Prokofiev’s first few days in the States, illustrating his narrative with images that have rarely or never been seen before.
     Over the anniversary year, many music magazines have offered an overview of Prokoviev on record. But who would know about Prokofiev’s views on his own recordings? The answer will be found in two letters from the Archive, which he wrote in 1935. And as the celebratory year is coming to an end, David Nice asked a distinguished panel of artists and critics to mark the occasion by telling us about their two favourite recordings of Prokofiev’s music. The next issue will reflect on the latest Prokofiev 2003 events in the UK and abroad.
     The Website www.sprkfv.net regularly provides information on events and people around the world, with articles and reviews in a variety of languages that reflect the international dimension of Prokofiev’s life. So do visit it on a regular basis.

NoŽlle MANN