Critical studies of Prokofiev’s life and work after he resettled in Moscow in 1936 are few and far between, the reasons being many and obvious. Prokofiev’s life has been traditionally split into three periods shaped by his whereabouts through pre-Revolutionary Russia, the West and the Soviet Union. Each of these periods is tied to the momentous events that split the world into two opposite ideological camps – the October Revolution, the start of Stalin’s repressions and ensuing isolation of Russia. Since Prokofiev’s death in 1953, writings on his life and music have reflected, and suffered from those clear-cut periods and their conflicting doctrines: Nestiev’s groundbreaking biography is tainted by ideology, and so are those that followed, written by either émigré, and therefore anti-Soviet, Russians such as Victor Seroff, or Westerners who had restricted access to the source documents pertaining to Prokofiev’s Soviet life. To cap it all, as a result of Prokofiev dying on the same day as Stalin, his image as a Soviet composer has remained tied to that of the dictator, hence tainted.