FEATURE: Prokofiev’s Cello Concerto
Piatigorsky, Prokofiev, and the Genesis of the First Cello Concerto (Terry King)
Cooling the volcano: Prokofiev’s Cello Concerto Op. 58 and Symphony-Concerto Op. 125
This article on Alexander Ivashkin web-site
“The FBI March” by Sergei Prokofiev
Prokofiev’s Reception in Western Popular Music (Ivana Medic)
Remembering Sir Edward Downes
(David Nice and Daniel Jaffť)
Yosif Feyginberg: “Prokofiev: the Unfinished Diary” (John Riley)
Boris Berman: “Prokofiev’s Piano Sonatas”
Prokofiev’s “Music for Athletes”
Simon Morrison: “The People’s Artist”
Prokofiev’s repertoire for the cello is perhaps the least known among the general public. Today we explore two works – the Cello Concerto Op. 58 written episodically in the 1930s, and its revision of the early 1950s into a grand and powerful work, the Symphony-Concerto Op. 125 (the title of this work is often translated in the West as Sinfonia Concertante, which is inaccurate). The Concerto was composed at the suggestion of the ťmigrť virtuoso cellist, Gregor Piatigorsky, and the Symphony-Concerto, under the influence of young Mstislav Rostropovich. Prokofiev’s response to these two exceptional, but very different, artists is explored in two articles written by cellists: Piatigorsky’s biographer, Terry King, explores Piatigorsky’s relationship with, and influence on Prokofiev; and Alexander Ivashkin, who has performed and recorded all of Prokofiev’s works for the cello, offers a unique insight into the music and historiography of these two works.
Along with Rakhmaninov and Tchaikovsky, Prokofiev has long been a favourite on radio and television adverts, where themes from some of his most popular works are often borrowed. In this issue, two contributors explore the circumstances in which his music has been quoted and arranged by the music industry. In “The FBI March” by Sergei Prokofiev, Elizabeth Bergman reveals how the March from Love for Three Oranges was used in the 1940s and 50s to introduce dramatised stories of the FBI in a CBS radio series. Ivana Medic explores the response of Pop and Jazz artists to a wide range of works by Prokofiev.
The Reviews section is particularly rich and varied in this issue with the usual CD reviews (see in particular Daniel Jaffť’s timely review of the Cello Concerto and Symphony-Concerto), but also reviews of two major books and a documentary film, as well as a premiŤre from Princeton University.
Finally, and sadly, we remember the conductor Sir Edward Downes, a long-standing Trustee of the Serge Prokofiev Foundation, who died on 10 July 2009.