Sergei Prokofiev

Classical, modern, motoric-toccata-like, lyrical and grotesque – these were the “main directions” Sergei Prokofiev (1891–1953) identified in his autobiography of the 1940s to describe his stylistically astonishingly diverse and wide-ranging oeuvre. His life and creative path are closely intertwined with the political developments of the 20th century. Born in Ukraine, Prokofiev grew up as a well-protected only child whose exceptional musical talent was nurtured to the fullest. At just 13, he was able to enter the St Petersburg Conservatoire, where his training was not limited to composition: Prokofiev also acquired virtuosic pianistic skills. When he left the Conservatoire in 1914, he received a special award as a pianist – for his interpretation of his own First Piano Concerto, composed in 1911/12.

Shortly before, the premiere of his Second Piano Concerto in provincial Russia had brought him the best thing that could happen to a young musician at the time – a full-blown scandal that made his name widely known. As a result, Prokofiev received invitations to Europe and established himself as a progressive composer who decisively broke with tradition. His works from this period display a fascinating variety: almost simultaneously he produced such contrasting pieces as the bruitist Scythian Suite, the lyrical First Violin Concerto and the celebrated Classical Symphony.

Even during Prokofiev’s student years, the profound social and political upheavals that would culminate in the October Revolution were already apparent. Faced with uncertainty, and having excellent contacts throughout Europe, Prokofiev chose to leave his homeland. On 7 May 1918 he set off for the USA – not as an emigrant like Rachmaninoff or Stravinsky, but with official permission as a Soviet citizen. What was initially intended as a short stay abroad turned into fifteen years, during which Prokofiev lived in various cities in Western Europe and the USA, but mostly in Paris. He established himself internationally as both composer and pianist, and was perceived as an exponent of Western modernism as well as a representative of Soviet culture.

Nevertheless, his ties to his homeland were never severed. From 1927 onwards, Prokofiev undertook extensive tours of the Soviet Union, and in 1936 he settled there permanently. This decision has met with little understanding, then and now, as Prokofiev returned to a country marked by Stalinism, where the arts were strictly bound to the ideological dictates of Socialist Realism. Prokofiev adapted to these circumstances and enjoyed certain freedoms and privileges. As the undisputed leading composer of his country, he was held in the highest esteem during the war and early post-war years. In 1948, however, the ideological climate hardened considerably. Prokofiev too came under attack, and his music disappeared for a time from Soviet musical life. Later, in line with the unpredictable shifts of cultural policy, he was partially rehabilitated, though the risk of sudden reversal and public condemnation remained ever-present. Prokofiev died on 5 March 1953 – the same day as Stalin.