I and those I associated with welcomed it with open arms. I was in the streets of Petrograd while the fighting was going on, hiding behind house corners when the shooting came too close. Number 19 of the Fugitive Visions written at this time partly reflected my impressions — the feeling of the crowd rather than the inner essence of the Revolution. Prokofiev was unable to return to the capital cities until March He began to havethoughts of going to America, where he hoped to compose and perform, as Russia, he21 Karatygin in Nash Vek 3 May , quoted in Nestyev, The next year he left for America.
Beforehe left, he debuted the Visions Fugitives in a recital along with the 3rd and 4th sonatas Petrograd, April In his autobiography, he admits the untimely decision oftraveling to America, which caused him to miss the birth of the new Russia. He arrived inNew York in September Rachmaninov arrived in New York about two monthslater. Opus 14, Sonata No. Below is a list of prominent piano works that are contemporary with the earlypiano works of Prokofiev, including the Visions Fugitives.
Most of the thematic material in Pagodesis based on the pentatonic scale. Although No. The analysis portion of this document chapter 3 ,. Prokofiev uses the flat second in Vision Fugitive No. If one interprets No. Whole-tone harmonies in Jardins sous la pluie measures may have been inspiration for Prokofiev. Chapter 3 of this document will providemore details about the use of whole tones in some of the Visions Fugitives: Nos.
The Bagatelles, Op. Bagatelle No. Although there is no similar treatment of keystructure in the Visions Fugitives, polytonality exists on occasion No. The second Bagatelle, Allegro giocoso, contains chord clusters, with handcrossings throughout. Although Vision Fugitive No. Another notable feature of thisBagatelle is its initial appearance on a major second. Prokofiev also had no qualms aboutstarting a piece with such an irresolute interval Vision Fugitive No.
Measures 5 and of the Bagatelle contain two-note sigh motives that are also found in the VisionsFugitives No. The striking feature about these chords is the factthat they are not in the root position, giving them a distinctive quality, as in the left handof Vision Fugitive No. This Bagatelle, much like the otherBagatelles in this set, contains use of the interval of a third measure 7.
Chapter 3 of thisdocument will thoroughly analyze the use of thirds in the Visions Fugitives. The second Bagatelle ends in much the same manner as No. The texture of Bagatelle No. Prokofiev uses this sort of pitch language in No. The mysterious and chromatic melody of Bagatelle No. This Bagatelle ends in a manner that seems to dissipate.
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Prokofiev utilizes this in the B section of No. The chords in measures are based on augmented triads, major sevenths andtritones.
Furthermore, these chords descend by the interval of a minor third. The final 4measures contain thirds descending by the interval of a third. These thirds are eachprefaced with a grace note on the seventh, hence outlining seventh chords. The analysisportion of this document will focus on these issues occurring in the Opus TheBagatelle begins with a dissonant minor ninth. Visions Fugitives Nos. The hand crossings of measures arereminiscent of and may have inspired those contained in No.
The unusual left hand pattern in the B section of Vision Fugitive No. The rolled open fourths of measures of the Bagatelle have aharp-like quality similar to the texture of Vision Fugitive No. While the Bagatellesshare many similar qualities with the piano miniatures of Prokofiev, they retain the voiceof Bartok. A brief examination of the Suite, Opus 14, will compare a later work by Bartokwith the Opus 22 of Prokofiev.
Similar chromatic movement of major thirds appears in bothworks: measures of the Sostenuto, and measures of the Lento. Many of the.
One significant characteristic of the Suite is the use of thetritone, particularly in Nos. In No. The driving ostinato in No. The descending augmented figures of No. The Animato was written one year later than the Scherzo. The Etude in Sevenths, Opus 65 No. The consecutivesevenths in the Lentamente occur in the accompanimental material. Measures and of the Etude directs the performer thusly: molto accel.
Thiscreates a sudden fleeting motion. The formal plan for most of the Waltzes is ABA. Prokofiev, whocomposed in traditional forms, employs ABA form in eight of the twenty Visions.
Prokofiev Visions Fugitives Op22 for Piano by Serge Prokofiev
When comparing the compositions of Ravel to those of Prokofiev, it becomesclear that both composers were masters of creating melodious thematic material, whileretaining their respective modernistic qualities. Waltz No. Measures of the Waltz contain movement in the bass by a tritone. This is followed by analternating motion to distant tonal centers in measures , by way of a major secondrelationship. Such shifting of tonal centers can be found throughout No.
A chromatic ascending chord progression occurs in measures Vision Fugitive No. Chapter 3 of this documentwill analyze similar elements in the Op. The theme of the Waltz is based on Dorianmode in chapter 3 of this document I will shed light on the use of Dorian mode in No. The chromatic movement of the chords in 2nd inversion measures is reminiscent of similar delicate patterns in No. There is a long sequence in the right hand based entirely on seventh chords inmeasures The chromatic, contrapuntal texture in the right hand of Waltz No.
Prokofiev, as a pianist-composer, would have gained fromRavel the rich texture and smooth interplay between the hands that is so characteristic ofthe Romantic pianist-composers from a previous generation. It is significant to note that.
However, the final Waltz serves as an epilogue to the suite. Prokofievmust have been influenced by this manner of ending a suite with a sort of hazy tone, inwhich the damper pedal plays a major role in sustaining tones for a prolonged period oftime. I will now focus on the earlier piano miniatures of Prokofiev, contrasting themwith the Visions Fugitives.