Births on April 27

Sergei Prokofiev, Russian pianist, composer, and conductor (d. 1953)

Sergei Sergeyevich Prokofiev, a towering figure in 20th-century classical music, was born on April 27, 1891 (April 15 by the Old Style calendar) and passed away on March 5, 1953. This Russian composer, pianist, and conductor, who later found his artistic home within the Soviet Union, is widely celebrated as the creator of an extraordinary collection of masterpieces spanning a diverse array of musical genres. His innovative spirit, coupled with a remarkable melodic gift and a distinctive rhythmic drive, firmly established him as one of the most influential composers of his era.

Prokofiev's enduring legacy includes numerous works that have become cornerstones of the classical repertoire and are familiar to audiences worldwide. Among these are the vibrant "March" from his opera The Love for Three Oranges, the evocative Lieutenant Kijé suite, and the universally beloved ballet Romeo and Juliet, from which the dramatic and iconic "Dance of the Knights" is drawn. His charming musical tale, Peter and the Wolf, has introduced generations of children to the instruments of the orchestra. His prolific output, excluding youthful compositions, encompassed an impressive range of established forms and genres: seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a unique symphony-concerto for cello and orchestra, and nine completed piano sonatas, each showcasing his mastery and evolving style.

Early Artistic Journeys and a Maverick Spirit

Prokofiev's musical journey began formally at the prestigious Saint Petersburg Conservatory. Upon graduating, he quickly made a name for himself as an audacious and often controversial composer-pianist. He embraced an "iconoclastic" approach, challenging established norms with a series of ferociously dissonant and virtuosic works written for his instrument. His first two piano concertos, in particular, brought him considerable notoriety, showcasing his technical prowess and his willingness to push the boundaries of harmonic language, often to the consternation, and sometimes delight, of early 20th-century audiences.

A pivotal moment in his career occurred in 1915 when Prokofiev definitively moved beyond the traditional composer-pianist role. This shift was marked by his monumental orchestral work, the Scythian Suite. This piece was derived from music originally intended for a ballet commissioned by the legendary impresario Sergei Diaghilev for his groundbreaking Ballets Russes. Diaghilev, recognizing Prokofiev's unique talent, went on to commission three more ballets: Chout (also known as The Tale of the Buffoon), Le pas d'acier (The Steel Step), and The Prodigal Son. Each of these productions, upon their initial staging, generated considerable sensation and discussion among both critics and fellow artists, solidifying Prokofiev's reputation as a daring and significant voice in European music. Despite his successes in ballet and instrumental music, opera remained Prokofiev's deepest passion, leading him to compose several significant works in this genre, including the intense and dramatic The Gambler and The Fiery Angel. However, his sole operatic triumph during his lifetime was The Love for Three Oranges, which he composed for the Chicago Opera and saw subsequently performed over the following decade across Europe and Russia, captivating audiences with its witty and fantastical narrative.

Years Abroad and a Return to the Homeland

Following the tumultuous October Revolution of 1917, Prokofiev made the momentous decision to leave Russia. He did so with the official sanction of Anatoly Lunacharsky, the Soviet People’s Commissar for Education, a figure known for his more liberal cultural views in the early Soviet period. For a significant period, Prokofiev resided first in the United States, then in Germany, and finally in Paris, establishing an international career by earning his living as a versatile composer, pianist, and conductor. During his time abroad, he married the Spanish singer Carolina (Lina) Codina, with whom he had two sons. Their marriage later ended in divorce in 1947.

The early 1930s brought considerable challenges, as the global economic downturn of the Great Depression significantly diminished opportunities for Prokofiev's ballets and operas to be staged in America and Western Europe. Prokofiev, who fundamentally viewed himself as a composer first and foremost, grew increasingly resentful of the extensive time demanded by his touring as a concert pianist. This confluence of factors led him to increasingly look towards the Soviet Union for new musical commissions. In 1936, drawn by the promise of large-scale projects and a sense of returning home, he made the significant decision to move back to his homeland with his family. His return ushered in a period of immense creative output and significant artistic recognition within the Soviet Union. This era saw the creation of some of his most celebrated works, including the beloved Lieutenant Kijé suite, the enduring children's classic Peter and the Wolf, his magnificent ballet Romeo and Juliet, the powerful cantata Alexander Nevsky, the monumental Fifth Symphony, and the profound Piano Sonatas Nos. 6–8, often collectively known as his "War Sonatas."

Wartime Masterpiece and Later Challenges

The devastating Nazi invasion of the USSR in 1941 profoundly impacted Prokofiev, inspiring him to embark on perhaps his most ambitious project: an operatic adaptation of Leo Tolstoy's epic novel, War and Peace. He co-wrote the intricate libretto for this monumental work with Mira Mendelson, who was his longtime companion and later became his second wife. This opera, sprawling in its scope and deeply patriotic in its sentiment, consumed much of his creative energy during the war years.

However, the political climate in the Soviet Union grew increasingly restrictive, and in 1948, Prokofiev, along with other prominent Soviet composers, faced severe criticism for producing what was officially labeled "anti-democratic formalism." This accusation, part of a wider campaign against perceived Western influences and artistic independence, cast a shadow over his later years. Despite these political pressures and public censure, Prokofiev found significant personal and artistic support from a new generation of brilliant Russian performers. Among these were the legendary pianist Sviatoslav Richter and the virtuoso cellist Mstislav Rostropovich. He maintained close working relationships with these artists, composing his Ninth Piano Sonata specifically for Richter and his profound Symphony-Concerto for Rostropovich, testaments to their mutual admiration and enduring artistic collaboration.

Frequently Asked Questions About Sergei Prokofiev

What are some of Sergei Prokofiev's most famous musical works?

Prokofiev composed many enduring pieces, with some of his most famous including the "March" from The Love for Three Oranges, the entire Lieutenant Kijé suite, the ballet Romeo and Juliet (especially "Dance of the Knights"), and the popular children's story with music, Peter and the Wolf. His Alexander Nevsky cantata and his Fifth Symphony are also widely celebrated.

What was Prokofiev's connection to the Ballets Russes?

Sergei Diaghilev, the influential founder of the Ballets Russes, recognized Prokofiev's innovative genius early on. He commissioned several ballets from Prokofiev, including Chout, Le pas d'acier, and The Prodigal Son, which were often controversial but cemented Prokofiev's reputation as a major modernist composer in Europe.

Why did Prokofiev return to the Soviet Union after living abroad?

Prokofiev spent many years living in the United States, Germany, and Paris after the 1917 Russian Revolution. His decision to return to the Soviet Union in 1936 was influenced by several factors: a diminishing number of opportunities for staging his large-scale works in the West due to the Great Depression, his increasing dislike for the demands of touring as a pianist, and the promise of substantial commissions and a more stable environment for his compositional work in his homeland.

Did Prokofiev face political challenges in the Soviet Union?

Yes, despite his successes, Prokofiev did face significant political challenges. In 1948, during a period of strict ideological control, he was publicly denounced for "anti-democratic formalism," an accusation that criticized his music for being too modern, complex, and not adhering to Soviet artistic principles. This period was difficult for him, though he continued to receive support from a younger generation of performers.

What kind of composer was Prokofiev?

Prokofiev was a highly versatile and innovative composer, often described as an "iconoclast" in his early career. He possessed a remarkable gift for melody, combined with a powerful rhythmic drive and a keen sense of orchestral color. His music frequently blends lyrical beauty with sharp dissonance, wit with profundity, and often exhibits a neoclassical clarity alongside a distinctly Russian character. He excelled across virtually all major classical genres.