Books about Prokofiev from Amazon.com

THERE IS NO better way to introduce children to classical music than with Prokofiev’s musical fairy tale of the little boy (played by all the strings of the orchestra) who, with the help of a bird (played by the flute), outsmarted the big, bad wolf (played by the French horns). And now with this book and CD package, children can look and listen all at the same time. A new retelling by Janet Schulman follows the basic story, but with a kinder ending for both the big bad wolf and the argumentative duck. Peter Malone’s paintings have the luminous quality of old Russian masters. The CD, with music performed by the Cincinnati Pops and word-for-word narration by Peter A. Thomas, was made exclusively for this book and CD package..
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European comics artist Miguelanxo Prado describes his two life passions as "listening to and inventing stores, as well as painting " In this adaptation of the classic folk tale by Sergei Prokofiev, Prado combines these passions into a glorious work of art. The soft, shadowy colors give this redition of Peter and the Wolf the look of something from another time and place. The book begins with two full-page paintings. The first is Peter, the duck, the cat, and the bird staring into the dark woods; the point of view is from behind them, with the reader staring into the woods with them. Turn the page and you'll see the same scene from the opposite point of view, from within the woods, looking out at them. The depiction is powerfully stirring, and as Prado himself says in his introduction: "While folk tales are usually meant for children, they nonetheless possess a fascinating, evocative power for adults." Whether Peter and the Wolf is for you or your child, Prado's version is a great addition to your bookshelf. .
Price: $3.26 [Notify me when price goes down.]

"'To go to America!' Here was wretchedness; there life brimming over. . . . Such was the flag under which I greeted the New Year. Surely it will not disappoint my hopes?"

With these words Sergey Prokofiev closed his diary for the revolutionary year 1917. He would not be disappointed by 1918. On August 24, after an epic trek that carried him across strife-torn Russia to the Pacific and the breadth of North America, he stepped from a stifling Grand Central Terminal onto the streets of New York. This marked the beginning of his exile, which would last--with one brief exception--until 1934.

This second volume of Prokofiev's diary records an astonishing record of artistic accomplishment against a backdrop of cataclysmic change. The composer dodges gunfire in Petrograd during the February Revolution, but as a rule pays attention to political events only as they affect him personally. Composition and performance are the main concerns, along with the persistent and ultimately failed struggle to arrange a performance of his opera The Gambler. As in his Conservatory years, he also reveals his own aesthetic principles as he reacts to the work of others, sometimes with dark humor ("bored out of my life" by Mahler's 7th Symphony, "it is like kissing a still-born child.").

The years in America were difficult. Always in the shadow of Rachmaninoff, he struggled to establish himself as composer and piano virtuoso. He details the seemingly endless but finally successful battle with the Chicago Civic Opera to mount Love for the Three Oranges, falls in love with the young Stella Adler, and begins work on his third opera, The Fiery Angel.

Two years later he is in Paris, where his music is more warmly received than in Russia or America. Here the galaxy of connections grows exponentially as his fame expands. As always, he documents his encounters with sharp, often sardonic insight. The pages of the diary teem with the names of the period's most celebrated artists. There are the Russians Diaghilev, Chaliapin, Kossevitzky, Stravinsky, Mayakovsky ("a fearsome apache"), Meyerhold, and Bakst. But Prokofiev's world now expands to include Ravel, Szymanowski, Marinetti, Mary Garden, Cocteau, Artur Rubenstein, and many others..
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Sergey Prokofiev, a compulsive diarist and gifted and idiosyncratic writer, possessed an incorrigibly sardonic curiosity about individuals and events. When he left Russia after the 1917 Revolution, his diaries were recovered from the family flat in Petrograd and later hidden at considerable personal risk by the composer Nikolai Myaskovsky. Prokofiev himself smuggled them out of the country after his first return to the Soviet Union in 1927. The later diaries, written in the West, were brought back by legal decree after the composer's death in 1953, to be kept in an inaccessible section of the Soviet State Archive. Eventually Prokofiev's son Sviatoslav was allowed to transcribe the voluminous contents. When he and his son Sergei eventually emigrated to Paris, they undertook the gigantic task of reproducing the partially encoded manuscript in an intelligible form.

Diaries, 1907-1914, the first of three volumes that extend to 1933, covers Prokofiev's years at the St. Petersburg Conservatoire. Simultaneously attached to and exasperated by the tradition exemplified by composers such as Rimsky-Korsakov, Glazunov, and Tcherepnin, the brash young genius relishes the power of his talent to irritate, challenge, and finally overcome the establishment. In candid and lively prose, he records the all-too-normal preoccupations of a young man making his way in the brilliant social and artistic circles of the prewar Russian capital. Virtually every artist and musician of note appears in these pages, in penetrating and not always flattering vignettes. Prokofiev's main subject, however, is music, its creation and its performance. He reveals his own developing aesthetic principles through his assessments of the works of others, even as he composes such early masterpieces as the First and Second Piano Concertos, The Ugly Duckling, the First Violin Concerto, and the Classical Symphony.

An inexhaustibly rich portrait of a vibrant artistic culture on the edge of war and revolution, Prokofiev's Diaries are both a dramatic illumination of a great composer's creativity and an indispensable contribution to our understanding of musical modernism. They constitute an essential and entertaining reference for all lovers of Prokofiev's music..
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Sergey Prokofiev (1891-1953) was considered strikingly modern in his day, yet his compositions retain a compelling lyricism and an acerbic wit that have ensured their enduring popularity. Having left his native Russia for the USA and subsequently Paris, he spent the last 17 years of his life in the USSR, where his work was heavily influenced by Stalin's cultural policies. Daniel Jaffé's comprehensive biography offers a detailed examination of this remarkable composer's life and works, in the context of other cultural luminaries of his day and the political turmoil of early twentieth-century Russia.


Sergey Prokofiev is part of Phaidon's successful 20th Century Composers series, which presents authoritative and engaging biographies of the great creative musicians of our time, augmented by striking visual material and essential reference information. This edition of the book features a whimsical new cover by Jean-Jacques Sempé, the world-renowned illustrator and cartoonist..
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A study in contrasts, the career of Sergey Prokofiev spanned the globe, leaving him witness to the most significant political and historical events of the first half of the twentieth century. In 1918, after completing a program of studies at the St. Petersburg conservatory, Prokofiev escaped Russia for the United States and later France where, like most emigre artists of the time, he made Paris his home. During these hectic years, he composed three ballets and three operas, fulfilled recording contracts, and played recitals of tempestuous music. Scores were stored in suitcases, scenarios and librettos drafted on hotel letterhead. The constant uprooting and transience fatigued him, but he regarded himself as a person of action who, personally and professionally, traveled against rather that with the current. Thus, in 1936, as political anxieties increased in Western Europe, Prokofiev escaped back to Russia. Though at first pampered by the totalitarian regime, Prokofiev soon suffered official correction and censorship. He wrote and revised his late ballets and operas to appease his bureaucratic overseers but, more often than not, his labors came to naught. Following his official condemnation in 1948, many of his compositions were withdrawn from performance. Physical illness and mental exhaustion characterized his last years. Housebound, he journeyed inward, creating a series of works on the theme of youth whose music sounds despondently optimistic.
The reasons for Prokofiev's return to Russia and the specifics of his dealings with the Stalinist regime have long been mysterious. Owing to their sensitive political and personal nature, over half of the Prokofiev documents at the Russian State Archive have been sealed since their deposit there in 1955, two years after Prokofiev's premature death. The disintegration of the Soviet Union did not lead to the rescinding of this prohibition. Author Simon Morrison is the first scholar, non-Russian or Russian, to receive the privilege to study them. Alongside wholly or partly unknown score materials, Morrison has studied Prokofiev's never-seen journals and diaries, the original, unexpurgated versions of his official speeches, and the bulk of his correspondence. This new information makes possible for the first time an accurate study of the tragic second phase of Prokofiev's career. Moving chronologically, Morrison alternates biographical details with discussions of Prokofiev's major works, furnishing dramatic new insights into Prokofiev's engagement with the Stalinist regime and the consequences that it had for his family and his health..
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