Word: prokofieff
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...cartoons" to Critic Claudia Cassidy of the Journal of Commerce. Sergei Prckofieff seated himself at a piano, neatly and precisely played with the orchestra his own Concerto No. 1. No stranger to Chicago was this 45-year-old Russian. There in 1921 both the caustic Concerto and Prokofieff's opera The Love for Three Oranges received the:r first performances. In Chicago last week on his seventh...
visit, carrying a miniature chess set in his pocket as usual, Prokofieff had ready a new work embodying what he said was a new melodic line, full of "new curves" because he thinks that modern music must be melodic yet not reactionary. The work was a suite from a ballet, Romeo & Juliet, which Prokofieff conducted with precise beat and knees that wobbled curiously but in accurate rhythm. The audience, cordial but not unrestrained, found Romeo & Juliet a sly, elusive projection of its subject, more lyric than Prokofieff's early works have been credited with being, but less so than...
...past Composer Prokofieff has not objected to statements that he was an exile, his property having been confiscated after he fled the Revolution. At last week's Chicago concert, program notes had it that he left Russia with the Soviet Government's per- mission "in consequence of the general confusion." In any case, Russian Prokofieff now maintains an apartment in Moscow, where his sons Sviatoslav, 12, and Eleg, 7, are being brought up. Thither last week he had a new Ford shipped...
...than she hurt Karl Muck when she ousted him on an unproven Wartime charge of pro-Germanism. After the Revolution. Russia forced most of her musicians into exile. Many years will pass before Russia regains the musical prestige it lost with such refugees as Feodor Chaliapin, Igor Stravinsky, Sergei Prokofieff, Sergei Rachmaninoff...
Written while Mr. Fraser was still devoting himself to a mastery of counterpoint and orchestration, these essays show a keen perception and understanding. Whether he treats of Prokofieff or Wagner, he writes with a detached and unwavering judgment. To him the greatest of music is a combination of form and inspiration. Folk songs should not be an end in themselves, but a tool in the hands of a Vaughan Williams or a Chopin for the highest realization of their possibilities. Nationalism in music is for him a fallacy, since music is so universal as to be above political cr even...