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Ten Pieces for Piano , Op. 12 (1906–13) Sarcasms, five pieces for piano, Op. 17 (1912–14) Visions fugitives, 20 pieces for piano, Op. 22 (1915–17) Tales of an Old Grandmother, Op. 31 (1918) Four Pieces for Piano, Op. 32 (1918) Schubert Waltzes (1920) Fantasia on Scheherazade (1926) Things in Themselves, 2 pieces for piano, Op. 45 (1928)
Prokofiev was a soloist with the London Symphony Orchestra, conducted by Piero Coppola, in the first recording of his Piano Concerto No. 3, recorded in London by His Master's Voice in June 1932. Prokofiev also recorded some of his solo piano music for HMV in Paris in February 1935; these recordings were issued on CD by Pearl and Naxos. [167]
Compositions by Sergei Prokofiev published posthumously (7 P) Concertos by Sergei Prokofiev (1 C, 5 P) F. Films scored by Sergei Prokofiev (8 P) O.
Based on a synopsis created by Adrian Piotrovsky (who first suggested the subject to Prokofiev) [1] and Sergey Radlov, the ballet was composed by Prokofiev in September 1935 to their scenario which followed the precepts of "drambalet" (dramatised ballet, officially promoted at the Kirov Ballet to replace works based primarily on choreographic display and innovation). [2]
Cinderella (Russian: Золушка, tr. Zolushka; French: Cendrillon) Op. 87, is a ballet composed by Sergei Prokofiev to a scenario by Nikolai Volkov. It is one of his most popular and melodious compositions, and has inspired a great many choreographers since its inception. The piece was composed between 1940 and 1944.
Peter and the Wolf (Russian: Петя и волк, romanized: Pétya i volk, IPA: [ˈpʲetʲə i volk]) Op. 67 a "symphonic tale for children", is a programmatic musical composition written by Sergei Prokofiev in 1936.
The sonata is the shortest of his piano sonatas, being in a single movement in sonata form and lasting approximately 7–8 minutes, but it is one of the most technically demanding pieces Prokofiev has ever written for the piano. The piece opens with a blasting E major chord for the entire first and second bars and then goes into a toccata-like ...
The third movement, which Prokofiev himself called an "argument" [3] between soloist and orchestra, begins with an A-minor statement of the main theme in bassoons and pizzicato strings, interrupted by the piano's assertive entrance with a conflicting theme. Interplay between the piano and orchestra builds up steam, with a brief quickening of ...