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2015-07-08 11:32:08

 
Prokofiev Piano Sonata No. 1 in F minor Op. 1
Boris Berman


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walker123


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2015-07-08 11:42:42

 
发表于: 2015-07-08 11:42:42
Yefim Bronfman

The honour of his first opus number was one which Sergei Prokofiev, like Johannes Brahms, reserved for a piano sonata, although in neither case was it the composer's first contribution to the genre. Even before enrolling at the St. Petersburg Conservatory, the Russian composer had completed a piano sonata and identified it as his first, following it up with half a dozen more in the course of the subsequent period, which he numbered systematically from one to six. "I don't think you ought to bother numbering your sonatas", his fellow student, the composer Nikolai Myaskovsky told him soberly and presciently, "the time will come when you will cross out all the numbers and write "Sonata Number One." The tim in question came in August 1909, when Prokofiev was staying in the Ukranian town of Sontsovka, where he had been born eighteen years previously as the son of an agricultural engineer who managed a large estate in the area. But Myaskovsky's prophecy turned out to be not entirely true, for even if Prokofiev's (now definitive) numbering gave the impression of a completely fresh start, his new Op. 1 was in fact based on the main movement of one of his earlier sonatas -- No. 2 in the original, now obsolete numbering. Although the composer evidently did not care to be identified any longer with the Adagio and Finale of the 1907 sonata, he continued to find the opening Allegro "very pretty", and by the end of August 1909 was able to write and tell Myaskovsky, "I'm completing my revision of the first movement of my F minor Sonata. It will be magnificent, and I even intend to allow it to see the light of day as my Op. 1. The note of euphoria expressed in these lines is not found in any of Prokofiev's later comments on the work that he himself premiered in Moscow on March 6, 1910. It became clear to him, rather, that his first piano sonata did not represent a new departure but that it merely marked the end of one particular phase in his search for himself as an artist. "As a rule, the publication of a composer's first opus, compared with his early immature works, marks something like the opening of a new page in his creativity. With me it was different: the first sonata, a naive and simple little piece, marked the end of my early period; the new one began with the Etudes Op. 2."


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