Sergei Prokofiev
Violoncello Sonata op. 119
Prokofiev’s late Cello Sonata is inextricably linked with the name Mstislav Rostropovich. The then twenty-year-old cellist delighted the composer to such an extent during a performance in Moscow in 1947 that he spontaneously promised him a work tailored to his capabilities. In June 1949, they jointly put the finishing touches on the technically very demanding duo sonata. It was played for the first time that same month before the State Committee for Art Affairs. For the printed version, a breakneck concluding passage was mitigated by an easier alternative – which probably contributed considerably to the dissemination of the sonata.
The present Henle Urtext edition offers this twentieth-century cello masterpiece for the first time on the basis of all the authentic sources. In his preface, Prokofiev specialist Simon Morrison sheds light on the creation and publication of the sonata in the context of Soviet cultural policy.
About the Composer
Sergej Prokofjew
Together with Shostakovich, Prokofiev is the Soviet Union’s most important composer. He left behind a wide-ranging oeuvre from the most modern to neo-classically simple works, from propagandistic commissions to compositions that the CPSU rejected as being formalistic.
| 1891 | Prokofiev is born on 23 April in Sontsovka (Ukraine), the son of a farmer. |
| 1904–14 | He studies at the St. Petersburg Conservatory. |
| from 1908 | He is a member of the circle around Serge Diaghilev, who occupies himself intensively with contemporary music. |
| 1911–18 | Avantgarde compositions such as Sarcasms, the Piano Concertos nos. 1 and 2, “Visions fugitives”, “Scythian Suite” are dismissed as being futuristic. |
| 1916–17 | The “Symphonie Classique”, drawing on classical models, brings him international renown. |
| 1918 | Prokofiev leaves the Soviet Union and travels to the USA, where his opera “The Love for Three Oranges” is performed in Chicago, and then travels to Paris in 1922. He enjoys a close cooperation with Diaghilev and writes ballet compositions. |
| 1919–23 | He composes the opera “The Fiery Angel”, which receives its first performance posthumously in Venice in 1954. |
| 1923–25 | The composer continues to develop his avantgarde musical language, for instance in the 2nd Symphony. |
| 1927 | He enjoys a successful concert tour around the Soviet Union. |
| 1929 | “The Gambler” is premiered in Brussels. |
| 1936 | Prokofiev returns to his home country. He writes compositions in line with the cultural ideology of the Soviet Union. He turns towards a simpler music as early as the beginning of the 1930s. “Peter and the Wolf” is composed. |
| 1946 | “The Engagement in the Monastery” is performed in Prague and “War and Peace” in Leningrad. |
| 1948 | He is accused of formalism. |
| 1953 | Prokofiev dies on 5 March in Moscow. |
About the Authors
Annette Oppermann (Editor)
Dr. Annette Oppermann, born in 1965, trained as a music dealer in Frankfurt am Main and studied historical and systematic musicology as well as modern German literature at Hamburg University.
From 1993 to 1996 she worked as an editor for Sony Classical International in Hamburg; from 1996 to 1999 she was a doctoral candidate in the postgraduate programme Textkritik at the Ludwig-Maximilians-Universität in Munich, in January 2000 she earned her doctorate with a dissertation on “Musikalische Klassikerausgaben” (Hans-Joachim Marx, Hamburg). From 2000 to 2008 she worked as a research associate at the Joseph Haydn-Institut in Cologne, and was editor of the Oratorio “Die Schöpfung” in the Complete Edition of Joseph Haydn’s Works. Since February 2008 she has been an editor at G. Henle Publishers in Munich, with a particular focus on vocal music, chamber music and books.
Product Safety Informations (GPSR)
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