Sergei Prokofiev

Romeo and Juliet op. 75

Fabian Czolbe (校訂)

Simon Morrison (Preface)

Julius Asal (運指)

Urtext Edition, paperbound

Piano solo

HN 1621 · ISMN 979-0-2018-1621-0

Selections of individual numbers or scenes from large-scale stage works have always been a tried and tested means of making operas or incidental music accessible to a wider audience. Thus, even before the premiere of his ballet music to Shakespeare’s “Romeo and Juliet” in Brno in 1938, Prokofiev put together two orchestral suites as well as a collection of ten piano pieces. Although the piano arrangement has to do without the richness of colour of the original orchestral sound, its powerful fundamental tone gives it its own unique appeal. The stylistic spectrum ranges from sensitive cantilenas to waves of sound with an impressionistic feel and garish cascades of chords. Impressive portraits and distinctive scenes such as Romeo’s farewell to Juliet bring Shakespeare’s poetry to life, and the famous no. 6, “The Montagues and Capulets”, is of course a must!
Henle presents the first Urtext edition of the pieces – unquestionably a welcome addition to the Prokofiev titles in the blue covers. The fingerings are by Julius Asal, who made this piano cycle the centrepiece of his well-received debut recording.

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内容／詳細

Romeo and Juliet op. 75

1. Folk Dance

2. Scene

3. Minuet

4. The Young Maiden Julia

5. Masks

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作曲家について

Peter Iljitsch Tschaikowsky

Most important and first professionally trained Russian composer of the nineteenth century; main works include operas, ballet music, six symphonies, three piano concerti, and one violin concerto, as well as songs, chamber music, and piano music.

1840	Born in Votkinsk on May 7, the son of a mining engineer.
1849–59	Educated as an attorney.
1861–65	Study of music; he numbers among the first graduates of the St. Petersburg Conservatory. Piano studies with Anton Rubinstein.
1866–76	He relocates to Moscow to teach harmony, instrumentation, and free composition at what later became the Moscow Conservatory. Composition of Symphonies No. 1 through 3 (Opp. 13, 17, 29), the Piano Concerto No. 1 in B-flat minor, Op. 23, the three string quartets (Op. 11 in 1871, Op. 22 in 1874, Op. 90 in 1876).
1868–76	Active as a reviewer. He attends the premiere in Bayreuth of Wagner’s “Der Ring des Nibelungen” in 1876.
from 1877	Travels at home and abroad. Beginning of patronage from Nadezhda von Meck. Composition of the Symphony No. 4 in F minor, Op. 36, premiered in Moscow in 1878. Premiere of the ballet “Swan Lake,” Op. 20.
1879	Premiere in Moscow of “Eugene Onegin,” his best-known and most important opera.
1884	Premiere in Moscow of “Mazeppa.”
from 1887	Regular performances as conductor of his and others’ work. He is regarded abroad as the most important exponent of Russian music
from 1888	Granted an annuity for life by the Tsar.
1888	Composition and premiere in St. Petersburg of the Symphony No. 5 in E minor, Op. 64; fate motive appears as a kind of “idée fixe.”
1892	Premiere of the ballet “The Nutcracker,” Op. 71.
1893	Composition of the Symphony No. 6 in B minor (“Pathétique”), Op. 74, which is premiered in St. Petersburg in October that year.
1893	Death from cholera in St. Petersburg on November 6.