Peter and the Wolf

Prokofiev, Sergey

Amer Printing House for Blind

This volume contains the full uncut orchestral scores with all variants of four of the most significant works by Prokofieff. The volume was selected &amp; edited by Lewis Roth. Titles: 1. Classical symphony, Opus 28 2. Lieutenant Kije Suite, Opus 60 3. Peter &amp; the Wolf, Opus 67 4. Alexander Nevsky Cantata, Opus 78

Four Orchestral Works

Arts & Photography

Music

Dover Pubns

Complete piano sonatas sheet music by Sergei Prokofiev.

Complete Piano Sonatas

1992. Dover Publications. Cover has crease at front right corner and on left near binding. Signature on title page. Otherwise, interior is unmarked. 79 of Prokofiev's solo mature works. Proceeds benefit the Oro Valley Public Library.

Shorter Piano Works

Children's Books

Fairy Tales, Folk Tales & Myths

Demco Media

Sergey Prokofiev, a compulsive diarist and gifted and idiosyncratic writer, possessed an incorrigibly sardonic curiosity about individuals and events. When he left Russia after the 1917 Revolution, his diaries were recovered from the family flat in Petrograd and later hidden at considerable personal risk by the composer Nikolai Myaskovsky. Prokofiev himself smuggled them out of the country after his first return to the Soviet Union in 1927. The later diaries, written in the West, were brought back by legal decree after the composer's death in 1953, to be kept in an inaccessible section of the Soviet State Archive. Eventually Prokofiev's son Sviatoslav was allowed to transcribe the voluminous contents. When he and his son Sergei eventually emigrated to Paris, they undertook the gigantic task of reproducing the partially encoded manuscript in an intelligible form.
Diaries, 1907-1914, the first of three volumes that extend to 1933, covers Prokofiev's years at the St. Petersburg Conservatoire. Simultaneously attached to and exasperated by the tradition exemplified by composers such as Rimsky-Korsakov, Glazunov, and Tcherepnin, the brash young genius relishes the power of his talent to irritate, challenge, and finally overcome the establishment. In candid and lively prose, he records the all-too-normal preoccupations of a young man making his way in the brilliant social and artistic circles of the prewar Russian capital. Virtually every artist and musician of note appears in these pages, in penetrating and not always flattering vignettes. Prokofiev's main subject, however, is music, its creation and its performance. He reveals his own developing aesthetic principles through his assessments of the works of others, even as he composes such early masterpieces as the First and Second Piano Concertos, The Ugly Duckling, the First Violin Concerto, and the Classical Symphony. 
An inexhaustibly rich portrait of a vibrant artistic culture on the edge of war and revolution, Prokofiev's Diaries are both a dramatic illumination of a great composer's creativity and an indispensable contribution to our understanding of musical modernism. They constitute an essential and entertaining reference for all lovers of Prokofiev's music.

Diaries 1907–1914: Prodigious Youth

Humor & Entertainment

Cornell University Press

"'To go to America!' Here was wretchedness; there life brimming over.... Such was the flag under which I greeted the New Year. Surely it will not disappoint my hopes'"
With these words Sergey Prokofiev closed his diary for the revolutionary year 1917. He would not be disappointed by 1918. On August 24, after an epic trek that carried him across strife-torn Russia to the Pacific and the breadth of North America, he stepped from a stifling Grand Central Terminal onto the streets of New York. This marked the beginning of his exile, which would last―with one brief exception―until 1934. 
This second volume of Prokofiev's diary records an astonishing record of artistic accomplishment against a backdrop of cataclysmic change. The composer dodges gunfire in Petrograd during the February Revolution, but as a rule pays attention to political events only as they affect him personally. Composition and performance are the main concerns, along with the persistent and ultimately failed struggle to arrange a performance of his opera The Gambler. As in his Conservatory years, he also reveals his own aesthetic principles as he reacts to the work of others, sometimes with dark humor ("bored out of my life" by Mahler's 7th Symphony, "it is like kissing a still-born child."). 
The years in America were difficult. Always in the shadow of Rachmaninoff, he struggled to establish himself as composer and piano virtuoso. He details the seemingly endless but finally successful battle with the Chicago Civic Opera to mount Love for the Three Oranges, falls in love with the young Stella Adler, and begins work on his third opera, The Fiery Angel. 
Two years later he is in Paris, where his music is more warmly received than in Russia or America. Here the galaxy of connections grows exponentially as his fame expands. As always, he documents his encounters with sharp, often sardonic insight. The pages of the diary teem with the names of the period's most celebrated artists. There are the Russians Diaghilev, Chaliapin, Kossevitzky, Stravinsky, Mayakovsky ("a fearsome apache"), Meyerhold, and Bakst. But Prokofiev's world now expands to include Ravel, Szymanowski, Marinetti, Mary Garden, Cocteau, Artur Rubenstein, and many others.

Diaries 1915–1923: Behind the Mask

The third and final volume of Prokofiev's Diaries covers the years 1924 to 1933, when he was living in Paris. Intimate accounts of the successes and disappointments of a great creative artist at the heart of the European arts world between the two world wars jostle with witty and trenchant commentaries on the personalities who made up this world.
The Diaries document the complex emotional inner world of a Russian exile uncomfortably aware of the nature of life in Stalin’s Russia yet increasingly persuaded that his creative gifts would never achieve full maturity separated from the culture, people, and land of his birthplace. Since even Prokofiev knew that the USSR was hardly the place to commit inner reflections to paper, the Diaries come to an end after June 1933 although it would be another three years before he, together with his wife and children, finally exchanged the free if materially uncertain life of a cosmopolitan Parisian celebrity for Soviet citizenship and the credo of Socialist Realism within which the regime struggled to straitjacket its artists.
Volume Three continues the kaleidoscopic impressions and the stylish language―Prokofiev was almost as gifted and idiosyncratic a writer as a composer―of its predecessors.

Diaries 1924–1933: Prodigal Son

Retells the orchestral fairy tale of the boy who, ignoring his grandfather's warnings, proceeds to capture a wolf

Peter and the Wolf: Based on the Orchestral Tale by Sergei Prokofiev

Hastings, Selina

Henry Holt Co.

Retells the orchestral fairy tale of the boy who, ignoring his grandfather's warning, proceeds to capture a wolf

Eastman, David

Troll Communications Llc

See the best price to sell, buy, or rent books by Prokofiev, Sergey. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Prokofiev, Sergey

See the best price to sell, buy, or rent books by Prokofiev, Sergey. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Peter and the Wolf

Four Orchestral Works

Complete Piano Sonatas

Shorter Piano Works

Peter and the Wolf

Diaries 1907–1914: Prodigious Youth

Diaries 1915–1923: Behind the Mask

Diaries 1924–1933: Prodigal Son

Peter and the Wolf: Based on the Orchestral Tale by Sergei Prokofiev

Peter and the Wolf