Interest in the orchestral writing of the Viennese classics, and above all Haydn, arose in Prokofiev during his studies at the St. Petersburg Conservatory in the conducting class of Nikolai Tcherepnin. Prokofiev wrote: “It seemed to me that if Haydn had lived to this day, he would have retained his style of writing and at the same time would have taken something from the new. I wanted to compose such a symphony: a symphony in the classical style. The idea was realized a few years later.
The orchestral composition chosen by Prokofiev for the symphony corresponds to the instrumentation of the Viennese classics: a double composition of wind instruments (without specific instruments and trombones), timpani and a string group. The sequence of movements, their form and dramaturgy also largely follow the model typical of the Viennese classical symphony. Only the place of the traditional minuet or scherzo (part III) is occupied by the gavotte - a genre that later became Prokofiev's "calling card".
The musical language, however, unmistakably indicates that this symphony belongs to the music of the 20th century. Unexpected and vivid modulations-shifts into distant keys, the use of instruments in a very virtuoso manner, the ironic interpretation of musical material are features of Prokofiev's style, which had already been fully formed by that time.
"Classical Symphony"Prokofiev is not a direct stylization of Haydn, but an experience of rethinking, a look at his legacy from the 20th century. This approach anticipates the direction in music, called neoclassicism. Vladimir Khavrov
In 1936, shortly after returning to the USSR from many years of emigration, Sergei Prokofiev met Natalia Sats, who directed the Central Children's Theater in Moscow. Together with his family, the composer willingly visited this theater. Natalia Sats, a young director, suggested that Prokofiev compose a work for her little theatergoers. Prokofiev became interested and in a short time came up with the famous story about Petya and the wolf.
Fairy tale "Peter and the wolf"subtitled "symphonic". Each character is assigned a certain timbre and leitmotif. The main character, Petya, is represented by bowed string instruments, primarily violins. Its leitmotif resembles a pioneer march: after all, Petya is a pioneer. The birdie is, of course, flute passages in a high register. The oboe "quacks" for the Duck. The velvety timbre of the clarinet depicts a graceful Cat. The bassoon accompanies grandfather. The terrible Wolf has a minor leitmotif performed by three French horns. Hunters appear accompanied by timpani, and their shots are depicted by a big drum. Wind instruments sound in the final procession. Thus, listening to a fairy tale, children receive a fascinating and humorous lesson in instrumentation.
The plot of the fairy tale, which the reader tells the children, is accessible even to the smallest listeners. As befits a fairy-tale hero, Petya understands the language of animals. In addition, he is a real pioneer, which means “an example for all the guys”: a good comrade, brave, resourceful, fair and kind. Early in the morning, Petya goes out onto the lawn, watches the argument between the Bird and the Duck, warns them against danger, seeing the crouching Cat. Grandfather appears; he grumbles and takes his grandson away: after all, the Wolf is wandering nearby. The wolf is really right there, and the Duck is in his stomach. Savvy Petya, with the help of the Bird, catches the Wolf by the tail with the help of a rope thrown over a tree. As happens in stories about heroes, help from law enforcement officers - Hunters - comes when the job is almost done. It remains only to tie the Wolf. The ending is optimistic
The first performance of the tale was somewhat disappointing: the afternoon philharmonic concert went unnoticed. But in the future, when Natalia Sats herself began to play the role of the reader, the fairy tale invariably enjoyed great success. Natalia Sats first told the children about the instruments, showed them, introduced the characters and leitmotifs, and then read the text of the fairy tale: “... I step aside and already from“ introducing Aunt Natasha ”I turn into a performer of a fairy tale, I speak quietly, as if anticipating the first sounds of Prokofiev’s music - the main thing now is music.” Much later, already in 1970, the radio performance "Peter and the Wolf" performed by Natalia Sats and the USSR State Symphony Orchestra conducted by Evgeny Svetlanov was recorded on a disc; this "classic" recording is widely known to this day. In addition to her, there are many other recordings of "Petya and the Wolf": The essay remains one of the most sought after around the world. The fairy tale is “passed” in schools in Russia and abroad, several cartoons have already been shot based on its material, sequels have been invented for it, it has been parodied, altered, processed in a variety of styles.Christina Strekalovskaya
