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Zeeb Ra. ‘Ann Atbor, MI 48106RICE UNIVERSITY STRUCTURAL, DRAMATIC AND STYLISTIC RELATIONSHIPS IN PROKOFIEV'S SONATAS NO. 7 AND NO. 8 by HENRI-PAUL SICSIC A THESIS SUBMITTED IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DOCTOR OF MUSICAL ARTS DEGREE APPROVED, THESIS COMMITTEE hi (lege vf Associate Professor of Music 7. - Hyify Beth Poindexter ProféSsor of Human Perform: Health Sciences Houston, Texas April, 1993ABSTRACT STRUCTURAL, DRAMATIC AND STYLISTIC RELATIONSHIPS IN PROKOFIEV’S SONATAS No. 7 AND No. 8 by HENRL-PAUL SICSIC Prokofiev's compositional output during the years 1939-1944 was exceptional in ‘both quantity and quality. The War Years spawned many of Prokofiev's greatest works, including the trilogy of the Sixth, Seventh and Eighth Piano Sonatas, known as the "War Sonatas." Focusing on the Seventh and Eighth Sonatas allows for a comparison of these, the most closely related of the three. Written almost simultaneously, the Seventh and Eighth Sonatas share an intricate unity although their contrasting elements are many. Prokofiev's versatility and genius in the use of motivie and cyclic elements links the movements of each sonata, and, ultimately, the two sonatas. Because of the motivic nature, which can be quite subtle, a Schoenbergian” Grundgestalt” method of analysis is ‘used. Not solely a unifying device, the motives and their manipulation also create the rama of these highly charged works. Consequently, performance can be enlightened and enhanced through a detailed motivic study of both sonatas. Chapter One explores the historical context of the War Sonatas and an overview of Prokofiev’s piano works, focusing on the nine Piano Sonatas. In Chapter Two, the structural relationships,motivie material, and stylistic differences of Sonata No. Seven and ‘Sonata No. Eight are summarized. The introductory theme of the Seventh Sonata, its “Grundgestalt,” contains all of the other themes in essence. Chapter Three examines how the drama of the sonatas influences their structure and the use of their motives. The Seventh Sonata is subjected to formal, tonal, and motivic analysis. Chapter Four continuesthe process with a full analysis of all three movements of Sonata No. Eight. In conclusion, these ideas are brought together in an overview of performance practice in the Seventh and Eighth Sonatas.ACKNOWLEDGEMENTS ‘Much encouragement and support went into the completion of this document. 1 ‘would like to express my gratitude to my mother Juliette Sicsic for keeping faith in my project and for her infinite patience; my wife Nancy for helping in making this possible; my document adviser Dr. Walter Bailey for his guidance and support along with the three members of my doctoral committee who have seen me through my doctoral studies: Mr. John Perry, my teacher, Dr. Samuel Jones, and Dr. Clyde Holloway. Finally, I would like to thank William Parsons, Music Director of the Library of Congress, and Cynthia ‘McCaffety.‘TABLE OF CONTENTS ABSTRACT.. ACKNOWLEDGEMENTS... TABLE OF EXAMPLES... INTRODUCTION . I HISTORICAL CONTEXT.. Prokofiev's Life and Works: 1938 ‘The War Sonatas in Context of Prokofiev's Piano Works... II SONATAS NO.7 AND NO. 8: STYLISTIC COMPARISONS AND STRUCTURAL RELATIONSHIPS I SONATA NO. 7 IN B-FLAT OP. 83 ‘Movement I: Allegro inquieto . Movement II: Andante caloros: Movement Ill; Precipitato. IV__ SONATA NO. 8 IN B-FLAT OP. 84, Movement I: Andante dolce . Movement II: Andante sognando Movement III: Vivace... CONCLUSION .. 108 BIBLIOGRAPHY.‘TABLE OF EXAMPLES Example Page 1. Prokofiev, Sonata No. 7, First movement, mm. 1-9, 30 Prokofiev, Sonata No. 7, Third movment, mm, 1-4____31 Prokofiev, Sonata No. 7, Second movement, mm. 81-83_____31 Prokofiev, Sonata No. 8, Third movement, mm. 185-189 ___32 Prokofiev, Sonata No. 8, First movement, mm. 61-63, 32 Prokofiev, Sonata No. 8, Third movement, mm. 226-232 33 Prokofiev, Sonata No. 8, Third movement, mm. 474-476 33 Prokofiev, Sonata No. 8, Third movement, mm. 486-489 34 9. Prokofiev, Sonata No. 7, First movement, mm. 5-6, 34 10. Prokofiev, Sonata No. 7, Second movement, mm. 81-83__35 11, Prokofiev, Sonata No. 8, Third movement, mm, 289-296, 36 er awa YD 12, Prokofiev, Sonata No. 7, First movement, mm. 1-9 aT 13, Prokofiev, Sonata No. 7, First movement, mm, 24-25 48 14, Prokofiev, Sonata No. 7, First movement, m. 1, mm. 5-6, mm, 66-67 __48 15, Prokofiev, Sonata No. 7, First movement, mm. 5-6, mm, 124-125 49 16, Prokofiev, Sonata No. 7, First movement, mm. 45-46, 51 17. Prokofiev, Sonata No. 7, First movement, mm, 10-13 53 18, Prokofiev, Sonata No, 7, First movement, m. 65-67, 54 19. Prokofiev, Sonata No. 7, First movement, mm. 71-74 55 20, Prokofiev, Sonata No. 7, First movement, mm. 383-386 __56 21, Prokofiev, Sonata No. 7, First movement, mm. 77-78 _S7 22, Prokofiev, Sonata No. 7, Second movement, mm, 1-3 63 23. Prokofiev, Sonata No, 7, Second movement, mm. 32-34 64TABLE OF EXAMPLES Example 24, Prokofiev, Sonata No, 7, Second movement, m. 2 25, Prokofiev, Sonata No, 7, Third movement, mm. 1-4. 26, Prokofiev, Sonata No, 7, Third movement, mm, 11-14. 21, Prokofiev; Sonata No, 7, Third movement, m, 30. 28, Prokofiev, Sonata No, 7, Third movement, mm. 60-61 29, Prokofiev, Sonata No, 7, Third movement, mm. 80-81 30. Prokofiev, Sonata No. 7, Third movement, mm. 145-150. 31. Prokofiev, Sonata No, 8, First movement, mm. 1-9 32, Prokofiev, Sonata No. 8, First movement, mm.35-36 33, Prokofiev, Sonata No. 8, First movement, mm. 46-47 34, Prokofiev, Sonata No. 8, First movement, mm. 61-63 35, Prokofiev, Sonata No. 8, First movement, mm, 92-95 36. Prokofiev, Sonata No. &, First movement, mm, 100-101 37. Prokofiev, Sonata No. 8, First movement, mm. 141-144 38, Prokofiev, Sonata No, 8, First movement, mm. 159-160 39, Prokofiev, Sonata No. &, First movment, mm. 183-184 40. Prokofiev, Sonata No, 8, First movement, mm. 196-199 41, Prokofiev, Sonata No, 8, Third movement, mm. 208-209. 42, Prokofiev, Sonata No, 8, Second movement, mm. 1-4 43. Prokofiev, Sonata No, 8, Second movement, mm. 24-27 44, Prokofiev, Sonata No. 8, Second movement, mm. 35-37___95 45. Prokofiev, Sonata No, 8, Second movement, mm. 66-67 96TABLE OF EXAMPLES Example page 46. Prokofiev, Sonata No, 8, Third movement, mm. 1-3________100 47, Prokofiev, Sonata No. 8, Third movement, mm, 26-28_____101 48, Prokofiev, Sonata No.8, Third movement, mm. 42-44 __101 49. Prokofiev, Sonata No.8, Third movement, mm, 107-115___104 50. Prokofiev, Sonata No, 8, Third movement, mm. 208-215___104 51, Prokofiev, Sonata No. 8, Third movement, mm. 289-296____105INTRODUCTION ‘The most celebrated contributors to the piano sonata in the early twentieth century were Berg, with his Sonata Op. 1 influenced by Schoenberg; Rachmaninov with two Piano and Scriabin, who over ‘Sonatas in a style inspired by Chopin in form and Liszt in pianis the span of his ten Piano Sonatas gradually grew out of the Romantic tradition and established his own mystic style, often in a one-movement frame. Bearing few exceptions beyond Beethoven, the nineteenth century had produced a number of sonatas whose titles were often the only characteristic left of the genre. ‘The subjective approach adopted by the Romantic composers did not serve the sonata well, nor were the composers attracted to it as much as they had been in the past. Yet, using the technique of thematic transformation through clearly defined sections, Liszt made an attempt to rework the concept of the sonata in a manner fitted to the Romantic needs. With this approach, however, the classical qualities of clarity, balance and elegance could not be achieved, due to the Romantic sense of expression and a developmental treatment whose broad dimensions challenge the listener's attention. Regardless of his distinct style periods, Scriabin used the Sonata as a term more than a ‘genre, The need for Romantic expression early on, and the sensuous and mystic language in the later periods, in his case, supersedes the importance of the traditional frame work of the classical sonata. Prokofiev became the first composer in the twentieth century to restore the original layout of the classical sonata. As a reaction to the post-romantic movement exemplified by Berg and Scriabin in their sonatas, Prokofiev returned to a more transparent harmonic treatment, less complex than his predecessors while reinstating tonality in a style that clearly belongs to the twentieth century.2 With the early sonatas, Prokofiev employed a Stravinsky-based neoclassicism that seemed to capture the long forgotten inheritance of the harpsichord, while demonstrating his opposition to the impressionist movement. Nestyev describes this point in his first biography of the composer: From the cloying sweetness and spirituality of Scriabin and Debussy he retumed demonstratively to the piano of the classical epoch, strongly accentuating its hammer-like quality....The technique of skips and hand crossings in his pieces is strongly reminiscent of Domenico Scarlatti the technique of scale runs springs from the piano style of Haydn and the early works of Beethoven! Remarkably, Prokofiev used the traditional plan while allowing himself a romantic degree of self expression. He also integrated textures and moods developed by the Impressionists and Post-Romantics while the general direction of his work stated a strong reaction against them, Examples of such elements are the quasi impressionistic second theme in the first movement of the Eighth Sonata or the "irresoluto” Andantino, reminiscent of the mystic period of Scriabin, in the third movement. Prokofiev explored even further ‘when introducing new ideas to the standard palette of expression commonly found in music. These ideas include a wide variety of humor (ironic, caricaturing, cynical, sarcastic, grotesque, etc.) and not just the humor of surprise that Haydn used so masterfully. More specifically in the War Sonatas, Prokofiev introduced an element foreign to the classical sonata, but rather inherited from the Romantic era: unity through the recurrence of material used in previous movements. His use of this eyclic procedure 1 feral Nestyey. Ssupsi Prokofiev, His Musical Life, (New York: Alfred A. Knopf, 1946), 68.3 produces a result which extends beyond the boundaries of form and unity. Particularly in the Eighth Sonata, it often creates a mood which explores visions or states removed from reality and seems to challenge the notion of time and space. This is achieved by the integration of material drawn from previous sections, ‘The reference to previous ideas or superimposition of earlier material over present material produces a mood removed from the context of the movement proper. An example of this is found toward the end of the : The cosmic marcato section of the third movement in the Eighth Sonata (mm. 289-342) second theme of the first movement appears in the middle of the demonic war-like marcato section, without interrupting its relentless motoric drive, yet producing the effect of dichotomy between the obsessive reality of the march and the universe which does not seem to be affected by earthly events. ‘The purpose of this document is to examine Prokofiev's Seventh and Eighth ‘Sonatas through their uniqueness and continuity of drama. Following an examination of historical background and an overview of Prokofiev's piano works, the discussion will focus on several themes: the composer's structural conceptions and his ability to relate form and drama; the stylistic similarity and individuality of both sonatas; and the organic ‘growth from one work to the next by means of motivic and cyclic unity.I. HISTORICAL CONTEXT A. PROKOFIEV'S LIFE AND WORKS FROM 1938 TO 1944 In 1939, when Prokofiev conceived his Sixth, Seventh and Eighth Sonatas, known collectively as "War Sonatas," it had been six and a half years since his return to Russia from the West. However, for one last time, Prokofiev and his wife Lina left Moscow for an extended tour of Europe and the United States early in 1938. There he was offered a number of tempting opportunities, including the proposition of a Hollywood contract in the last days of March, Prokofiev received an intriguing message from Vernon Duke....Through Duke's Hollywood agent, a movie studio had made a handsome offer to Prokofiev, at a salary of $2500.00 a week". To which the composer replied, " That's nice bait, but I won't swallow it. I've got to go back to Moscow, to my music and my children. And now that that's settled, will you come to Macy's with me? Tve got to buy a whole roomful of things you can't get in Russia - just look at Lina's list This quote reveals Prokofiev's fascination for America and the freedom of the ‘Western World. However, this was not enough to keep him away from his roots and his mission as a Russian composer: although in 1932 Prokofiev's permanent residence was in aris, since then, he received more and more commissions from Russia for new works and 2 Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc. 1987), 345.5 performances and, as a result made his visits to the Soviet Union more frequent. This led to his final resettlement in Russia in 1936, Upon his return to Russia from his last extended tour of the United States and Europe (April 16, 1938), Prokofiev was eager to begin some new projects. He had not devoted much time to composition while performing in America and Europe. Several ‘months later, three of the new works were premiered. The incidental music for a production of Hamlet was completed soon after his return and performed on May 15, 1938, Prokofiev, who was already acquainted with the film director Sergei Eisenstein (1893-1948), worked with him for the first time in 1938 on one of his most rewarding film projects, Alexander Nevsky. It is of interest to note that Prokofiev had returned to Russia with increased knowledge in sound film production which he had assimilated during his visits to the studios in Hollywood. It was soon after this enlightening experience that Eisenstein asked Prokofiev to contribute the music for his film Alexander Nevsky: "Twas an old admirer of Eisenstein's films, and was delighted to accept his offer," recalled Prokofiev. "...My pleasure was even greater when, during our work together, discovered that in addition to being a brilliant director, Eisenstein was a keen musician."3 Eisenstein expressed eloquently his opinion of Prokofiev's ability as a film composer: "He is a perfect composer for the screen." He felt that Prokofiev's music was: amazingly plastic... It never remains merely an illustration, but reveals the movement and the dynamic structure in which are embodied the emotion and meaning of the event...the moving graphic outlines of his musical images which thus arise are thrown onto our consciousness just as, through @ blinding beam of a projector, moving images are thrown ‘onto the white plane of the screen.4 tor Soro, Sergei Prokofiev, A Soviet Tragedy (New York: Taplinger Publishing Co,, 1969), 215. 4 id, 217.The film was viewed by Soviet audiences on the first day of December 1938 and since then has been recognized everywhere as one of the masterpieces in the art of cinema. Following the completion of his Cello Concerto (1938), Prokofiev wrote a cantata using the major pieces from the film score of Alexander Nevsky. The parts of the newly conceived cantata had to be well connected, as Prokofiev wanted to shape it as a unified composition rather than merely gathering a selection of scenes from the original score. The cantata was received with great success when Prokofiev gave it its first performance on March 17, 1939. This outcome inspired and encouraged the composer to write an opera on a Soviet theme. The story chosen, suggested by Alexei Tolstoi, was written by Valentin Katayev. L Son of the Working People was the story of a partisan of the civil war, ‘Semyon Ketko. Prokofiev was fully aware of the challenges involved in setting an opera toa subject of contemporary history: "When you portray in opera a hero of today, one of us, speaking the language of today, and perhaps even talking on the telephone, you may ceasily slip up and sin a bit against artistic truth."5 Commenting on Prokofiev's first undertaking of a large-scale work on a Soviet subject, the Cantata for the Twentieth Century of October (1937), Harlow Robinson shows why the composer was rather unsuccessful with political themes. He undertook the task with the same total commitment he made to anything he wrote. But for Prokofiev to compose music commemorating a revolution he did not witness, for which he had little sympathy when it occurred, and whose significance he admitted he had failed to grasp was not easy. Perhaps this helps to explain the cantata's resounding critical failure.§ 5 thid, 306, 6 Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc. 1987), 338.a After the first performance of the cantata Alexander Nevsky (March, 1939), and as he was planning the opera Scmyon Katko, Prokofiev was creating the themes and some sketches of fourteen movements belonging to four large-scale compositions of a much different nature: the Fifth Symphony, and the Sixth, Seventh, and Eighth Piano Sonatas. ‘These so-called "War Sonatas,” which are often regarded as a cycle, were conceived in a context of historical events more directly motivating for the composer. These were ‘compositions that he was not obligated to create for political reasons but which were the result of his true artistry without ideological restraints. ‘Ata time during which Prokofiev had been overwhelmed by demands for works on Soviet themes, he had to counterbalance this limiting approach to composing by tuming to more absolute or politically neutral forms: "My Fifth Symphony was intended as a hymn to free and happy Man, to his mighty powers, his pure and noble spirit,"7_ wrote Prokofiev. In the Soviet view, the "free man" is the citizen in the State. Prokofiev's statement may have been directed to authorities and censors to reassure them of the Socialist qualities of his work. By doing so, his non-politcal compositions would be less likely to be censored. In the same article, the composer referred to the Seventh Piano ‘Sonata, Peter and the Wolf and the Alexander Nevsky cantata, mentioning: All these works are extremely varied in genre, theme and technique. Yet, they are linked by one and the same idea - they all treat of Man and are created for him, Tam convinced that itis this quality that has endeared them to music lovers in many countries of the world, including the United States. 7's, Shlifstin, ed. Sergei Prokofiev, Autobiography, Articles, Reminiscences (Moscow: Foreign Languages Publishing House), 134. 8 ibid, 134In contrast to the previous quote, this statement seems to reach out to all people. It is known that Prokofiev did not reveal his political views. One can easily assume that it was in his best interest to keep his views private in order not to offend the government. The composer did not express his opinion when Shostakovitch's Lady ‘Macbeth was vetoed or when the stage director Meyerhold was arrested then executed following the mysterious killing of his wife in their apartment. Robinson's account of the measures taken against Meyerhold is an eloquent testimony of the policy exercised by the Russian government toward artists and intellectuals: He (Meyerhold) insisted on the right of Soviet stage directors to experiment, to express themselves freely without fear of punishment, and to seek new techniques....A few days after his, speech, on June 20, 1939, Vseviod Meyerhold, one of Prokofiev's oldest friends and most talented collaborators...was arrested...Less than one year later, Meyerhold was executed in prison? Commenting on Prokofiev's absence of reaction, Robinson suggests: "It is possible that Prokofiev was not sure what had happened to Meyerhold. It is even more possible that he was afraid for himself and his family."10 For not having expressed his position, from the Wester point of view, the. composer's political orientation was unclear. The apparent contradiction between Prokofiev the "Soviet" composer and Prokofiev the free artist can be explained by the missions dictated by the State: a composer's duty was to satisfy and praise his government within the acceptable aesthetics and ethics set by Soviet censors, It is certain that any artist ‘who would not support the regime by demonstrating a Soviet philosophy in his work ° Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc., 1987), 362-363. 10 tpia, 363.9 would risk the consequences of arrest or the death penalty. Therefore, Prokofiev hid his dissention, if any, and his true political position can only be assumed. In arecent article, Richard Taruskin describes the composer as an opportunist driven by his artistic ego, whose musical genius was only concerned with itself and whose limited political integrity would never interfere with his professional decisions: Taruskin suggests that the composer's Jack of apparent concern or interest in the political struggles or injustice of his country could contribute to his decline. The author affirms that Prokofiev's antistic concems superseded overwhelmingly any interest of political nature. ‘This, according to Taruskin, is why Prokofiev's artistic message does not carry a legacy that will stand the test of time. Taruskin expresses his strong disagreement with Ned Rorem’s view that “the more an art work succeeds as politics, the more it fails as art.” Taruskin’s tone is one of resentment. It is rather surprising that he does not document his accusations or criticisms of the composer: Prokofiev just went his methodical way. His exquisitely crafted scores strike his newly critical countrymen as unprincipled, aloof to the point of witlessness, even soullessness... He remains the straightforward unreconstructed reflector of all that was worst in his catastrophic environment...Beneath the surface there is emptiness - the perfect emptiness of a prodigiously gifted musician who was “absolutly” a musician, who just wrote music, or rather, who wrote “just” music. If Prokofiev was indeed a one-track-minded composer, he certainly was not the exception. By contrast, Beethoven's ideals of freedom and justice were expressed in a land 11 Richard Taruskin, “Prokofiev, Hail..and Farewell?” The New York Times. April 21 1991: 2:25.10 propicious to his influence, He also could more easily represent freedom when it was beginning to be a concept possible to grasp and a status that more citizens could acquire. Prokofiev’s time did not make many heroes in the Soviet Union. Jt is of interest that, despite his reserved and often quiet personality, the composer was described as an optimist by his friends. Perhaps it was his positive spirit and his optimism that helped him conceive many of his most remarkable compositions during the War Years. ‘There seems to be a positive, spiritual and humane mission which pervades Prokofiev's purpose as a composer. To mention this in the context of the Second World ‘War period or more specifically, of his War Sonatas, seems like a contradiction. Nonetheless, the composer's awareness of the conflicts in the world could not weaken his optimism, faith in humankind, and certainly not his desire to contribute to a better world. In this respect, Prokofiev's comments arc eloquent: Can the true artist stand aloof from life and confine his art within the narrow limits of subjective emotions, or should he be where he is needed most, where his art can help people 10 live a better, finer life?!2 In light of this, a case could be made for the universal language more easily carried by works of such genres as the sonata and the symphony. Robinson suggests that Prokofiev's return to piano sonatas after a fifteen year long absence, especially at a time of struggle and personal changes was prompted by a need to find his genuine strength and spirit as an original composer. He could draw naturally from sources which are more directly musical. Thus, some of the composer's most profound and powerful music can be found in his Sonatas Six, Seven and Eight. 12 s, shlifsin, ed. Sergei Prokofiev, Awobiography, Anicles, Reminiscences (Moscow: Foreign Languages Publishing House), 135.11 In the Spring of 1940, another important premiere was to take place at last, almost a year following Meyerhold’s arrest: The first performance of Prokofiev's opera, Semyon Kotko, Meyerhold, originally the stage director for the production to Semyon Katko, had been arrested on June 20, 1939. He was, as Robinson described him, "one of the most original thinkers in the history of the modem theater."13 Prokofiev and Meyerhold had never been able to present a production as collaborators. Because of the pact of nonaggression between Stalin and Hitler signed in August 1939, Prokofiev had to bring some changes to the opera by rectifying the anti-German image found in the original libretto, The Germans’ original portrayal was to be reinstated one year later, Eventually, the opera was performed after some complications and amendments. Yet, Prokofiev's hope to see Semyon Kotko appear as a breakthrough in the world of Soviet opera was not fulfilled, as the official critics found it to be too complicated and unmelodic. In spite of the support from defenders such as Sviatoslav Richter, the opera ‘was not programmed again until 1970. Since then, it has been performed regularly at the Bolshoi Theater. Following the tumultuous premiere of Semyon Kotko, the composer spent the summer with his wife Lina and their sons. This was the last summer they were to spend together. He and Lina had been drifting apart and his relationship with Maria Cecilia Abramovna Mendelson had grown strong. It is said that he met her in Kislovodsk during the summer of 1939, Maria Cecilia, more commonly known as Mira, would play an important role in Prokofiev's life from then on. Prokofiev had begun writing the score for a new opera, Betrothal in a Monastery (otherwise known as The Duenna), in the spring of 1940, Mira helped with the libretto. ‘The opera is a light-hearted work based on an eighteenth century comic opera (‘The 13 Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc., 1987), 362.12 ‘Duenna) by Richard Brinsley Sheridan, Robinson explains: "in choosing Sheridan's play, Prokofiev was returning to his beloved eighteenth century, and to the self-consciously theatrical world of Love of the Three Oranges,"!4 Prokofiev was charmed by the story which Mira and a friend had translated into Russian, ‘The composer saw an opportunity to make an opera “in the style of Mozart and Rossini!"!5 Prokofiev was obviously enthusiastic about this project, as it only took him two months to complete it. Both Prokofiev and Mira worked on the libretto, Mira wrote the rhymed verses while Prokofiev produced the prose text. Many of Sheridan's verses were omitted as new original verses were written by Mira, The musical setting was often satirical with subtle use of a grotesque element. Robinson emphasizes that "when performed by singers who are also talented comic actors, Betrothal can be one of Prokofiev's most theatrically and musically satisfying operas."!6 The general mood of the opera, much lighter than any other subject matters used by Prokofiev during the war years, was in a sense the reflection of the changes in him which a family friend had observed that spring Prokofiev's happy face had been an unfamiliar sight up until this time, In Betrothal the composer demonstrates his inclination to use physical images projected in the music, action, and to avoid "static"scenes. Prokofiev's fondness for light subjects had been revived and this is how, soon after completing the opera, he began anew work, the fairy tale ballet Cinderella. One can perceive a parallel between Prokofiev's fairy tale with Mira, who was half his age when they met, and his new project, the music for the ballet Cinderella, The work had been commissioned as a response by the Kirov Theater in ‘Leningrad to the success of Prokofiev's Romeo and Juliet. On June 22, the news broke that the Germans had attacked Russia. Prokofiev commented: 14 tid, 379. 15 pid, 379, 16 pia, 381.ie ‘It was during these days that my idea of writing an opera on Tolstoy's novel War and Peace assumed a definite outline. The pages that told of the struggles of the Russian people against Napoleon's army from Russian soil, became somehow particularly relevant.17 At this time, not surprisingly, Prokofiev interrupted his work on Cinderella. War and Peace became a priority for the next three years. For the remainder of the war, Prokofiev and other major Soviet artists lived under the protection of the government and were moved from place to place, town to town, for their security. As the Germans advanced, the artists moved farther and farther east. When the hostilities were over, twenty million citizens had died, many of starvation or the cold. From the summer of 1941 to the end of 1944, the composer produced a gigantic amount of music, He completed the first version of War and Peace, the ballet Cinderella, his Fifth ‘Symphony, a string quartet, the Seventh and the Eighth Sonatas, the Flute Sonata (also adapted for the violin with the collaboration of David Oistrakh), five film scores including ‘Ivan the Terrible, some large orchestral works, and a number of songs and piano pieces. ‘More impressive than the extraordinary productivity which Prokofiev demonstrated during those years was the quality of most of the compositions. ‘Leaving his wife Lina and his sons Oleg and Sviatoslav in Moscow, Prokofiev left with Mira for Nalchik on August 8, 1941. In the first three months there, he wrote nearly half of Warand Peace. During that time, many of Prokofiev's old artistic friends, including Miaskovsky, noticed a remarkable change in Prokofiev. His character was more pleasant and he generally seemed happier and kinder. Mira and Prokofiev would regularly invite their close friends the Lamms and Miaskovsky to their hotel room whereas these social gatherings never used to take place during the composer's life with Lina. 17 id, 389.14 Because of the direct impact of the war, War and Peace was destined to have a powerful nationalistic resonance. The Russian people saw a symbolic parallel between the two leaders of the 1812 war - Napoleon and Tsar Alexander I- and the contemporary leaders - Hitler and Stalin. Six of the original eleven scenes were composed in the first three months. Two more scenes would be added between 1945 and 1947. Partly due to much negative criticism (for not following the original Tolstoy story accurately), the opera was constantly reworked until Prokofiev's death. Perhaps because of it, War and Peace ‘comes across as a collection of scenes rather than a unified opera. This is why Prokofiev finally called it "Lyric dramatic scenes.” ‘The composer interrupted his work on the opera to write his Second String Quartet (Nov. 1941). Before this time he and other Soviet artists had relocated to Nalchik because of the advance of the Germans toward Moscow. In the middle of this work on the Second ‘String Quartet, Prokofiev and the other artists in residence at Nalchik were summoned to leave again, as it appeared that a German attack was imminent. From there, they were moved to Tbilisi where they stayed for six months beginning in the winter of 1941. Then, Prokofiev finished the first version of War and Peace and the Seventh Piano Sonata. Atthe end of Spring 1942, Prokofiev and Mira left Tbilisi and took a long journey to Kazakhstan. There, they lived in Alma-Ata where most of the film studios were located during the war, Prokofiev had accepted Bisenstein’s proposition to write the music for his film-biography of Tsar Ivan TV. The title would be Ivan the Terrible. Soon, Prokofiev ‘was recognized as a talented and experienced film composer. Several directors requested his musical contribution for their motion pictures. Consequently, he wrote scores for four other films. By the end of 1942, the Soviet forces had been successful in shifting the momentum of the war in their favor. It had become safe to travel to Moscow. Prokofiev and Mira visited the capital for six weeks beginning at the end of December. The composer15 arranged for a hearing of War and Peace at the composer's union. The project was tured down as the general opinion regarding an adaptation of a Tolstoy novel for an opera was negative, On the other hand, Prokofiev was more successful with his Seventh Sonata. which Richter premiered to an enthusiastic audience in January 1943, Following the success of the sonata, Prokofiev returned to his primary and busiest interest, the theater. In the summer of 1943 he finally completed his ballet Cinderella, Other works produced in 1943 were the Flute Sonata Op. 94. Contrasting with the violence and confusion found in the Seventh Sonata, the Flute Sonata projects a rather serene picture, filled with pure line of fragile melodies and a classical transparency and order which counterbalance the thick structure on shaky grounds deployed in the Piano Sonata. By the summer of 1943, the Soviet government had long moved back to Moscow. In June, Prokofiev and Mira travelled from Alma-Ata to Molotov (known today by its original name, Perm). There, the Kirov Theater had been creating new productions during the war. Prokofiev was hoping to stage Cinderella there before the new year. However, things did not tum out as the composer expected: it was only after the war that Prokofiev ‘would see it produced in Moscow and by the Bolshoi Theater. Prokofiev left Perm for Moscow in the Fall of 1943. There both he and Mira lived for the next decade until the composer's death. They fist lived in hotels shared mainly with soldiers and officers, Finally, late in 1944, they were given a small apartment. ‘The following year was to be one of Prokofiev's most successful and happiest: he had gradually gained recognition from the Soviet Cultural authorities, his music was played. regularly and was praised by the public, his financial situation was stable, and his relationship with Mira was successful. In June 1944, the composer and Mira moved from the city to the countryside to settle into a "House of Creative Work" belonging to the16 ‘Composer's Union near the town of Ivanovo, Other composers there included Gliere (Prokofiev's first teacher), Shostakovich, Khachaturian, and Kabalevsky. There, as usual, Prokofiev worked intensely. In this ideal environment for creativity Prokofiev's mood was generally relaxed. In Ivanovo, where obligations or social pressures were no longer concerns for its artistic guests, Prokofiev completed two of his most outstanding compositions: the Fifth Symphony and the ighth Piano Sonata. Following this overview of Prokofiev's compositions of the War Years, it seems appropriate to comment briefly on the composer's influence on Soviet music, Already in 1939, prior to much of Prokofiev's output already mentioned in the present chapter, Nicolas Slonimsky, a music historian and specialist of Russian music, described the composer as being “probably the greatest influence in Soviet music.”!8 One of his illustrious contemporaries, Dmitri Kabalevsky, expressed the magnitude of Prokofiev's impact: “Some of the individual features of Prokofiev's style have long been the common possession and are successfully developed in the art of many Soviet composers.”!9 Prokofiev's output from 1938 to 1944 is remarkable. It includes some of his ons and an extremely impressive number of them. ‘The challenges met strongest compos by the composer during the War years - such as moving from place to place, travelling for ‘weeks at a time to avoid the approaching enemy, working under poor conditions (small space, little privacy) - make his accomplishments indeed admirable. 18 Nicolas Slonimsky, “Sergei Prokofiev and his Works," American Quarterly on the Soviet Union 2:1 (April 1939): 37, Quoted in David Kinsey, Prokofiev's Nine Piano Sonatas: A Critical Study of the Elements of their Style” (Ph.D. diss, Columbia University, 1959), 16, 19 Dmitri Kabalevsky, “The Music of Serge Prokofieff,” Daily Worker, 1 September 1953: 1.a B. THE WAR SONATAS IN CONTEXT OF PROKOFIEV'S PIANO WORKS Prokofiev created an early version of his First Sonata, Op. 1 when he was fifteen years old. The work was then in three movements. Tt was revised later and after further revision, only the first movement was kept. Prokofiev confessed later: "The ‘Morolev’ ‘Sonata remained rather childish even after revision and many people have reproached me - not without good grounds - for having published it."20 The First Piano Sonata in F minor, Op. 1, a single movement work, was completed in 1909.2 The composer admitted: "It could not hold its own among my more mature compositions."22 The composition is in a style which does not appear in any of Prokofiev's subsequent works. It attempts to imitate the romantic piano literature while being devoid of the inventiveness and drive characteristic of the composer, Prokofiev began to work on his Second Piano Sonata in D minor, Op. 14 soon after his father’s death in the fall of 1910. Completed in August 1912, the work has four movements, It is varied in texture and combines the scheme of the classical sonata with twentieth century elements such as dissonances and complex rhythms, The overall harmonic structure is rather simple while the texture is predominantly transparent although it sometimes includes some impressionistic overtones. The Second is the largest of the first five sonatas and perhaps the closest to the late ones in dimension, depth, and structure. Apart from the War Sonatas, itis the most cyclic. 20 Sergei Prokofiev, Prokofiev by Prokofiev, A Composers Memoir (New York: Doubleday & Company, Inc. 1979), 193. 21 According to Prokofiev, the work was completed in 1906 although he could not remember whether he might have finished i ater in St. Petersburg. 22 Sergei Prokofiev, Prokofiev by Prokofiev, A Composer's Memoir (New York: Doubleday & Company, Inc. 1979), 178.18 1917 was one of Prokofiev's most productive years: along with the completion of the Classical (First) Symphony, the First Violin Concerto and Visions Fugitives, Op. 22, the composer reworked his Third and Fourth Piano Sonatas "from old Notebooks" dating from his conservatory years. The Third Sonata, Op. 28 (1917) is in one movement, although it appears to comprise three micro-movements in one. The outer sections are motoric while the middle section consists of a child-like but charming melody which becomes more lyrical and dramatic as it unfolds, Like the Second Sonata, the Third contains technically the motoric and textural characteristics of Baroque and Classical keyboard music already combined with twentieth century neoclassical style. A short but effective composition, it is one of the most popular sonatas of the twentieth century piano literature. Robinson describes the three- movement Fourth Sonata (1918) as “an impressionistic and surprisingly shapeless composition that recalls Schumann."3 Next to the First, the Fourth Sonata is the least popular of the complete. It is followed by perhaps one of the most refreshing and direct of all nine, the Fifth Sonata, Op. 38, conceived during the summer of 1923 in Ettal, Germany. ‘This three movement work is classical in texture while harmonically chromatic, It unfolds in regular (often four-bar long) phrases. The tempi are poised and never excessively slow or fast: Allegro tranquilllo - Andantino - Allegretto, The work seems to reflect the romance between Prokofiev and Lina Llubera, whom he would soon marry. The composer revised it soon before his death in 1953 as Opus 135. While the first two sonatas were composed. during Prokofiev's conservatory days, the Third and Fourth Sonatas the original drafts of which were conceived during the same years, were completed and premiered in 1917 three ‘years after his graduation, Only the Fifth was composed outside of his native country. 3 Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc, 1987), 17819 ‘The next four sonatas were created following Prokofiev's final return to the Soviet, Union which happened gradually between 1932 and 1938. During that period, the ‘composer traveled between Paris, which had been his residence for some years, and. Moscow, where his music was regularly performed. During this time his attraction for his, country grew stronger as did his sense of responsibility as a Russian composer. The Sixth, Seventh and Eighth Sonatas were conceived in Kislovodsk during the summer of 1939, Tt was common for the composer to work simultaneously on several movements or ‘compositions, since he found it practical and healthy to move on to a different work when encountering problems with the subject at hand, Robinson notes that Prokofiev thought more commonly in terms of themes and movements rather than compositions. (This point, however, will be refuted in the chapters of analysis of the Sonatas.) Prokofiev had often ‘moved material from one work into another: previously, the composer had transplanted themes and motives from Ivan the Terrible into War and Peace and from the Classical ‘Symphony into Romeo and Juliet, However, once Prokofiev had drawn his preliminary ‘ideas for the three sonatas, he put the Seventh and Eighth aside and concentrated on the Sixth. Only after this work was completed did he proceed with the last nwo. Other than the Second Sonata, the Sixth is structurally unique, with its four- movement scheme. Itis also his first cyclic sonata after Sonata No. 2. While the Second, the Third, and the Fifth (which are the strongest of the first five sonatas) indicate a strong heritage from the keyboard masters of the eighteenth century, such as Scarlatti and Haydn, the Sixth shows texture, power, rhythms, and accents which derive from Beethoven in the late Sonatas, in particularly from the Sonata "Hammerklavier,” Op. 106. ‘The premiere performance of the Sixth Sonata was given by the composer of April 8, 1940 at the composer's union. But it was Richter who, six months later gave it the ‘exposure it deserved. It was then received enthusiastically. Richter had just become.20 Prokofiev's favorite pianist. Following the performance by Prokofiev of his Sixth Sonata, the composer decided to lay aside the Seventh and the Eighth for the time being. Itis also conspicuous that Prokofiev had given the first performance of his first six piano sonatas, but, perhaps because of his awareness of the extraordinary pianistic and emotional demands of the Seventh and the Eighth Sonatas, he yielded to Sviatoslav Richter and Emil Gilels respectively for their first performances. In Tbilisi during the winter of 1941, Prokofiev finished the first version of War and Peace and his Seventh Piano Sonata. Robinson describes the sonata as “one of Prokofiev's most accomplished compositions written since his return to the U.S.S.R. Itis a dramatic embodiment of the strength and driving intensity of Prokofiev's (and Russia's) existence during the War Years."24 Richter premiered the Seventh Sonata to an enthusiastic audience in January, 1943, ‘The new Seventh Sonata was splendidly performed by the young pianist Sviatislav Richter, and this most “left” of all his sonatas was, unexpectedly for many, enthusiastically received.?5 ‘Two months later, Prokofiev was rewarded by the government for his Seventh Sonata by receiving the much-sought Stalin Prize, In the first movement, one could perceive the tension of worries and torments in the struggle of relentless intensity. Even the opening section of the second movement with its gentle lyricism, creates a mood which by contrast fills the listener with emotions of sorrow and anguish. Here, the music seems to suggest a vision of desolation where the landscapes were left wounded after the battle. Yet, the sonata does not have a program, However, the tone of the entire work, punctuated 24 Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc., 1987),401. 25 Israel Nestyev, Sergei Prokofiev, His Musical Life (New York: Alfred A. Knopf, 1946), 165.21 by its infernal last movement, could hardly be dissociated from the emotions of tension and struggle endured by Prokofiev's contemporaries. ‘The reason for focusing on the Sonatas No. Seven and Hight in this study is to demonstrate the versatility of Prokofiev's writing for piano through dual comparison. Characteristically, the two sonatas were composed almost simultaneously and in the same key; yet, they represent some very different or contrasting aspects of Prokofiev's piano writing: The Seventh is much less tonal than the Eighth, while the Eighth contains more symphonic elements, especially in its development. While the gestures found in the Sixth ‘Sonata can be perceived as being of Beethovenian character, with strong, driven rhythm and powerful accents, the Seventh and the Eighth are rather representative of twentieth century neoclassicism. However, the Eighth seems to have absorbed elements of all periods beginning with the early Classical or late Baroque. Although all three War Sonatas are considered a cycle, the motivic, dramatic, and stylistic relationships are strongest between the Seventh and the Eighth Sonatas. The Seven and the Eight are also unique in this sense that they are structurally and stylistically more original than the Sixth : the Seventh Sonata is closer to atonality than any other ‘composition by Prokofiev while itis the most densely motivic of all his compositions; the Eighth Sonata is both cyclic and motivic. Also it strongly contrasts with the Seventh in being clearly tonal. ‘The originality in their interaction lies in the dual aspect of “oppositions and similarities," respectively stylistically and structurally. Inhis study of "Prokofiev's Piano Sonatas," David Leslie Kinsey remarks that it would be difficult to determine the influence (if any) from Soviet authorities on the sonatas because of their non-programmatic character. He suggests that any attempt to investigate in this direction would most certainly end up in speculation, Further, Kinsey quotes Nicolas Slominsky, an authority on Russian contemporary music, who states that “instrumental music was never sponsored by the Soviet government, and that Prokofiev was22 undoubtedly free to write in any way he pleased for piano solo."26 Consequently, as ‘Chapman Nyaho mentioned (in his doctoral dissertation); Prokofiev however found a greater freedom of expression in the more intimate genres of piano sonatas, violin sonatas, and other small instrumental ensembles, for which he composed during this time of censorship and the difficulties of the Second World War. Compositions produced in this period include his Sixth, Seventh and Eighth Piano Sonatas, and his Second Violin Sonata, 27 Prokofiev's later collections of pieces for piano were published between 1937 and 1944, Most of them consisted of arrangements from his orchestral repertoire, operas, and ballets. They include two excerpts from Love of Three Oranges, Op. 33, Divertissement, Op. 43, movements from Romeo and Juliet, three pieces from Cinderella, Op. 95, ten pieces from Cinderella, Op. 97, and six pieces from Cinderella, Op.102, This stands as evidence that while Prokofiev's earlier piano compositions were not programmatic, the later collections had more often than not strong connections to orchestral works such as ballets, operas, and works of symphonic nature, When an earlier piano composition had a program, the idiom was predominantly pianistic. Some of the earlier works for piano are Four Etudes, Op. 2, Four Pieces,Op.3, Four Pieces, Op. 4, Toccata, Op. 11, Ten Pieces, op. 12, Sarcasms, Op. 17, Visions Fugitives, Op. 22, Tales of an Old Grandmother, Op. 31, Four Pieces, Op. 32, Choses en Soi, Op. 45, Six Pieces, Op 52, Music for Children, Op. 65. The dates of these earlier compositions range between 1909 and 1936. 26 Nicolas Slonimsky, Letter to David Leslie Kinsey, dated January 27, 1959, Quoted in "Prokofiev's Nine Piano Sonatas: A Critical Study of the Elemenis of their Style" (Ph.D. diss, Columbia University, 1959), 288-289. 27 William Henry Chapman Nyaho, "Cyclicism in the War Sonatas of Sergei Prokofiev.” (D.M.A. diss., University of Texas at Austin, 1990}, 9-10.23 ‘What is tre of his later works for piano in general is also significant in his late sonatas, beginning with the Sixth, They also contain symphonic features, and often, when they do not, they seem to be inspired by or suggest a programmatic idea: the last movement of the Seventh Sonata has been referred to as a musical illustration of the advance of the German tanks. Prokofiev had not composed a piano sonata since he completed the first version of the Fifth Sonata in 1923. The War Sonatas are of strikingly broader scope than the earlier ones. The texture is usually thicker and "heavier" while their length is much greater, especially in the case of the Sixth (approximately thirty five minutes) and the Eighth (over thirty minutes). ‘The symphonic influence apparent in the Eighth Sonata did not escape the attention of Emil Gilels who gave it its first performance: In 1944 Sergei Sergeyevich invited me to give the first performance of his new Eighth Sonata..I became totally absorbed in my work on this composition. The Eighth Sonata is a profound work demanding a great deal of emotional tension. It impresses one by the symphonic nature of its development, the tension, breadth and charm of the lyrical passages.28 Israel Nestyev does not leave any doubt as to the influence of the theater on Prokofiev's instrumental music: ‘The concrete images of his operas and ballets, transplanted {nto the world of instrumental music, crystallize into these ‘unusual sonata themes. Rushed intonations, tums, and shythms bom from the words, gestures, and actions of stage 28 viadimir Blok, Sergei Prokofiey - Materials, Aniles, Inerviews (Union of Soviet Socialist Republic, 1978), 206-7.24 situations break into the fenced-in sphere of pure instrumentalism.29 ‘The Eighth Sonata, although not the longest (second only to the Sixth), has the ‘most elaborate and developed first movement of all piano sonatas. Robinson stresses the predominance of slow tempi. Although much of the development section in the first movement is an "Allegro moderato" and its coda, a breathtaking "Allegro", the tempo indication which heads the movement is "Andante Dolce." The second movement is ‘Andante sognando ("sognando” means "dreamy" or "in a dream"). Prokofiev himself indicated that his Eighth Sonata was primarily lyrical in character. Nonetheless the gestures of the first movement, while lyrical, can be (as pianist John Perry described the movement) of "monolithic dimensions". ‘The first theme is an outstanding example of this. The last movement introduced (in triplets "alla tarentella") a theme in a rising arpeggiated gesture which suggests heroism and radiance. The work was premiered by Emil Gilels in late December of 1944. Sviatoslav Richter claimed it as "the richest of all Prokofiev's Sonatas,"30 He expressed further: Ithas a complex inner life with profound contrapositions. At times it seems to freeze, as if listening to the inexorable march of the times. The sonata is rather difficult to grasp, but difficult because of an abundance of riches like a tree loaded down with fruits.31 To punctuate this background history, it would be a serious oversight not to mention that the Eighth Sonata transcends the realm of mere piano music. What 29 Isract Nestyev, Sergei Prokofiev, His Musical Life (New York: Alfred A. Knopf, 1946), 184. 30 Viadimir Blok, Sergei Prokofiev-Materials, Articles, Interviews (Union of Soviet Socialist Republics, i) 195, 1 Harlow Robinson, Sergei Prokofiev, A Biography (New York: Viking Penguin Inc, 1987), 431.25 demonstrates this best is how the Fifth Symphony (which Prokofiev completed immediately following the Eighth Sonata) was influenced by the new introspective, large- scale approach used for the sonata. More than having the same tonality of B flat major, the tempos are predominantly slow. Both first movements are developed to the greatest extent ever achieved by Prokofiev in the genres of the sonata and the symphony. Prokofiev began to work on his Ninth Piano Sonata Opus 103 in 1945. The composition was completed in the Fall of 1947. To demonstrate his fondness for Sviatoslav Richter's talent, he dedicated his ninth and last sonata to him. ‘The work is in the key of C major. Itis a four-movement work with cyclic features which contrasts strongly with the earlier War Sonatas. Carrying itself with elegance and lightness, classical-thin in texture, it achieves a sentiment of relief following the tension of the War Sonatas. ‘The complete set of Sonatas reflects the style of Prokofiev throughout his life-- beyond the mere use and evolution of his piano writing. As exemplified by the Eighth Sonata, the larger symphonic scope of this work certainly announces the broader symphonic and structural dimensions which he brought to his Fifth Symphony conceived immediately after the sonata and written in the same tonality. This complete set represents, the greatest and broadest achievement of piano sonatas since the first quarter of the nineteenth century, Its the most extensive output of piano sonatas of the twentieth century. The traditional features inherited from the original form certainly demonstrate that the original concept ofthe sonata cycle withstands successfully the challenges of evolution and can be harmonized with twentieth century features without losing its strength, Asa pianist, Prokofiev was generally perceived technically and musically in a ‘manner that parallels the common understanding of his style: that is, a percussive, even edgy tone combined with a reserved sense of expression. In his article, “Prokofiev on Microgroove,” Alfred Frankenstein describes the composer’s playing as “clean-cut,26 steely,"32 yet in a positive sense: his description is a tribute to Prokofiev's care and ability for clarity and is not incompatible with Yakov Milstein’s all around praise of the composer’s playing. Milstein had witnessed a performance by the composer of his own ‘Third Piano Concerto: "Many of us had expected a tempestuous, daring, superficially sitiking Prokofiev, But instead we heard a pianist who played austerely, laconically and 33. Further very simply...yet there was no harshness or unnecessary noise in the playin; in this enthusiastic account, Milstein uses such terms as “fervor,” “warmth,” “sincerity,” “the ability to handle the melodic line fluently and smoothly." Such description suggests that his piano style is often perceived as being harsher and less lyrical than he meant it to be. In his conclusion, Milstein calls Prokofiev "a pianist by the grace of God, a pianist of rare harmony and perfection, who also possessed the gift of poetic inspiration.” 32 aired Frankenstein, “Prokofiev on Microgroove,” High Fidelity 6:3, March 1956, 95. 33 Viadimir Blok, Sergei Prokofiev-Maierials, Articles, Interviews, (Union of Soviet Socialist Republics, 1978), 208-212,27 IL SONATAS NO. 7 AND NO, 8: STYLISTIC COMPARISONS AND STRUCTURAL RELATIONSHIPS ‘The Seventh and Eighth Piano Sonatas have organically as much in common as they differ stylistically from one another, Both are in the key of B-flat major. Both are three-movement works and contain some similar motivic material, Although the motivie material which relates them is of high interest, their similarities seem to end there. We will examine the motivic relationships later in this chapter. An observation of their differences might bring as much insight into their individual and mutual significance as an analysis of their common material : of all three War Sonatas the Eighth is the most tonal, whereas the Seventh is in extended tonality, more particularly with regard to its first movement. The texture of the Seventh is mostly pianistic with much contrapuntal keyboard writing, whereas the Eighth stands as the most symphonic of all piano sonatas. ‘The Seventh is motoric and strongly rhythmic whereas the Eighth is lyrical and rhythmically more fluid and supple. The Seventh is as compact as the Eighth is elaborate in terms of development of material. Consequently, the Eighth is a much longer ‘work than the Seventh (over thirty minutes) and ranks second in overall length among the nine sonatas. But most importantly, the Eighth appears as an afterthought of the war, projecting an element of serenity not present in the Seventh. By contrast, the Seventh is an action work which seems to reflect the conflicts of the war. This is chronologically appropriate since the Seventh Sonata was completed in 1942 and the Eighth in 1944, when the German invasion was finally broken. In an article on Prokofiev's Piano Sonatas, Lawrence Chaikin perceives the first movement of the Eighth Sonata as a consequence or a natural outcome of the Seventh:28 Ofall Prokofiev's sonata movements, this initial Andante of the Eighth Sonata is the most difficult to understand, but a successful interpretation could be better ensured if the pianist imagined that the Seventh Sonata had just been performed; in this way, the pianist ushers himself into the proper 'mise-en-scene,'34 This suggests that the highly condensed and explosive Seventh Sonata had to be balanced by areflective work. In terms of tempo, texture, length of lines and types of melodies, the two sonatas contrast strongly just as they doin mood. ‘The tempo indication for the first movement of the Seventh Sonata is “Allegro inquieto” (worried). The tempo of the Eighth is “Andante dolce”. Even the second movement of the Seventh, with its “Andante caloroso” indication and its ostinato sections suggests a more real or concrete type of expression than the dreamy “Andante sognando” of the Eighth Sonata. Eric Roseberry comments: "We are far removed here from the pretty-pretty writer of "neoclassical andantes or gavottes."35 Without being "pretty-pretty" because of its dreamy (sognando) character, the quasi dance-like lightness of the second movement has strong affinities with the earlier andantes and gavottes. Finally, the vivace third movement of the Eighth is a refreshing, healthy tarentella only momentarily interrupted by an obsessive marcato section, pethaps reminiscent of the finale of the Seventh, combined with the ostinato sections of its “Andante caloroso”. Its tarentella character constitutes a refreshing counterpart to the heavily grounded “precipitato” of the Seventh which has been interpreted as describing the advance of German tanks into Russia, 34 Lawrence Chaikin, "The Prokofieff Sonatas: A Psychograph.” Piano Quarterly 86 (Summer 1974) : 4. 35 Bric Roseberry, "Prokofiev's Piano Sonatas,” Music and Musioians (March 1971): 4029 MOTIVIC RELATIONSHIPS AND CYCLIC ELEMENTS OF SONATAS 7 & 8 The following will reveal the ways in which the two sonatas are motivically related to one another, The relationships within the movements will be established in the analysis of each sonata. Motivie unity is organically stronger than purely cyclical procedures. An example of cyclical unity occurs in Cesar Franck's Symphony in D minor, where the last movement brings back material from both previous movements. With the Seventh and Eighth Piano Sonatas, Prokofiev achieved unity motivically not only among the theme groups, the exposition, development, recapitulation, and coda sections of a movement, and movements of a complete composition, but also between two ostensibly independent compositions. In addition, in the Eighth Sonata, while motives unify the work, themes are also recalled in the final movement. ‘Thus both motivic and cyclic procedures are involved, The result is a powerful relationship of elements which even strengthens the traditional sonata concept. One attractive aspect of the relationship between these two works lies in their respective natures: the Seventh and Eighth Sonatas are very different in mood, style, texture,and pianistic technique. An analysis of the motives with respect to their relationships will show ‘wo conspicuous characteristics. First, the motives all appear to be derived from one another, and second and most importantly, they are all contained within the introductory theme (or Grundgestalt) of the Seventh Sonata Perhaps the motive which represents the strongest unifying element between the two works is what William Henry Chapman Nyaho refers to as the "fate motive" because of its close similarity to the shythm of the first and famous motive from Beethoven's Fifth Symphony. In the first movement of the Seventh Sonata it first appears as a rhythmic30 motive (c motive) standing in-between the first and second segments of the opening theme (Grundgestalt), Central to the opening theme, it intensifies the suspense by functioning as the prolongation of the first segment and the postponement of the second segment, It is transformed and augmented as the movement unfolds. Various types of manipulation of the (c) motive will be discussed in the analysis of the Sonata. Allegro inquieto mp Example No.1: Sonata No, 7; 1st movement , mm.1-9, In the last movement, this motive is introduced in reverse or retrograde order, the Jong note being stated first (on the fourth and fifth beat of each measure in the opening section) followed by the three short notes; then it is mirrored, rhythmically, in the original order of three short notes followed by one long note (at the end of measure two, the long note being the down beat at measure 3). The two form of the motive then continue to alternate.31 roa cack —T precipitalbdan i Wid mp F a a ee ir Example No. 2: Sonata No.7: 3rd movement, mm. 1-4 Before discussing the connection between this motive and the Eighth Sonata itis of interest to identify another motive from the second movement of the Seventh: an ostinato device occuring at measures 53 and 54 of the second movement and again at measures 56- 59, 62-64, and 81-94 (with a two-measure interruption, measures 87-88). In its first occurrence this ostinato features an E major triad in root position altemating with ac minor triad in first inversion, creating a melodic recurrence of B and C. From measure 81 onward, this ostinato occurs similarly between the C major root triad and the A-flat minor triad in first inversion, creating a G - A-flat melodic cell... ; ete Cia rr ris Example No. 3: Sonata No.7: 2nd movement, mm. 81-8332 This two-note cell, important as a structural link within the Seventh Sonata, is even ‘more significant as a device which relates the Seventh Sonata to the Eighth . In the Eighth Sonata, this interval appears in its original form, as a minor second in the second movement (74 with anacrusis-76); in the third movement, it pervades the "Allegro ben marcato" section, dem in tempo" Example No. 4: Sonata No, 8: 3rd movement, mm. 185-189 ‘However, the most remarkable assimilation of this cell into the material of the Eighth Sonata appears in combination with the rhythmic motive mentioned earlier, (c) motive of Seventh Sonata, 1st movement, with which it is integrated into the second theme group of the first movement of the Eighth Sonata (61-78). dots — ae ysl Sag 7 ~! Example No.5: Sonata No, 8; 1st movement, mm. 61-6333 Here, the interval is not a minor second but a minor ninth. At the heart of the “Allegro ben marcato” section of the third movement, the octave passage in the left hand reconciles the two forms of the motive, the minor second and the minor ninth and assimilates simultaneously the minor second with the minor ninth (226-342) (see example below from the third movement): Pree Tree ME Pte Example No. 6: Sonata No.8: 3rd movement, mm. 226-232 Finally, in the coda of the last movement of the Eighth Sonata, the rhythmic motive is glorified with the affirmation of the home key of B-flat-major with an endless series of triplet figures travelling up and down the echelons of the root triad as shown in the example below: Sonoramente # ad con brio Example No. 7: Sonata No, 8: 3rd movement, mm. 474-47634 ‘When the closing measures (488-489) indicate a fragmentation of the pervading triplet figuration in the coda (see example No. 7), the rhythmic configuration of the (c) motive is restored: comparing measures 488 and 489 (example No. 8) with the (c) motive (example No. 9) clarifies the derivation of uninterrupted triplet figures from the Grundgestalt. At measure 482, note the return of the rhythmic articulation from the (4) motive (compare with example No. 13). The following duplets (486-487) attempt a restatement of period 2 of the opening theme, itself being related to the ostinato motive from the second movement of the Seventh Sonata and the Allegro ben marcato of this movement. ‘Example No. 8: Sonata No.8: 3rd movement, mm. 486-489 nt, mm. 5-6 Example No. 9:ae Example No, 10: Sonata No.7: 2nd movement; mm. 81-83 One should distinguish between the motivic connections which tie the sections, movements, or works together and which are less readily identifiable, and cyclic unity, which involves the insertion in one movement, usually the last, of more substantial material easily recognizable from a previous movement. In regard to this, the Seventh Sonata is motivic, not cyclic, whereas the Eighth is a cyclic work which contains strong motivic connections to its predecessor. In the last movement of the Eighth Sonata, the second theme of the first movement is recalled in the “pochissimo meno mosso” section beginning at measure 289 and ending at measure 342.36 Pochissimo meno moss: Taprese : Sonata No.8: 3rd movement, mm. 289-296 Example No.1 In addition to being a cyclic recurrence of a recognizable theme, this passage is related motivically to the Seventh sonata, and to its own first movement, by the minor ninth descending gesture of the (c) motive. This falling interval is restated as an ostinato from measure 226 to the end of the Allegro ben marcato section at measure 342 (see example No. 6). Its octavial configuration combines both minor second and minor ninth versions of the cell, interacting for the first time, A summary of the combined cyclic and motivic activity introduced above will help clarify the derivations mentioned above: example No. 5 shows the cyclic relationship with the opening movement; examples No. 4, No. 6 and No. 8 (at measures 486-487) shows the derivation from the second movement of the Seventh Sonata(example 10),ci II. SONATA NO. 7 IN B-Flat , OPUS 83 INTRODUCTION ‘The Seventh Sonata was created mid-way through the Second World War, at a time of unresolved questions, anguish and worry. As the “Allegro inquieto” designation of the first movement indicates, its character projects such worried and anguished moods. A three-movement work, the Seventh Sonata is the most condensed of the three War Sonatas. Being chronologically central to the War, it represents a more concrete reflection of it than the Sixth and the Eighth by its use of motoric rhythms and ostinatos to surround melodies of tragic beauty. Written with a great sense of economy, this work is the least tonal of the three, especially in its sonata-allegro first movement. Although revolving around B-flat as a tonal center, it is harmonically too unstable to allow a key signature. Regarding harmonic intervals, seconds and fourths appear about as often as thirds and fifths. The character of instability is achieved at least as much through rhythmic as through tonal means, since most of the movement is relentlesslly motoric, The non motoric section, “Andantino”, is the second theme group, which contrasts with the rest of the movement in mood and tempo. ‘The second movement, “Andante caloroso”, in temary form, could be labelled as through-composed because of the constant modification of its material. Eric Roseberry calls it“a thing in itself."36 He then describes: It begins and ends with a smooth, a sinisterly smooth, side- slipping tune. The intervening space of music is, however, 36 wid, 40.38 an impassioned improvisation with a resurgent climax of despair whose ostinato haunts the movement to its close.37 Itis more tonal than the first movement, especially in its outer sections. In contrast with the songful and lyrical opening section, its middle section is tonally unstable, and it transforms and develops motives of the opening section. In the key of E, it forms a tritone relationship with the outer movements. between this movement and the other two is a tritone, To resolve all conflicts and present a symbol of victory and harmony, the third movement, “precipitato”, is the most tonal ofall three and unfolds in arch form. It stands as one of the most thrilling examples of the “moto perpetuo” type of piano music, with its motoric rhythm and heavy handed articulation. The 7/8 time signature amplifies the tension, but it creates an effect of overwhelming power toward the ending. RELATIONSHIP BETWEEN FORM AND DRAMA, ‘While its themes had been conceived in 1939, along with the themes of the Sixth and the Eighth Sonatas, the Seventh was mostly written and completed while Prokofiev and Mira Mendelsson lived in Tbilisi in 1942, The historical context is one of instability at the height of the Second World War. As Nestyev remarked regarding the content of this work, "The Sonata has no program, but the storms of the War Years are surely reflected in its general emotional tonality."38 Sviatoslav Richter, who gave the sonata its first performance, expressed convincingly what the musical content of the work meant to him. Such a description in itself could constitute a strong program for it: 37 tbid, 40 38 Israel Nestyev, Prokofiev, (Stanford, California: Stanford University, 1960), 165.39 Right from the start the sonata projects you into an alarming atmosphere of a world that has lost its balance, so to speak. Disorder and uncertainty reign supreme. Man is observing a havoc of destructive forces. But life, which the man has lived, does not cease to exist for him. He still senses it, he is still capable of love. And with these emotions he addresses himself to everybody. He joins everyone in their protests and common suffering. Then comes a sudden stiffness of will and desire for victory which sweeps away everything in its path. Man gains strength in his struggle and achieves gigantic powers which assert life itself.39 This description is Richter’s own interpretation, Although subjective, itis well fitted to the historical context of the sonata, A mood of anguish and unresolved tensions was a basis for the musical elaboration of a drama perhaps similar to Richter’s description: such was the drama of the Seventh Sonata. Thus, the drama is supported by some aspects of the relationship between the movements and their tonal content. The outer movements of the Seventh Sonata are in B-flat major, but the tonality is more stable in the third. movement than in the first. The second movement is in E major. This tonality gives it (by way of key as well as mood) a relationship remote from the two other movements. Instability is suggested at two levels: first internally, in the structure of the movements (especially the first movement), and second, in the tritone relationship between the ‘movements. Thus the final movement, with its strongly tonal roots and its perfect arch form, reconciles the world with harmony and balance. It seems that the form has been conceived for the purpose of the drama. Yet we have experienced three standard forms: the first movement in sonata-allegro form; the second movement in temary form; and the final movement in arch form. 39 Victor Seroff, Sergei Prokofiev, A Soviet Tradgedv. (New York: Taplinger Publishing Co., 1969), 258-9,40 One element which seems to prevail in this work, with the exception of the A section in the second movement and thmost of the music. e second theme group in the first ‘movement, is the relentless motoric drive, This, combined with the shifting from extended tonality to tonality, contributes to the genesis of two types of character: first, and generally in the first movement, motoric drive and extended tonality create a suspenseful, worried atmosphere as suggested by the “Allegro inquieto” indication, In the last movement, with the gradual amplification leading to its gigantic conclusion, the motoric drive, this time combined with a strong sense of tonality, makes a glorious, even liberating statement as if describing the final victory which brings back peace and harmony. The stability ‘demonstrated by the strong mood and thythm of this movement is harmonically ‘emphasized by its clearly tonal structure. Looking at the structural conception of the work, it becomes clear that there is a parallel between the manipulation of traditional forms with respect to each movement (as well as the relationship between them), and the expression of a content such as Richter described. The unfolding of the drama is planned perfectly with the necessary ‘modifications to the traditional forms. One conspicuous aspect of the structure of the War Sonatas is the manner in which Prokofiev deals with the sonata-allegro scheme: his use of the form, particularly in the first movement of the Seventh Sonata, shows a fluent knowledge of the tradition, from which he retains certain classical attributes, and his ability to modify, delete, or substitute one or more essential elements for musical or dramatic effectiveness. The themes of the exposition are themselves exploited in a somewhat unusual manner. For example, the first group theme is used in a fragmentary fashion at ifferent phases of the movement, including the exposition. This is made possible because of its clearly defined motives. All four of them are elaborate enough (measure 1, measures 2-4 and measures 7-9) or striking enough (5-6) to be developedeffectively. Another aspect of the use of thematic material isin the rhythmic exploitation of a motive of theme I41 ((b) motive, measures 2-3) to create a subordinate theme (ID) (measures 45-60). In this example, using the rhythmic pulse of the (b) motive as a basis, Prokofiev achieves a new theme (see Example No. 16). He succeeds simultaneously in unifying the material further ata rhythmic level by perpetuating the motoric element through the first phase of the exposition, ‘A typical example of the modification of the standard form occurs at the recapitulation, where the second theme only is present. The first theme does not appear until the coda. Unfolding in a dazzling linear motion, this theme is only one of several ideas drawn from the exposition. Their successive restatement concludes the movement in an unresolved mood. In the coda, the "inquieto" character of the movement has been preserved if not magnified. Prokofiev shook the foundation of the sonata-allegro form to create "an alarming atmosphere of a world that has lost its balance” as expressed by Richter. By shifting the order of the structure in the traditional form, he also put to a test the equilibrium of the music itself, giving it the unsettling character which he meant to achieve, He in fact adapted the form to the expressive needs of this particular piece. ‘Another element contributing to the "inquieto” nature of the first movement is the introduction of an “Andantino” section, and its four-note motive, as the second group of the exposition, Instead of being just a contrasting theme, this section becomes a contrasting inner movement. Moreover, this introduces another type of contrast in the music: the motoric in the “Allegro inquieto” (or group I) section, and the lyrical element expressing the tragic in the “Andantino” section. These two elements are unified by the thythmic (c) motive which has now become a languid theme in the “Andantino” section. As we know, this four-note motive is rhythmically similar to the opening statement of the first movement of Beethoven Fifth Symphony. ‘This thorough motivic unity which even relates contrasting material, illustrate how Prokofiev's compositional process transcends the sonata-allegro form to obey more internal42 mules of growth. When the traditional design does not match the unfolding of the drama, the composer follows a course that accommodates the dramatic process. Consequently, this internal growth - and not an external, pre-established plan - determines the form of the composition, It is his awareness of such processes which inspired Schoenberg to introduce a new type of analysis. His philosophy came from the conviction that, generally, 1. composition is conceived from its basic thematic or motivic elements. His method of analysis appears to look into the creative process, perhaps from a composer's point of view. This analytical approach proceeds from small to large as opposed to the Schenkerian method, which operates from large to small: Schoenberg's approach was called "The Concept of Shape” by David Epstein in his work Beyond Orpheus.40 A CASE FOR SCHOENBERGIAN ANALYSIS ‘The "Concept of Shape," which Schoenberg called "Grundgestalt”, was developed by the composer early in his twelve-tone period. ‘The term "Grundgestalt” is usually translated into English as "basic shape.” Schoenberg's analysis of a work from its "basic shape" presents the original motive or primary idea as the genetic origin of the whole; it assumes a similarity between the creative process in nature and the creation of a work of music growing from the seed-~or motive--to the whole: the idea is that the seed is the whole in essence. The principle of analysis that takes place from the "Grundgestalt” follows a path quite similar to the one of an improvisation on a theme (or motive) or to the process of musical composition. A good example of this similarity is recognizable in Liszt's B minor Sonata, The motivic content of the opening triggers all the events and the 40 David Epstein, Beyond Orpheus. Studies in Musical Structure (Cambridge, MA: The MIT Press, 1980), 17.43 ‘general drama of the composition by means of motivic expansion and transformation. With such a strong motivic base, Liszt was able to improvise his sonata in public before notating it, Another type of analysistypes of analysis examines a composition by taking the whole as a base and sketching its outline in order to capture the entire formal or structural characteristics of the composition at one glance. ‘This procedure presents the advantage of allowing one to capture the composition as a whole as opposed to focusing on its internal growth. The most conspicuous example of reductive process was formulated by Schenker, ‘whose analytical approach determines structure through perspective: Schenker separates the small and the large, particularly with respect to melody and harmony. Schenker's approach constitutes an analysis of the harmonic movement in a composition. It involves the triad, not the diatonic scale. His vision of compositional unfolding through analysis essentially harmonic in nature, With the concept of Grundgestalt, Schoenberg adds one important element to the understanding of internal growth in a musical composition: rhythm, In his concept, growth can be perceived accurately in relation to time because the picture of rhythmic organization is always present in the analysis. In addition to rhythm, Epstein states further: ‘The Grundgestalt was for Schoenberg a broad concept, inclusive of motivic rhythm and of harmony, as well as of configurations of pitch. The point is important for it suggests, the extensive germinal influence of shape.4! Examining the manipulation of motives can lead to a comprehensive analysis of how a movement is developed from them, Such analysis is bound to grasp the rhythmic functions and use of the motives even more immediately than their harmonic or melodic manipulation in developmental techniques. For example, the opening theme of the first 41 hid, 1844 movement of Beethoven's Fifth Symphony, which is itself an elaboration of its first motive (three even short notes and one long note), is the basis for the development of the ‘movement through a motoric linear treatment. Time is crucial whereas melody and harmony in this case are more arbitrary or at east not necessarily predictable. One could observe that the theme itself is a micro-development of its initial motive. In the Seventh Piano Sonata, Prokofiev relates the themes of the first and the second theme groups motivically: for example, the second theme (‘‘Andantino,” (g) motive) is derived from the (©) motive of the Grundgestalt: instead of just working the motive into the development, such as in the classical tradition, Prokofiev uses this motive to relate the themes of the first group ((c) motive, m.5)) and of the second group ((g) motive, m. 124). This will be discussed in the Grundgestalt analysis of the first movement. Thus, first and second theme are related by means of motivic transformation (see Example No. 15). One could speak of "intemal cyclicism," since basic ideas are recalled in new material. Following the unification of both groups of the exposition through these motivic relationships, the motive reappears in the development in augmentation, from measure 269, at which point it becomes the major unifying force: with the use of the technique of augmentation, Prokofiev has fused both versions of the four-note motive (the rhythmic (c) and the lyrical (®)) in such a way that in this new reinforced presentation, itis equally reminiscent of both sources. With this fusion, Prokofiev achieves the union of the first and second theme groups. After further discussion of the motivic analysis, it will be clear that all the elements used in the movement are related to the first and second segment of the Grundgestalt which, combined, form the first theme of group I. In this movement, a Schoenbergian analytical approach will identify the relationships between motives, and beyond this, how the motives themselves create unity in the movement.45 A. MOVEMENT I: ALLEGRO INQUIETO (in extended tonality) : measures 5-6 rhythmic motive | measure 24 ostinato motive meas, 66 with pick up: minor 9th plus derivation of (e) f meas. 71-74 motive from 2nd segment of Grundgestalt : meas. 124 group II motive - from rhythmic motive Brena gs EXPOSITION (1-163) 00 : First Theme Group Tonal center B-flat ‘Theme I: Grundgestalt ‘Antecedent phras Rhythmic motive Consequent Phrase: Second segment of Grundgestalt ‘Transition 24-27 Ostinato (d) as introduction to restatement of theme ‘Theme I plus two bar extension of the rhythmic motive Real transition to: ‘Theme Il (this section emphasizes the minor triad) Antecedent phrase of Theme I ‘Use of motives and their derivations (mostly from the first segment of theme 1) Closing theme of first group (as transition to second theme group) ‘Tonal center A-flat minor : 153-163: Transition to development DEVELOPMENT (164-337) 164-217: Motivie development involving rhythmic ostinato and minor ninth motives, restatement of Theme I (antecedent) ‘Key centers /modes: m.170 C (maj. / min.) ém.197 B-flat (maj. / min.) 211.214: Transposed prolongation of second segment of Grundgestalt 215-217: Rhythmic motive46 ‘218-252: Material from Theme IT of first group alternating with (f) motive, closing theme (234-240) and closing material (240-252) Key center: predominantly C (F at 234) 252-303: Superimposition of ostinato (d) motive and (c) and(d) motives as one (indistinguishable because of principle of augmentation). Material from (b) motive (similar to (d) motive)C /D-flat 294.337: Modified transposition of measures 85-123 as retransition with a five-measure extension (300-304) E minor RECAPITULATION (Second Theme Group only) (338-358) 339. 1 extra beat in 2nd measure of theme (9/8 time instead of 6/8) B-flat minor 345. One measure extension 347 One measure extension truncated ending of second group: transposition of measures 143-152 is missing CODA (359-412) (Extended tonality) 359-362: (a) and (b) motives (antecedent phrase of theme I minus rhythmic motive) preceded by two introductory measures 364-367: derived from (b) motive 368-371: (f) motive ‘372-374: (a) and (b) motives transposed 375-382: material derived from first transition (10-23) 383-386: strong restatement of meas. 32-35 387-397: (a) motive developed in sequences followed by material derived from consequent phrase of Theme I 397-400: Combination (fusion) of (b) (c) (4) (e) and (g) 401-404; (a) and (b) motives 405-412: Motive (c) (Ist beat of 2nd measure silenced) extended downward to low B-flat ‘The Grundgestalt, or first theme, consists of two segments: the first contains three motives (although the third motive seems to be standing in between the segments as a rhythmic extension), and the second contains one three-measure motive. The first segment can be labelled as antecedent and the second segment as consequent. Motives in the first segment are the (a) motive at measure 1 and the first note of measure 2; the (b) motive from47 ‘measure 2-4; the (c) motive at measures 5-6. The second segment contains only one motive unfolding over three measures, themselves representing an extension of the first two motives. Allegro inguieto Groin oe stare on mp (A) motive &) moti whey: =F seqmenr = ee ee Fi Ft Example No. 12: Sonata No.7; 1stmovement, mm. 1-9 This last motive, however, will not be labelled as a motive for two major reasons: having grown out of the first segment, it appears as a variation of it. It opens with the closing intervals of the (b) motive in a reverse order. Asa result, it has lost ts strength as a motive; also, it will only resurface in extended form in the coda. The (d) motive (ostinato) at measure 24 is rhythmically derived from the (b) motive.48 Example No.13: SonataNo.7: Istmovement, mm. 24-25 ‘The (¢) motive at measure 66 (with pick up) is derived from the (c) motive. Additionally, the minor ninth of the opening notes C and B is related to the opening interval cof minor second of the (a) motive. Allegro Inquleto = (@) motive (©) motive (©) motive Example No. 14: Sonata.No, 7: Ist movement, m. 1,mm. 5-6, mm. 66-67 ‘The minor ninth also appears as a unifying gesture in the Eighth Sonata in all three movements, either as a minor ninth in the outer movements or as a minor second in the second and third movements, ‘The (£) motive at measures 71-74 is clearly derived from the49 second segment of the Grundgestalt. Finally, the (g) motive which constitutes the opening statement of the second theme group (m., 124) is itself derived from the rhythmic (c) motive from the first segment of the Grundgestalt. Andantino Pespress.o dolente ER ©) motive (g) motive : Sonata No, 7: Ist movement, mm, 5-6, mm. 124-125 Example No. A\ll motives discussed above are derived from the Grundgestalt. Rhythmically, they either unfold as even eighth notes or as eighth notes altemating with quarter notes (sometimes modified to sequences of eighth note-eighth rest-eighth note as in the (4) motive and most of the development). Ithas been established that all motives are related to the first two motives of the Grundgestalt. The following Grundgestalt analysis brings out this inter-relationship which extends to the whole movement.50 A GRUNDGESTALT ANALYSIS ‘The following will show the motivic treatment affecting and giving shape to the ‘movement, how it grows, and how all parts and every measure are either the motives of the beginning or derived from them. All elements of this beginning (melodic, rhythmic, and structural) contribute to the “inquieto” (worried) character ofthe entire movement. ‘The theme: the first segment of Grundgestalt, measures 1 to 4, contains shythmically the two of the main "motoric" elements found in the movement: equal eighth notes, and quarter notes and eighth notes alternating (see example No. 9). At measure 1 a forward motion instigated by the 6/8 eighth note compound rhythm, has a very dense and unsettled quality that gives it the worried character of Allegro inguieto, The feeling of density is expressed by the use of small intervals: the lowest and highest note are a perfect fourth apart ((a) motive). ‘The unsettled character is produced by the use of small major and minor intervals and the descending half step relationship between the two minor thirds in the measure: B, D and D-flat, B-flat (descending). The intervals that shape this first measure, are: a descending minor second (C,B), a minor third (B,D) a descending minor second (D, D- flat), a descending minor third (D-flat, B-flat) a descending major second (B-flat, A-flat) and an ascending major third (A-flat,C). Grouped from smaller to larger, they are: 2 minor seconds, 1 major second, 2 minor thirds, and one major third. ‘The second motoric element (b motive) is introduced by the quarter note-eighth note rhythm of measures 2 and 3. ‘Though this motive has a more melodic aspect than, for example, the rhythmic cell that appears at measure 5, ((¢) motive) itis remarkable how it becomes a more rhythmic element at measure 20, later reinforced by a bass similar to the bass of measure 5, at51 measures 24-27, 182-185, 207-210, then measures 218 - 221 and at similar sections further in the development. In fact, this quarter note-cighth note rhythm is the generic force of the development, but within the development, it gains more articulation with the shortening of the quarter note to an eighth note followed by an eighth rest at measures 45- 60. ‘Example No.16: Sonata No, 7; ist movement, mm. 45-46 On the other hand, the rhythmic cell from bar 5 becomes melodic and expressive at measure 124, as the beginning of the second theme group. ‘The second segment of the Grundgestalt, measures 7-9, appears as an extension of the first segment and comes after the long tied B-flat, itself being extended over four bar lines. ‘This is longer than the active element preceding it. Measures 5 and 6 (c motive) can be identified either as being part of the first or second segment of the Grundgestalt. (see example No, 9) This ambiguity in regard to the structural subdivisions of the theme, creates by itself an important part of the “inquieto"effect. ‘The second segment is an extension of the first three measures, Their relationship ccan be described as follows: the eighth-note figuration produces again an unsettled mood similar to the beginning, but this time, the range is broader (a major ninth). Also, the eighth-note figuration of measure eight combines the motoric eighth note drive of measure52 1 and the intervals of 4ths (A-flat-D-flat and F-B-flat) leading to the tied B-flat at measure 3; at measure 7, the two intervals occur in a reverse order (F-B-flat, A-flat-D-flat) articulated by the eighth-note pattern; also one ascending 4th has been added (B-E). ‘To summarize the overall shape of this “inquieto” theme, including its two segments and its ambiguous middle section: the middle section (long B-flat from m. 3 1/2 107) isa static point of suspended activity that is filled with tension; also, following a period of postponed activity, the second segment comes across effectively, the rhythmic figure at measure 5-6 being only an underlying drum roll. ‘Thus the material of the first segment cuts through the thick tension offered over three and a half measures to grow into the second segment. As a result, the second segment with its strett effect generated by rising intervals of a 4th wears a more threatening character. Itis of interest that the second segment contains the same count of notes in two measures as the first segment (mm. 3=(a) + (b) motives) does in the first three measures. Such a compression produces intensification, This evolution reveals measure 1 as a musical cell whose growing capability is already evidenced within the primary material of the movement. The transition at measure 10 is the natural continuation of this process. This theme carries qualities which appear in the following order: active, suspended, moving, extended. Combined, they create the worried and threatening character which is the root of all growing and conflicting elements shaping the drama of this War Sonata. Growth of the piece (from the Grundgestalt): A transition grows in wider intervals than the segment 2 of the Grundgestalt from measure 10 (the range is an interval of 11th). This transition is in fact a canon, the entry of the left hand following the right hand by one eighth note.53 inteyvailic Luitakion from Geundgestalr Re = Flee sp| Pee « poco lersse Example No.17: Sonata No, 7; 1st movement, mm. 10-13 ‘The beginning of the transition appears to revolve around the tonal center of B-flat major (this movement, in extended tonality, is too unstable to make use of a key signature), the triad being introduced by the first three notes of the pattern shaping the first ten measures of the transition. It is remarkable that the transition itself is used as a device to stimulate the unsettled character of this opening: at measure 18, the major third E-flat - G at the left hand seems to establish a new key: E-flat; instead, it goes back to the original key area at measure 28, ‘The way Prokofiev treats this particular section introduces one more unexpected element which adds to the suspense. Also, the transition is an extension of the second segment of the Grundgestalt rather than a real transition, But as we recognize its function to be a link toward a re-introduction (24-27) of the first segment of the first group theme Lin the original key, then it becomes a bridge. In the present context, growing out of the second segment, it functions as an extension of the Grundgestalt. Its ambivalence both as an extension and as a transition adds to the stressful and worried quality of this beginning. After the introduction of the Grundgestalt and its extension, the theme I of the first group - Grundgestalt- reoccurs two octaves higher and fortissimo, the left hand reinforcing the pulse with solid octaves at every beat. In its restatement, it seems to suggest a fearful54 premonition. At measures 32-35, the underlying rhythmic figure from the (c) motive is reproduced with a two-measure extension. It no longer operates in the background. Now, it carries its threatening character with more presence. Tt appears as a premonition of dreadful events, At measure 36, the first segment of the Grundgestalt functions as a real transition leading to the following theme. ‘The new theme is closed by the first segment of the Grundgestalt. Here the restatement of the first segment ends with a half cadence at measures 63 and 64. At measure 65, a B-flat minor triad is the resolution. The new (c) motive is introduced above the triad (anacrusis to 66). Its opening gesture is a falling ‘minor ninth (C-B), Its pitches match the opening notes of the (a) motive. The next portion of the (e) motive appears as a derivation from either of the previous eighth-note motives. of i rd Example No.18: Sonata No, 7: Ist movement, m. 65-67 ‘The opening gesture of a minor ninth reappears in the second movement (as a minor second) at measures 56-59, 62-64, 81-84, and 89-92, It is also present throughout the third movement, With its recurrence in the Eighth Sonata, it will further relate both works. In terms of intervallic augmentation, the most spectacular observation is evidenced ona llarge scale: a formidable intervallic growth unfolds from the opening minor second of the Seventh Sonata to the coda of the Finale of the Eighth. As the first movement grows55 from its Grundgestalt in rhythmic augmentation, its expansion is projected on a large scale. ‘The Grundgestalt itself grows gradually from its inital inteval of a minor second, to consecutive perfect fourths rising in sequences. Although growth is noticeable in the “basic shape" itself, in the Seventh Sonata the oranization or expansion of pitches and intervals is linear: whereas the range increases regularly through the piece, the intervallic augmentation is not as conspicuous as the increase of the range through the unfolding of the line, The range of the individual intervals within the melodic line is not wider then intervals in the melodies of the baroque and classical periods. ‘The general writing is quite linear, especially in the first movement. It is significant that in this sonata, linear, contrapuntal writing reflects the combined features of the baroque, classical, post romantic, and neoclassical styles. ‘At measure 71, the eighth note activity is similar to the second segment of the Grundgestalt, this time followed by the rhythmic figure derived from the (c) motive, but introducing the derivation of measure 5. While the eighth-note passage at measure 71-74 is reminiscent of the second segment of the Grundgestalt, its intervallic design resembles the (a) motive (first segment) of the Grundgestalt, Additionally, it contains short intervallic shapes directly transposed from the opening measure ((a) motive) of the movement. Example No. 19: Sonata No, 7: 1st movement, mm. 71-7456 ‘The presence of this settling rhythmic figure indicates that extension and growth will now come to a halt, and that for the first time the movement is reaching a settled state as a preparation for the closure of Allegro section. The closing theme is introduced at measure 90, the melody being played by the left hand at the lower part. It articulates a very strong triadic figure, itself derived from measure 74, Note how as the movement unfolds, new material appears as a derivation of preceding material while new themes (such as the closing theme) seem to be a rearrangement of preceding motives and derivations. As an example, at measures 383-386, the martial accompaniment from the closing of the exposition is an extension and an intensification of the (c) motive: MY (—ex Fens ten ——> Example No.20: Sonata No, 7; 1st movement, mm. 383-386 Connecting links themselves emerge as an extension of original material from the Grundgestalt: the new melodic material (alternating with an inverted derivation of the rhythmic motive) at measures 77-78, 81-87, answered at the bass at measures 86-89 ‘emphasizes the interval of the minor second discussed above (also as a minor 9th).ee) Example No. 21: Sonata No.7; Ist movement, mm. 77-78 ‘This chromatic friction is magnified by the use of a quarter note-eighth note rhythmic patter, itself a derivation from the (b) motive. ‘The theme of the second group, opening the Andantino of measure 124, has a meditative and desolate decent, It represents a strong contrast to the tumultuous and frightening development that follows. The first four notes (a repetition of the E-flat) are Gerived from the rhythmic figure of measure 5 of the Grundgestalt ((c) motive). The line is very supple, the range and the intervals are wide. The key area is A-flat major (extended). In this group, the part writing introduces either bass movements in minor seconds such as the opening gesture of the left hand from A to A-flat or combines triads of different tonality, thus creating temporary bitonality as in measure 128. Bitonality between bass and accompaniment is conspicuous at measure 137 (B-flat bass with B minor arpeggio) with another relation of a minor second between the bass and the melody (B-flat - A). Measure 153 is an introduction to a section that ends the "Andantino" and becomes slowly the development at the same time by means of a very long accelerando and a gradual transformation of material: the lines will become more broken, less supple, and the motoric elements from the Grundgestalt will reappear to extend and expand.58 In the development, beginning at measure 164, the rhythmic force is dominant, while at firs, the material is organized in an orderly fashion. The second part of the evelopment (from measure 218) will introduce brief motivic figures, creating a more chaotic mood as the material is explored further. ‘The insertion of previous material into the extensively modulatory second part of the development creates increasing disturbance, approaching chaos. Even the presumably powerful rhythm cannot prevent the war from following its course and control the drama, What creates and intensifies stress s the effect of interruption caused by the insertion of more thematic and motivic elements from the past. ‘The more settled part of the development is established from its beginning at measure 164, the more tumultuous one evolves from measure 207 and more clearly, from measure 218. Generally, the haunting rhythmic force that creates the unity - or contributes to it -is made of an eighth note-cighth rest-eighth note compound rhythm ((b) or (d) motive), or of even eighth notes reminiscent of the (a) motive. Thematically, this eighth note figure is a transformation of the (c) motive, itself derived from the first segment of the Grundgestalt. To give an illustration of the intensified stress and turbulence of the second part of the development, the following summary of the material expanding from the Grundgestalt introduces specific motives which are either the motives themselves restated in a developmental context, or their derivation in the context of growth: from measure 211 (with anacrusis) to measure 214, a prolongation of the second segment of the Grundgestalt is developed in transposition. Beginning at measure 215, 3 measures of summation reminiscent of (¢) motive are stated. At measure 218, the material derived from the subordinate theme of group I (from measure 45) alternates with a derivation from the (f) motive, originally introduced at measures 71-74 (at measures 222 to 225). The (8) motive itself is a derivation from the second segment of the Grundgestalt. Measures 226 to 233 state strongly a retum of the first part of theme II (from measure 45) from the first theme group. An amplified restatement of the closing theme of the exposition develops a larger59 number of eighth-note triplets, thus creating an intensification of by means of extension. In its closing theme form, it will -appear at the close ofthe development asa retransition and in the same texture as in the exposition, At measure 252, material drrived from the (4) motive (measures 24-27) is used.through the end of the development, that is, to measure 337. Measure 269 develops the (g) motive(second theme group at measure 124) in augmentation in the bass, while the motoric device derived from the (4) motive produces an empowering, yet threatening "moto perpetuo" effect. The superimposition of both devices (the (@) motive moving relentlessly forward, and the (g) motive, this time articulating an ominous augmentation), produces a level of intensity, which , for not being the loudest ‘moment in the composition, is one of the most intense, While the theme at the bass is clearly the introductory idea od the second theme group and its only real theme, because of the rhythmic and strongly driven quality of this section ofthe development, the (g) motive possesses now some of the qualities of the (c) motive. Such a treatment of similar motives, renders them their inherent qualities while they feed one another. The intensity is reminiscent of the beginning (first segment of Grundgestalt and its derivation), At measure 281, the same theme is reinforced in the bass, being articulated in octaves. Measure 286 re- introduces and expansion from the closing material of the exposition. This time, itis introduced in a more dance-like fashion. The supple figures, which gradually move down like falling leaves, reintroduce the closing theme of the exposition at measure 304, this time as aretransition, This leads to a restatement of the second theme group as a recapitulation. This section is transposed a semi-tone higher than in the exposition and includes some modifications mainly in terms of extension of the motivic element and also of ‘omamentation, As already mentioned in the second chapter, the role of the minor second is significant as a unifying device and interval, It is developed throughout the two sonatas as an ostinato, being articulated invarious ways: from the inflections of sorrow in the second movement of the Seventh Sonata to the might of the “Allegro ben marcato” in the finale of60 the Eighth Sonata. In this movement, the recapitulation omits the first theme group The second theme group, "Andantino", is shorter than the first time and is followed by a very clearly defined coda at measure 359. ‘There, the coda begins as a surprise, emerging from the resonance of the tied notes, prolonged by a fermata that left the ending of the "Andantino" suspended. ‘The coda is a brilliant summary of the movement, containing the first measures of the Grundgestalt (the retum of the first theme group of the exposition), for the first time thoroughly reproduced from the beginning. All motivic and motoric elements are included. At measures 387-397, the coda reaches its climax using the (a) and the (b) motives ‘compressed in ascending motion. An accented recurrence of the figure, gives it a character of fugato, At the end, the B-flat seems to resonate until complete extinction of the movement, which could suggest death. ‘The musical result of what seems to be a calculated manipulation of motives is remarkable as it always appears to unfold naturally and, from a dramatic point of view, convincingly. Whether Prokofiev manipulated the material consciously and with a plan of constant inter-relationships is not certain, The composer's vision of the structure is deep and long sighted. It seems reasonable to assume that some of the elaboration of the material was subconscious, as is the case with composers of vivid imagination.61 B. MOVEMENT I: ANDANTE CALOROSO A SECTION (1-31) 1-8 Theme (5-8 antecedent gesture) E 9-16 Transposed theme material D (13-16 modified: resolves as a consequent gesture) 17-25 ‘Theme in original key (modification of consequent gesture) E 26-31 Transition VofD-flat B SECTION ( 32-97) 32-51 Thematic (motivic) transformation Deflat 52-97 Through composed sub-section E/Bm/C 95-97 Transition A SECTION (98-102) 98-102 Abbreviated restatement of theme E CODA (103-107) 103-107 new material, chordal resolution through remote harmonies ‘The Andante caloroso (with warmth) in the key of E, is more strongly tonal than the first movement particularly with respect to its opening section. Its tonality establishes a tritone relationship to the outer movements. The B section, Poco piu animato, initially settles in the key of D-flat, then proceeds in two measure-long.tising chromatic gestures alternating with a fragment of the A section transposed (44-51). This unfolds with an increasingly broader range of the keyboard. It leads to the first ostinato articulated with force. At this point, similar material to the opening two measures of the B section is stated62 in B minor, also the tonality of the following "un poco agitato" section. This leads to the ‘ostinato in C, this time not stated with force, but as a lament, finally closing to the reduced (vanishing) statement of A. The form of this movement is temary although the B section exploits material from the A section Its temary stats is, however, marginal, combining elements of the Sonata-allegro form, theme and variation form, and through-composed form. The relationships to these forms are listed at the end of the analysis ofthis ‘movement. With the exception of measures 46-49, the reference to the material drawn from the A section is remote or concealed, thus coming across as an improvisation. The overall characteris lyrical, evolving toward the tragic in the B section, “The Sixth Sonata and its two companions have central movements in comm ‘Quasi waltzes."*2 Lawrence Chaikin’s observation introduced two related aspects of Prokofiev’s manipulation of the sonata cycle: one of structure and one of mood. The waltz, with its dreamy overtones (as in the Eighth Sonata) and its reflectively isolated character, can magically take the listener away from the grounds of the sonata temporarily. ‘The quasi waltz rhythm appears to exist somewhere between the minuet-type and the slow movement type. Thus, by introducing the waltz as a movement of ambiguous function, which could often fill the role of a slow movement, and at other times could appear as a minuet-type movement, Prokofiev has created a format which justifies and explains its three-movement content. The Sixth Sonata, however, is an exception: in order to preserve and justify the four-movement design, the waltz-like movement here is clearly slow (Tempo di Valzer lentissimo). ‘The role of the Andante caloroso is central to the inner conflict of the work in addition to being its physical center. Its significance is as conspicuous emotionally as it is structurally. This movement is also central to the three-sonata cycle: The Sixth and the Bighth represent respectively the elements which propelled us in and out of the war. The 42 Lawrence Chaikin, “The Prokofieff Sonatas: A Psychograph,” Piano Quarterly 86 (Summer 1974): 1463 Seventh stands as the actual conflict. In such context, its second movement is not a reflective episode. It is the desolate tragedy of the human soul whose confusion is only enhanced by the memories of sweet melodies. As quoted earlier, Roseberry's description : He refers to the content of this movement as "an impassioned of this is an eloquent or improvisation with a resurgent climax of despair whose ostinato haunts the movement to its close."43 The confrontation between human catastrophe and confused beauty represents the tension of the drama which unifies the piece emotionally. A convincingly songful interpretation of the Andante caloroso should rise above the romantic to give a sense of space (stil prolonging ambiguity) and to produce both moods of warm and cold as Prokofiev does best. In this movement unclearly floating between ternary and through composed structures, the emotions grow from the sweetness and desolation of its opening to the ripping desperation of its ostinato, From its origin, through its climax, to its end, the ‘material of this movement grows out of the opening cell (F-sharp-G-G-sharp) which will be referred to as the (a) motive. Andante caloroso PB Example No. 22: Sonata No. 7; 2nd movement, mm. 1-3 43 Eric Roseberry, "Prokofiev's Piano Sonatas,” Music and Musicians (March 1971) ; 4064 This cell functions either as a two-note ascending chromatic interval ora three-note ascending chromatic gesture: when being developed from the original melody (see example No. 23), itis a three-note motive. Poco pit animato a eoprenfee Fb poco 4 7000 aS = aig est SF wre rg 7S" SE" * Example No. 23: Sonata No. 7; 2nd movement, mm. 32-34 As an ostinato in the development of this idea, it is a two-note figure (53-54, 56-59, 62-64, 81-94), G and A-flat (the second and third notes of the three-note motive), are the pitches for the ostinato motive, over the first and the second because they are recurrent in the ostinato areas (transposed to B and C at the first occurrence, mm. 53-63). At measures 56-59 and 62-64 G-sharp-G natural (G-sharp instead of A-flat) are the middle notes of the triad, while from 81-92 they are the top notes of the triad, This interval functions as a unifying device for the entire work as well as in relation to the Eighth. In this sonata, it first appears in the first movement as C-B, a descending interval of a minor ninth as an anacrucis to measure 66. These two notes are extended from the first two notes of the movement (originally a minor second). They reappear in the first measures of ostinato (56- 59 and 62-64) as the upper notes of altemating triads. In the analysis of the third movement, we notice how the three-note motive (F- sharp-G-G-sharp) transposed one half step above (G-G-sharp-A) becomes a recurring statement, Its consecutive occurrences increase the tension as if to resist resolution to the B-65 flat chord which concludes the opening theme at measure 19, ‘This motive is stated five times beginning at measure 6 while also appearing at other places numerous times throughout the third movement. This figure, labelled as the (a) motive, is exploited through the second movement. The second motive (b) at measure 1 is itself a variation of the first (G-sharp - G-sharp - A - G-sharp). This motive also is the basis for the creation of motivic figures in the A section and the "Allegro ben marcato” section of the third movement (see Example No.1). ‘The third motive (c) occurs at measure two as a quasi-chromatic descending figure. Example No. 24: Sonata No. 7; 2nd movement, m.2 Its counterpart at the bass is a chromatic descending figure (see example above). ts meandering unfolding ‘The structural ambiguity of the movement is fitin effectively supports the sentiment of malaise, desperation and tragedy already conveyed by the wavy melodic design of the opening section. The B section appears both as a development (as in a sonata-allegro movement) and as an omamentation of previously introduced material (as in a theme-and-variation movement). Consequently, the form of this movement is a combination of several forms: Sonata-allegro, because of its development, theme and variations, because of the modified use of motives and cells, through-composed, because of its constantly changing material not clearly based on a well66 defined form, and A-B-A, because of the abridged retum of the opening material while the middle section is essentially based on new material although pervaded by the motives of the opening section.C. MOVEMENT II: PRECIPITATO A SECTION: (1-49) 1-19 Theme a 19-45 Theme at 45-49 Fragment of a B SECTION: (50-79) 50-57 Theme b(1) 58-60 Episode 1 60-65 Theme b transposed (2) 66-69 Episode 2 69-73 Theme b transposed (3) 74-79 Transition C SECTION: (79-105) 79-83 Theme c phrase 1 84.91 Theme c phrase 2 91-97 Bridge 97-101 Theme c phrase 1 102-105 Theme c phrase 2 BY SECTION: (105-127) 105-113 ‘Theme b transposed (4) 114-117 Episode 117-119 Theme b transposed (3) 119-127 Transition A SECTION: (127-171) 127-145 Amplified restatement of theme a 145-163 Further amplification of same material 163-171 extension 67 B-flat Beflat B-flat bitonal V of A-flat/C bitonal V of C/E VofE Em chromatic descent to Em Em bitonal V of D/ F-sharp B-flat68 CODA 171-177 scale and arpeggio figurations on tonic Beflat ‘The third movement is a liberating and empowering outcome of the drama which unfolded in the preceding movements. ‘The impression of instability given by the 7/8 time signature is immediately erased because of the obsessive two-bar sequential rhythm which rules throughout the 49 measures of the opening section giving it the force of an unstoppable "machine." Accordingly, Lawrence Chaikin comments: ‘The Machine cannot cease of itself: even Prokofiev cannot stop it. Nothing can stop it save the intervention of a human agency - an agent not present. One thinks of the robot- astronaut of 2001, who suffers only when he assumes "human" characteristies.44 To add to this indestructible force, the tonality of B-flat is established by clear triads, Its tonality is so surprisingly clear in contrast to most of the first two movements that it gives this closing "moto perpetuo” a primitive character. The arch form structure of the movement certainly contributes to its equilibrium and strength. Its toccata-like nature ranks it as one of the most thrilling finales of the piano repertoire. The opening section of this movement in 7/8 time is characterized by a "moto perpetuo" type of articulation in chords on the right hand (mostly in triadic form) and in octaves at the bass. The dualism of the major triad at the top and the minor third at the bottom (notated as an augmented 2nd) is characteristic of the tension produced by the interval of a minor second throughout the movement: The C-sharp at the bass creates 4 Lawrence Chaikin, The Prokofieff Sonatas: A Psychograph," Piano Quarterly 86 (Summer 1974): 14.69 “friction” with the D in B-flat major. ‘The interval of minor second (C-sharp - D) becomes a catalytic device whose pervading dissonance amplifies the tension throughout the movement. This catalytic force is produced in two different ways: harmonically, by means of the minor third atthe bass against the predominant major tonality of the opening section; melodically, by the recurrence of the interval G - A-flat and other intervals of minor second. atall times in the movement. The ostinato effect is present throughout the movement by virtue of the chordal and octavial texture, the detached articulation and the clearly defined rhythm grouped in two-three-two eighth-note sequences. Precipitato(4.) fetta Faz Example No.25: Sonata No.7: 3rd movement, mm, 1-4 ‘The melody moves upwardly using mostly the diatonic scale in stepwise motion (1- 10) An important feature in the unfolding of the A theme is the stagnant sequence whose repeated short chromatic upward motion intensifies the process toward the resolution at measure 19.om aay eee ee ee eye of : wi F wie F ct val Example No.26: Sonata No, 7; 3rd movement, mm, 11-14 ‘The friction between A-flat and G appeared earlier in the first movement as a minor ninth (C-B) of the (e) motive (pick up to measure 66). In this movement, itis central to the chromatic elements of tension working against the diatonic frame. At measures 11-15, the chromatic cell is a three-note figure (G - G-sharp - A) which recalls the opening motive of the second movement (F-sharp - G - G-sharp). ‘This motive is stated five times in the A section, beginning at measure 6 while appearing many more times at the center or bottom note of consecutive triads. Beginning at the pick up to measure 50, itis the only moving line at the right hand accompaniment of theme b. The same motive is exploited throughout the second movement either as a 1wo or three-note motive. Itappears as a two-note ostinato motive at measures 53-54, 56-59, 62-64, and 81-92. At measures 27 and 30, it amplifies the tension contrapuntally.71 ‘Example No. 27: Sonata No, 7; 3nd movement, m. 30 fnarcate Example No. 28: Sonata No. 7: 3rd movement, mm. 60-61 Whereas the B section is bitonal in its theme phrases (Example No. 28) and. ‘extended tonal in its episodes (Example No. 29), the opening of the C section is strongly tonal. Its melody, stated "non-legato" by the left hand, articulates the three-note chromatic ‘gesture at the foreground. This time, the pitches are transposed one half step below the original motive (F-sharp - G - G-sharp) of the second movement.WZ) Example No. 29: Sonata No, 7: 3rd movement, mm. 80-81 ‘The tritone relationship established between the second and outer movements is reproduced on a smaller scale within this movement since the C section, center ofthe arch form, is itself in E minor. The C section is followed by a retum of B whose restatement of theme bis again transposed. This section is abridged with only two statements of the theme, the second being in the same key as the last statement in the original B section (V of E). The transition to the return of A, however, brings back the opening material in its original key of B-flat although the tonality of the last statement of the b theme could have logically resolved to E. This is an event of amplified and amplifying tension by means of the tritone relationship, itself a sign of instability and stress. The quasi-pointllistically magnified restatement of the a theme is one of the most impressive displays of toccata-like piano style.73 Example No. 30: Sonata No, 7; 3rd movement, mm. 145-150 ‘The range of the entire keyboard is used while the extension of the theme (163-171) initially moves the B-flat to the role of a minor seventh at the bass in the key of C. At measure 168, the right hand vehemently articulates a fourth note dominant chord of B-flat in first inversion, while the bass articulates B-flat octaves altemating with the Neapolitan 6th chord in the same tonality. It finally resolves at the downbeat of measure 171 (Coda) to Beflat, The tonality of B-flat is powerfully affirmed by an ascending motion of the triad from the bottom to the top of the keyboard.74 IV. SONATA NO. 8 IN B-Flat, OP. 84 ‘The Bighth Sonata, perhaps the most introspective of all nine, is as elaborate in its overall scope and in its developments as the Seventh is concise. Texturally, their differences are just as conspicuous. As the Seventh seems to have grown into the twentieth century language from the heritage of the eighteenth century harpsichordists with its linear, clear and articulate texture, the Eighth exploits the means of the instrument to the extent of its limits, Itreflects the transparent style of the classicists, monolithic masses of sound typical of twentieth century music, sonorities of Romantic aesthetics, and quasi impressionistic moods and textures. All of this contributes to render the sonata its symphonic scope and its pianistic wealth. Its differences as well as its similarities with the Seventh Sonata could be regarded as relationships within an ongoing drama. A clear illustration of this is given by Lawrence Chaikin: Of all Prokofieff's sonata-movements, this initial "Andante" of the Eighth Sonata is the most difficult to understand, but a successful interpretation could be better ensured if the pianist ‘imagined that the Seventh Sonata had just been performed; in this way, the pianist ushers himself into the proper mise-en- scene,45 In his "Master Class" article on the Eighth Sonata, Tedd Joselson describes it as "a prime example of the sonata-allegro form."46 In the key of B-flat major, this three 45 roid, 15. 46 Tedd Joselson, "Master Class. Prokofiev's Sonata No. 8," Contemporary Keyboard 4 (November 1978): 87.75 ‘movement work is the most tonal of the War Sonatas. In this respect, it contrasts strongly with the Seventh, The form of the first movement, as mentioned by Joselson, is typical of the classical sonata-allegro form, As discussed in the analysis of the Seventh Sonata, the shape of the sonata-allegro form is slightly modified to accommodate the evolution of the drama. The dramatic content, itself a reflection of the inner and outer conflicts of the war, is physically unstable, Although conceived in the last phase of the war, the Eighth Sonata represents an after-war time where intemal conflicts might remain but the outer world is reaching appeasement. ‘The balanced structure of its first movement reflect its aspiration to order and peace, while the symmetrical unfolding of its third and final movement tends to comfort the listener on a newly-found solid ground. The remote gentleness of the second movement, in rondo form, is now devoid of the anguished intensity of the "Andante caloroso" of the Seventh Sonata, so as to suggest that the dreams of peace are soon to be realized. Prokofiev's classical approach in this sonata is a model of the genre, To illustrate this point, Eric Roseberry describes the composer's classicism in regard to movements: For his outer movements, he favored sonata and rondo, with a strong predilection for the cyclic unification in the finale of his material (Nos. 2, 6, 8, and 9). In the inner movements almost anything may happen ~-these pieces are as diversely conceived as anything in Haydn, (Unlike Haydn, however, Prokofiev's characteristic contrast of gait was the "Andante": he was not an "Adagio" composer, preferring to avoid the kkind of profundity traditionally associated in it).47 47 Brie Roseberry, "Prokofiev's Piano Sona,” Music and Musicians (March 1971): 39-40.16 A. MOVEMENT I: ANDANTE DOLCE (Sonata-allegro form) EXPOSITION (1-89) 1-34 _First Theme Group (a) B-flat 1-9: first period (al) 10-17: second period (a2) 18-25: third period (a3) E-flat 26-34: first period (a) 35-60: transition 46-47; restatement of first 2 measures of (a) unstable 50-51: transposed 61-83 Second Theme Group (b) G minor 84-89: codetta B major DEVELOPMENT (90-205) 90-140; drawn from transition, first theme group and consequent phrase of 2nd theme group (79-82) G-D-A-F-sharp minor 141-196: derived from: a2 (141), al (155+165) G-sharp minor- F-sharp minor also second theme group (169) E and minor second cell (at bass, 163, from 7th Sonata)‘ B/ B-flat /G minor 196-208: retransition using codetta material RECAPITULATION (206-261) 206-230: First Theme Group B-flat 231-244: transition 245-260: Second Theme Group B-flat minor CODA (261-297) 261-285: material from development (broken chord material from exposition) unstable, modulate to B-flat minor 286-297 Cadence Beflat77 ‘The opening theme group of this "Andante dolce” introduces "phrases of ‘Wagnerian length."48 These 34 measures are an impressive example of Prokofiev's gift to sustain long and slow-paced melodic lines with an intensity and a lyricism that never weaken. This group introduces four periods, the fourth one being the restatement of the ‘opening period (a1) thus giving the second (a2) and third (a3) periods the characteristics of expansion from the opening statement, Both statement and restatement are built in two four-bar phrases connected by a parenthetical one-bar link at measure 5, The uneven nine- bar count of this opening period and of its restatement (26-34) gives it a floating quality as well as an expanded scope which would be missing with the traditional four-bar phrase. Andante doles (iL Example No. 31: Sonata No. 8: Ist movement, mm, 1-9 48 Tedd Joselson, "Master Class. Prokofiev's Sonata No. 8,” Contemporary Keyboard 4 (November 1978) : 87.78 ‘The arch-shaped period of the first theme group (al, in the key of B-flat) features a darkening of sonorities with a temporary downward motion to the key of G-sharp minor at measures 7 and 8, In the second period (a2, 10-17), the tonality of B-flat shifts to C (m. 11) and an F-sharp dominant seventh harmony (m. 12) through a chromatic, meandering bass line, to resolve back to B-flat at the close of each of its two four-bar phrases. ‘The second phrase is an embellishment ofthe first through its contrapuntally developed accompaniment in triplet figures. The third period in E-flat also unfolds as two four-bar phrases, both punctuated by a full cadence in E-flat, Similarly to the second phrase of a2, the second phrase of this period is embellished by a contrapuntal accompaniment in triplets. ‘As a whole, this first theme group is structured according to an A-B-A format where the center comprises the second and third periods, both in square phrases, which strengthen its monolithic scope. Characteristic of the extensively developed treatment of this movement, the poco piu animato transition (mm. 35-60) connecting the first theme group to the second is itself developmental, It foreshadows the quasi whole-tone passage in sixteenth note counterpoint combined with the descending figure in broken chords of the development (mm. 92-97, 107-111) at measures 42-49, The descending figure is first introduced in augmentation to begin the transition (compare Ex. 29 with Ex. 32). ‘An interesting feature is found in the first three notes of the transition (A - B-flat - B) at the treble (m.35), where the ascending half-step motion is a "flashback" from the ‘opening three-note motive of the Andante caloroso in the Seventh Sonata. In this context, the motive does not attract attention because its third note does not coincide with a beat. Instead, this three-note cell functions as a gesture to D while the chromatic use already suggests the formation of a triad.79 Poco pit animato Py) ” ie 7_* | Example No. 32: Sonata No. 8: 1st movement, mm. 35-36 Another developmental characteristic of this transition is found where the two ‘opening measures of the movement are restated at the bass (mm. 46-47 and 50-51) in transposition. aor eee ee Sonata No. 8: 1st movement, mm. 46-47 Example No. 33: ‘The harmonic movement of this transition is extensively active and unstable. Yet some temporarily defined tonalities occur at measures 35 (G), 40 (F minor), 44 (D), 48, (©), and 52 (&). Within the first sub-section (35-42), the modulations are achieved by chromatic bass movement and chromatic displacement of the upper parts. Beginning at measure 44, the second sub-section (42-51) exploits the descending broken triad figure80 ‘modulating over a two-measure span, alternating with a two-measure reference to the ‘opening period of the first theme group. ‘The third and concluding sub-section (mm. 55-60 preceded by anacrucis) resumes to an "Andante" whose intensity is however more dramatic and less “dolce” than the opening indication of the movement suggests. Although the descending figure of this sub- section presents some similarities to the second period of the first theme group (m. 10), their intervallic differences set them sufficiently apart to rule out a true relationship. Thus, this closing section will be considered new material used later as connecting material in the high point of the development section. ts harmonic function is to lead to the tonality of G minor at measure 61, where the second theme group begins. ‘The second theme group (b) at measures 61-89, is in the key of G minor and features a modification of the (c) motive from the first movement of the Seventh Sonata as an underlying device over which floats the newly introduced subject, itself ethereal in nature. This modified motive functions at the harmonic support for the new subject while its falling minor ninth is quoted from both the anacrusis of the (e) motive and the ostinato figures in oscillating minor second of the "Andante caloroso” of the Seventh Sonata, dotee Hoos saa « F Example No. 34: Sonata No, 8: 1st movement, mm. 61-6381 ‘This theme group unfolds in three six-measure phrases. The second ending is a half cadence leading to the restatement of the opening figure (at m. 73). The material from the closing "Andante" of the transition is restated at measures 78-83. ‘The section is further closed by a six measure codetta in the key of G major (mm. 84-89). At measure 67, the (c) ‘motive from the first movement of the Seventh Sonata is restated vehemently featuring the falling interval of a minor ninth in the key of E-flat minor. Marked by an "inquieto” indication, the "Allegro moderato” development suggests a ‘phase of instability which is rather an after-thought to the physical machine-like unstable forces of the Seventh Sonata. This time, the long breathing melodic shapes of the opening "Andante dolce" have penetrated the falling triadic figures and the meandering arpeggiations in sixteenth-note activity of the development section. In this section, the reference to previous material is more often thematic than motivic, The principle of augmentation is often used as a means of intensification at high points whereas at earlier phases (mm.100- 107, 116-123), the augmentation is an illusion: it compensates for the tempo change. The material was originally introduced in context of an "Andante dolce", whereas the "Allegro moderato” signifies approximately a tempo two times quicker than the "Andante." ‘The first sub-section (90-140) reintroduces material from the transition (mm. 42- 45) for its contrapuntal accompaniment, (see Ex. No. 35 mm, 92-95) and material from the exposition (al, a2) for the expansion of its themes.Example No. 35: Sonata No. 8: 1st movement, mm. 92-95 yp aret Example No. 36: Sonata No. 8; 1st movement, mm. 100-101 One exception, however, appears at measures 133-137 where the thematic material from the "Andante" section of the transition is restated forcefully. The arpeggiated upward figures at measure 100 are an expansion of the more compact ascending contrapuntal line at measure 92. Such expansion goes along with the broad and long arch shape of the thematic material at measure 100 (see Ex. No. 36).83 ‘The first phrase of the (c) period (18-21) is restated in notated augmentation (and not slower) in the key of G major at measure 100, whereas the second phrase of the same period reappears at measure 116: both times under active sixteenth note passage work, including the material from the transition already mentioned or its derivation. In the first phrase, the tonality is G, as the two introductory measures of the development suggested; the second phrase is stated in the key of A. At measure 130, the texturally intensified passage in falling triads moves from C-sharp minor to B minor and back, At measure 133, the falling figure from the "Andante" section of the transition (56) appears ambiguously as the dominant seventh chord in C-sharp minor or the second degree triad in F-sharp minor. As the next sub-section of this development begins at measure 141, the resonance of the preceding F-sharp minor harmony is now perceived as the seventh degree leading to G- sharp. The quarter-note rhythm of the following subsection at measure 141 is previewed by a restatement of the opening four-note gesture from the transition (54-55). ‘The second subsection at measure 141 introduces material from the second period of the first themne group. Its unfolding is articulated as a contrapuntal line of quarter notes stated in a loure~ type fashion. Two similar episodes at measure 155 and at measure 165 feature transpositions from the opening two-measure phrase of the movement, At measure 141, the counterpoint at the upper line moves down one octave every two measures on the even numbered measures of each four-measure phrases. The first and second phrases (+4 49- measures: 141-148) form a period as do the third and fourth phrases (4+2 measures: 154), Each new sequence begins at a higher pitch than the previous one: the pitch relationship between the paired four-bar phrases is a rising minor second. The same procedure is applied to measures 159-164.84 ee * Example No. 37: Sonata No. &: 1st movement, mm.141-144 At measure 149, the quarter note figure is duplicated two octaves below in augmentation, thus intensifying the drama of the section, ‘This material is further intensified at measure 159 with an augmentation of the same source in minor 9th-octave figures combined. Example No. 38: Sonata No. 8: 1st movement, mm.159-160 ‘These combined intervals constitute cross references to material throughout both sonatas. The following list of examples will summarize these references at this time (refer to appropriate examples):85 ‘USE OF THE MINOR NINTH / MINOR SECOND MOTIVE IN THE SEVENTH AND THE EIGHTH SONATAS Sonata No.7 First Movement: Second Movement: 24-27 (right hand: G-F-sharp + left hand) 66 (with pickup: C-B) 90 (D-sharp-E) 163 downward leaps in minor ninths in development 168 all four-note chords atthe right hand 234 (right hand chord: G-sharp - A) 257 (both hands: C - D-flat, D-flat -D) 397 (both hands: B-C) 405 (both hands: B-flat - B) ‘opening gesture (and similar ones throughout the movement); ostinatos: mm. 53-54, 56-59, 62-64, 81-86, 89-94 ‘Third Movement: (A) section (both hands: major-minor triad: C-sharp / D plus frequent (almost constant) recurrence throughout the movement. Sonata No. 8 First Movement: 61 Second theme group; at the accompaniment (and in corresponding section at the recapitulation) Second Movement: ‘Third Movement: At Allegro ben marcato 134 (right hand) 159 (left hand) 170 (bottom staff) 183-186 (B - B-flat) 187-190 (G-sharp-G) 73 (both hands: G - A-flat) 9 BC) 32(E-F) 79(B-C) 107-344: throughout the section 107-208 as a 3-note figure: A-flat - G-A-flat 209-342 as a 4-note figure: A-flat- G-G -Acflat 359 (D-sharp - E) 367 (EF)86 441 (A - B-flat) Both periods (142-154 and 159-164) are interrupted by a four-note phrase featuring the two opening measures of the movement in augmentation spread over four measures. In the quarter-note phrases the harmony moves down chromatically while the long-held bass notes proceed similarly. A reference to the opening theme with its arch- shaped melody interrupts the descending motion (155-158 and 165-168), intensifying it at the accompaniment by means of a series of ascending and descending chromatic figures themselves punctuated by long-held notes on the downbeat, thus paralleling the arched shape of the melody. “Measure 169 introduces an amplified restatement of the second theme group. This time, its augmented form is perceived in performance, not only in notation: the broad use of the range of the instrument combined with the thick bass chords contribute to the more static character of this high point in the development, thus producing an effect of augmentation. This moment is stretched further at measures 178-183 to gradually intensify into the triple forte (“Andante”) subsection, which is the most massive point in the development. < minor 2rd z Zz Example No. 39: Sonata No, 8: Ist movement, mm. 183-18487 ‘These gigantic masses of sound diminish to pianissimo within one measure (190) at which point one can hear the drumming on the field as if it might have been rolling all along unheard and overpowered. At measure 196, the codetta (modified from 84-89) intones a static incantation with a recurrent falling third (F-sharp - D) stated at every measure and finally settling motionless on its lower note, which will be surprisingly revived as the opening melodic note at the recapitulation.88 Example No.40: Sonata No, 8; 1st movement, mm. 196-199 ‘Anew articulation of the ostinato motive later developed in the third movement (209-242) is foreshadowed by the rhythmic design of the codetta at the lower part. Example No. 41: Sonata No. 8: 3rd movement, mm. 208-209 ‘This motive is a derivation of the ostinato motive introduced in the second ‘movement (B section) of the Seventh Sonata. The appeasing harmonic descent proceeds one chord per measure and moves down one minor third each time. ‘The structure of the chord is a major altered seventh (the augmented fifth suggests a combination of whole tone and diatonic harmony with the major seventh). ‘The chord progression comes to a stop at measure 203, resolving to a second inversion of the triad in E major, and allowing a further whole tone descent at measure 205, thus leading to the B-flat bass of the recapitulation.89 ‘The significance of the recapitulation is that of a memory, not of a restatement. The quiet resonance of the first theme is now the reflection of an emotional and physical exhaustion, followed by the conflicts of the monumental development. Consistent with this perception, the abridged return of the first theme group seems to suggest that it does not carry enough energy to restate the opening period (a), or that it just drifts into the transition, Thus, the recapitulation vanishes into the sounds of the transition (231), whose reappearance in the key of E-flat bears a "Liistesso tempo” indication. Set two octaves apart, the doubled descent of the triadic figure creates a magical sense of space and suspension in time, “The harmonic procedure of this transition leads appropriately to the second theme ‘group, in the tonic minor key. To set the mood of this reflective moment combining the abridged transition and the abridged retum of the second theme group, Prokofiev does away with the contrapuntal sixteenth note material noted in the earlier transition. ‘Additionally, without waming, the coda (261) breaks in to function as a startling event. This would not be produced effectively if the sixteenth-note material had been restated in the transition, In addition to not being as effective, such a procedure would give the coda the character of a development. Prokofiev's planning does not allow the coda, although developmental, to come across as a second development. ‘The sixteenth-note figures from the transition of the exposition are now re- developed in this dazzling ending, itself reminiscent of the keyboard style of Domenico Scarlatti. It is important to note that the passage work no longer functions as mere ‘counterpoint or accompaniment for the restatement of themes. It has now become the major activity while everything else is a harmonic support or reinforcement of it. This new use of sixteenth-note passages brings reaches levels of devilish activity not reached in the exposition, The tonality is even more unstable than in similar passages in the development. It, however, becomes settled at measure 281. At that point, the right hand defines the B-90 flat minor triad meandering in inversions and root position, thus conflicting with the chromatic movements of minor triads atthe left hand, ‘The left hand pattern is articulated in sixteenth notes by the fifth of the triad alternating with the middle note. This diatonic / chromatic superimposition of material at both hands creates a conflicting effect in spite of the affirmation of tonality at the top line, as if the chromatic forces were still trying to deny the victory marked by the resolution, Descending scale figures punctuated by a low B-flat demonstrate a forceful insistence, fighting an imaginary resistance to resolution. Two scales, rising over a span of a minor ninth are a recall of the chromatic instability, seemingly resisting the resolution one last time, at measures 292-297. The movement concludes in a complex harmonic progression moving to the treble and resolving to a simple B-flat triad in root position, thus being a counterpart to the driving gesture closing ut the first movement of the Seventh Sonata.91 B. MOVEMENT II: ANDANTE SOGNANDO (modified rondo form, 81 measures) A SECTION (1-16) 1-8 (@) theme Deflat 9-16(a) theme D B SECTION (17-26) 17-26 (b) theme B-flat A SECTION (27-34) 27-34 retum of (a) D C SECTION (35-46) 35-42 (c) A 43-46 (c) Acflat A SECTION (47-56) 47-56 (a) theme Deflat C / B SECTION (57-65) 57-65 (c) with (b) theme Acflat A SECTION (67-73) 67-73 (a) theme with extensions as transitions (73-77) Deflat CODA (78-81) 78-81 (a) material modified Deflat ‘This movement carries the listener to a sphere “removed from solid ground”. Bearing the unusual indication of “sognando” (dreamy), it defines a gentle pulse between a92 ‘minvet and a light waltz, The key of D-flat intensifies the color, following the darker and solid B-flat tonality of the preceding movement. With little exception, the dynamics of the ‘movement range from pianissimo to mezzo piano, The rare mezzo forte or forte moments are always stated in a lyrical context, as exemplified by the “forte ma dolce” indication at measure 52. The movement unfolds in a modified rondo form of quasi-symmetrical proportions. Prokofiev's fondness for experiments with developmental techniques seems to lead him to work out developments within any type of structure, Thus, ambiguity was created in the “Andante caloroso” of the Seventh Sonata, in which the B section appears developmental. In this movement, he temporarily produces a similar effect by creating an additional ambiguity between rondo form ternary form that causes the B section, in the ternary form, to come across as a development. In attempting to define a ternary design, the three sections would be grouped as follows: A (a-b-a) B (c-a-b/e) A (a-coda). The existence of (a) and (b) material in the B section, including the superimposition of both (b) and (c) material, is an indication of developmental technique. However, the temary design does not work because of the regular recurrence of (a) throughout the movement. Additionally, the rondo form is modified because of the returns of (b) and (c) combined in the B section. ‘The two recurring pitches in the opening theme were central to the motivic development of the Seventh Sonata and to its connection to the Eighth. Set as an ostinato figuration in the “Andante caloroso” of the Seventh Sonata, it bears here a gentle shape defining the sognando and dolce character of the melody. Toward the end of the movement, the oscillating motions of G and A-flat will at last stabilize on A-flat at measure Th93 Andante sognando dolce Example No.42: Sonata No, 8: 2nd movement, mm. 1-4 ‘The opening melody is simply supported by repetitions of the same octave sequence in quarter notes on the tonic and dominant degrees. At measure 9, the same melody is reproduced in D (one half step higher), while the accompaniment in octaves is now articulated on the offbeats, An inner voice, defined by the movement of the lower pitches of the triad, moves chromatically and more independently than at the first statement of the melody. Instead of an expected dominant chord in the key of D, the (b) theme shifts to the dominant of B-flat. Despite the key signature which indicates the F major tonality, the F in the bass is clearly the fifth degree of B-flat, since the F triad resolves to the B-flat triad in second inversion at measure 18. The tonality of F is achieved at measure 25 by an irregular cadence at measure 23: the upper third (C-sharp - E) of the A major trad is modified toa major triad (C-E) indicated by the C bass, thus sounding as the dominant chord in B-flat (see following example). Having mentioned earlier the lighter and brighter mood created by the D and D-flat tonality as opposed to the dark B-flat of the previous movement, one observation should be noted: the F tonality at measure 25 is a misleading indication that it94 will function as the dominant chord in B-flats at measure 27. This is significant because of the difference in color between the first and the second movement. The surprising resolution at measure 27 is as unexpected as the harmonic movement was at measure 24: dim. aN Example No. 43: Sonata No. 8: 2nd movement, mm 24-27 ‘A careful examination of tonal relationships during these measures shows measures 25 and 26 as a temporary deviation from a normal cadence which would flow logically from the A major triad of measure 24 to the down beat at measure 27. A B-flat resolution would suggest a darker, more grounded upcoming moment than the quasi-ethereal D major retum of the A section. In contrast to such anticipation, the A section experiences an even greater sense of flotation than the original statement of it. This is achieved by a wider use of register, the absence of tonic bass at the downbeats, and a “wavy” accompaniment proceeding with wide intervals (27).ee) ‘The C section at measure 35 is introduced in the dominant minor. It consists of a falling figuration in sixths and thirds smoothly shifting to the key of D at measure 37: [Ptranguitio 41 5 - Example No.44: Sonata No. 8; 2nd movement, mm. 35-37 Measure 38, unfolding an ascending arpeggio in E-flat, functions as the dominant of A-flat. An extra half step at the top of the arpeggio raises the expected resolution back to ‘A minor. This procedure contributes to extend the floatation of this ethereal section. A similar figuration is doubled one octave above at measure 39. The anticipated A-flat modulation is now realized at measure 43 in the minor mode, while the left hand doubling breaks the double notes into single sixteenth notes, thus increasing the effect of lightness as if to compensate for the slightly stronger dynamics. On the third beat of measure 45, the A-flat harmony functions as the dominant of D-flat. The resolution occurs with one attempted restatement of the A section in its original tonality at measure 49. Consequently, the two extra measures (47-48) could be informally labelled as an anticipation (versus an extension). The A section at measures 49-56 is treated in imitation with the addition of sixteenth note counterpoint. The use of imitative counterpoint temporarily conveys a more present, active and, indirectly, expressive meaning to this otherwise ethereal section.96 ‘The following section revolving around the tonality of D-flat, combines material from the C section (in the second half of both four-measure phrases) with the return of the B section. At measure 65, a one-measure extension leads to the last return of A. The broad scope of the writing style beginning at measure 66 creates a sense of space and stillness as to suggest that alls now in a dream, ‘The accompaniment features overlapping, descending eighth notes in octaves on A-flat resonating through the theme, thus producing an impression of transparency. Example No.45: Sonata No. 8; 2nd movement, mm. 66-67 ‘The intensification of A-flat tums into an oscillation between A-flat and G, now a much quieter activity than the ostinatos of the “Andante caloroso” in the second movement of the Seventh Sonata, At measure 78, the coda uses the two first measures of the A. theme, featuring a descending scale unfolding in sixteenth notes. For the first two ‘measures, the scale proceeds in diatonic steps, while, with the chromatic displacement of the harmony at measure 80, it moves quasi-chromatically. At measure 81, it cadences to D-flat by means of a bass movement that approximates the standard U-V-I cadence. The second degree, however is altered from E-flat to E-natural, thus extending chromatic ambivalence to the end, The movement of the two upper parts proceeds in contrary motion: at the top the leading tone regularly moves up to the tonic, while the middle part moves97 from a lowered second degree (notated as D instead of E-double-flat) moves down to the D flat an octave below. The contrary half step motion represents two features in the ‘movement: the half-step ambiguity and instability in tonalities and resolutions at cadence points; and the motivic half-step relation as a cross reference between movements in both the Seventh and Eighth Sonatas.C. MOVEMENT II: VIVACE (Rondo form, 489 measures) A SECTION (1-42) 1-22 (a)theme: 2 periods and 3-bar extension 98 B-flat / G-sharp minor 22-38 modified return of (a) F/B-flat/ C-sharp minor 38-42 transition VofB B SECTION (42-84) 42-62 (b)theme: 2 periods, altemating B/ A-flat minor /F-sharp minor 63-70 (b)theme material B 71-78 episode C/B/Bminor 79-84 (a) material as transition ‘A SECTION ((A) section, modified and abridged, 85-106) 85-100 retum of (a) material Beflat 101-106 transition C SECTION (107-366) 107-208 (e)theme Deflat 208-288 rhythmic modification of (c) Deflat 289-342 cyclic return of second theme group; theme from Ist mvmt. / with C D-flat 343-358 episode: (b) material (from second period) Em /Cm /G-sharp minor 359-366 (a) material as transition G sharp minor A + A! SECTION (367-403) 367-403 2nd period of (a) C-sharp minor /E-flat/ B-flat modified return of A B SECTION (404-441) identical return of B section transposed (only modified at 425-432) E/D-flat/A minor99 CODA (441-489) developmental 441-489 2nd period of (a) Bitonal G-flat minor/ B-flat minor: 449-458 (a) material modified and developed (Ist period) B-flat 458-465 variation on Ist period of (a) 466-473 inversion of 1st period of (b) Beflat 474-485 further variation on Ist period of (a) B-flat 486-487 quote from 2nd period of (a) B-flat minor 488-489 (c)motive from Seventh Sonata B-flat In the midst of the tarantella-like opening section of the third movement, reminiscent of late baroque harpsichord style, and the Bartok-like ostinatos of the middle section, one can hear quasi-impressionistic elements such as Scriabin-like harmonies (‘Andantino” section). Yet the integration of the material into a scheme of classical conception gives this movement a sense of unity where tradition and twentieth century techniques can cohabitate. This style is characteristic of Prokofiev's last movements (i.c., Second Sonata, 4th movement; Third Sonata, recapitulation; Sixth Sonata, 4th movement). Compared to the first and second movements, the motivic manipulation in the third movement of the Eighth Sonata is considerably more active, especially with respect to the “Allegro ben marcato”, This section brings back motives from earlier movements from both sonatas. Asa whole, the movement also combines both cyclicism and motivic relationships. These often occur as cross-references to the previous sonata. ‘The tarantella-like opening figures of the A section (fist period) are articulated in fast eighth-note triplets beginning on the root triad. The lower third of the B flat triad in +00t position moves chromatically up a major 2nd to the root position. This figuration indicates the strongly tonal activity which characterizes the movement. The “vivace”, tarantella-like keyboard style of the opening A and B sections launches the movement with an "in-flight" direction.100 Example No.46: Sonata No, 8: 3rd movement, mm. 1-3 ‘This contrasts both with the preceding dreamy “Andante” and with the heavily grounded “Allegro marcato”, itself central to the third movement. ‘The second period in G-sharp minor (measure 9) is articulated in duplets over one four-measure phrase, its restatement being extended by two measures leading to-B flat. A return of the first period at measure 22 reveals the preceding three measures of extension in Beflat as a deceptive return to the tonic. The E natural at measures 20 and 21, initially perceived as a dissonance, signifies that a V-I cadence is intended while the 6/4 chord on the second and fourth beats temporarily deny the resolution. ‘At the beginning of the movement, both phrases give the period an antecedent - consequent meaning. This time, the second phrase departs from its original material after two measures to proceed in ascending-descending scale fashion, defining a deceptive cadence: the ascending scale is articulated on the dominant of E flat while resolving to B ‘minor at its high point.101 Example No.47: Sonata No, 8: 3rd movement, mm. 26-28 ‘This procedure is characteristic of Prokofiev's use of harmonic movement: such a resolution creates a tritone relationship to the original key of B flat, while in relation to the “expected” resolution, it signifies a chromatic ambiguity. Thus, itrefers this practice to the use of the minor second, which pervades much of the material of both sonatas. An abridged return of the second period (32) seems intensified by the repeated scales leading to it, ‘A brilliant transition in the dominant of B-natural, featuring triplets in both hands, leads to the B section in the tonality of B major, thus giving it a minor second relationship to the A section, Itis of interest thatthe triplet figurations of the A and B sections proceed in opposite directions. Example No.48: Sonata No, 8: 3rd movement, mm. 42-44102 ‘The falling triplet design gives this section a more "heroic and heavier virtuosity, in contrast to the “flying,” dazzling character of the A section. The dynamic indication is “forte expressivo,” which contrasts with the "piano” opening period of the A section. The second phrase at measure 49 continues at the same dynamic level while the forte is reiterated without the “espressivo” indication. A rising arpeggiated triplet figure in the accompaniment creates more driven motion, lifting the "weight" off the ground. Moving against the triplet, the duple figures at the upper part produce an intensification of the melody. At measure 52, only the first four measures of the first period are restated, leading to the second period in F-sharp. Measures 3 and 4 of the first period are modified by a chromatic descent of the melody. The last two measures of the second phrase (69-70) repeat the first two steps of the chromatic descent (D-flat- C), thus resolving to an etude- like episode in C and B, beginning at measure 71. At measure 79, the transition features ‘material from the recurring (a) theme in the key of C-sharp minor, whose seventh degree ), in the natural minor mode, moves deceptively to B flat (not C-sharp) for an abridged returi of A, thus closing the “moto perpetuo” section (A-B-A’) and leading to the obsessive “Allegro ben marcato” section. One observation in regard to the broad structural perception of the movement is the ternary structure which stands clearly defined by contrasting textures: the “moto perpetuo” section (A-B-A') may be labelled as a large A section; the “Allegro ben marcato” (the C section in the methodical outline) may be stated as the B section; and the A-A' sections, combined with the final return of the B section may be regarded as the return of A. ‘The six measures of transition to the C section announce the change of texture by means of accenting the down beats of each measure, At the upper part, the recurrence of the A flat in octaves on the second half of the measure and sounding into the next one increases the force of the heavy rhythm. The A-flat gradually announces itself as the dominant modulation to the D-flat tonality of the “Allegro ben marcato”. Note the tonal103 relationship with the second movement, also in D-flat The relationship is one of contrasts: both (the second movement, and the “Allegro ben marcato” section) function as sections remote from their surroundings. The “Allegro ben marcato” contrasts with the vivace sections by means of its unrelated tonality, articulation, rhythm and texture. The “Andante sognando” shines as an oasis removed from, yet physically central to the outer movements. ‘Additionally, the enormous contrast between the “Allegro ben marcato” and the Andante nity is achieved between sognando could not be total: there still had to be a relationship: seemingly opposite moments in the sonata, The use of the same tonality and time signature, combined with a strong motivic connection, contribute to connect the “Andante sognando” and the “Allegro ben marcato” as much as their spheres of mood set them apart. ‘The obsessive beat is marked relentlessly throughout this section, while the static A flats form a motivic feature with the neighboring G every two measures. This static pitch ‘occurrence constitutes a spectacular contrast to the thrilling passage work in scales and arpeggios of the large A section. In different ways, it also represents a contrast with the supple and flowing lyricism of the second movement. Motivically, the second movement hides in its theme the three A-flat-G-A-flat pitches which are central to the development of this section (Example No. 39). The same figure is featured more clearly toward the end of the second movement ,where the two pitches alternate, thus gently recalling the disturbing ostinato from the second movement of the Seventh Sonata. In the present section, this motive is first introduced as a three-note figure, then as a four-note figure, beginning at measure 208. the figuration at measure 107 is developed and dynamically amplified through measure 208. The modified material, now articulated as a four-note motive (A-flat-G-G-A flat) carries through to the end of the section proper at measure 342. In the first subsection (to measure 208), the static line alternates with phrases featuring ascending scale-like figurations at the lower part, beginning and ending on A-flat.104 Allegro ben mareato ff P ge vst Example No.49: Sonata No. 8: 3rd movement, mm. 107-115 In contrast to the previous subsection, the four-note motive beginning at measure 208 is first articulated at the upper part. Now fortissimo, it appears agitated. For the first time in the section, the harmony changes at the bass, by means of descending intervals of a tritone, followed by two major thirds in long held octaves stabilizing on G-flat, and at the treble by ascending chromatic displacement. z f=] z SS Ea Ne pe Example No. 50: Sonata No, 8: 3rd movement, mm. 208-215105 Having shifted to the bass at the pick up to measure 226, and now marked loudly in ‘octaves, it becomes ominous. Its threatening ostinato quality will continue and amplify to the end of this section, at measure 342, At measure 289, the “Pochissimo meno mosso” indication suggests a slight enlargement of the tempo and perhaps the mood, just enough space to let a dreamy vision from the second group of the first movement appear. This is the one true cyclic recall ofthe sonata because itis represented by the unexpected ‘occurrence of a theme. Alll other relationships and cross references are achieved by the manipulation of motives or cells which do not carry the scope of a thematic idea such as the present of From 13F movement TSeimo meno Toss ttt Example No. 51: Sonata No, 8; 3rd movement, mm, 289-296 ‘The cyclic occurrence does not seem to be affected by the articulation of the obsessive bass: they can not identify each other's reality. One element lives in a dream of ethereal and gentle vision, the other is a representation of a frightening reality. This moment is the strongest of the movement because the juxtaposition of these two disparate ideas creates powerful illusions and implications of meaning resulting in a magical effect. ‘The transition to the return of A introduces an episode in E minor (343-358) with Scriabin-like qualities. Now, the air has ben cleared of the relentless ominous beat of the106 “marcato” section, Nothing remains from it. Instead, period 2 from the B section has already resurfaced. Following a harmonic progression in double notes and ascending in two-note sequences, by intervals of minor seconds, itis now intensified at measure 355, now in the key of G-sharp minor. Nearly two octaves higher than the opening occurrence, itis indicated “forte espressivo” and accompanied by a broadly arpeggiated triplet figure. ‘The “Vivace, come prima” indication at measure 359 functions as the decisive transition to the condensed retum of A. ‘The A section initially omits period 1 of (a) at measure 367. ‘Then, at measure 380, period 1 retums for the first time in identical form to the opening statement of the movement. Clearly, Prokofiev has inverted the two occurrences of the periods, giving a symmetrical shape to the related material. The repeat of (a) material in ascending / descending scales (from 26-31) is here used as an extension leading to the closing phrase of the first A section (93-100), only this time it leads to an identical return of the B section transposed, instead of Jeading to the C section. Introduced by material from period 2 of (a) at measure 441, the coda presents some highly developmental features. In fact, the third movement, although expansive by virtue of its wealth of material, does not feature much development of material other than by means of restatement and manipulation. It does not use techniques of expansion or real transformation until the coda is reached. A first ‘example of transformation is introduced at measure 449, when the "tarantella” triplet figure from (a) comes to a halt on a dotted quarter note on the second and fourth beat. In addition to intervallic modification, similar rhythmic transformations are featured until measure 458, At this point an etude-like variation of the first triplet figures develops as a sequence of alternating E and B-flat triads reinforced by triads at the left hand. This is symbolically significant: it represents the last statement of tritone relationship found within this sonata and between both works. The furthest tritone relationship to this point stands between the middle E major and the outer B-flat movements of the Seventh Sonata.107 At measure 466, the return of (b) is inverted at the bass and in octaves, then it is restated at the upper part, and doubled by the left hand at intervals of sixths and fifths, thus ‘omitting the middle note of the triad. ‘The etude-like passage is reproduced, amplified and broadened beginning at measure 474, covering the entire keyboard. At the low register, a last tentative statement of twelve measures from period 2 of (a) resists temporarily the three concluding triplet figures at the lower register. Both sonatas end on open octaves. Also, it is of interest to note that rhythmically, the ending triplets are reminiscent of the (c) motive of the Seventh Sonata,108 CONCLUSION In this study, the motivic and cyclic connections between the Seventh and Eighth ‘Sonatas reflect the war program which inspired them. The discussion on form and drama in the third chapter describes the form of the Seventh Sonata as a representation of its dramatic growth. Its difficult to separate form from the drama or to determine which came ‘rst in the creative process, One would think that the vision could have come first. This may explain the modified structure and the complexity of the conflictual Seventh Sonata, particularly in regard to its first movement; or the extreme ambiguity of form in the second movement, thus expressing anguish or tension; and further the perfectly balanced arch- shaped finale perhaps signifying victory of the forces of good. {As described in the first chapter, the historical context of the Seventh and Eighth Sonatas inspired their dramatic content. In the second chapter, a comparative study of the motives common to both sonatas demonstrates a successful use of the same basic material for two musical compositions, each stylistically very different. ‘The major unifying element is the Grundgestalt, itself the opening phrase in the Seventh Sonata. This theme can be perceived as a "master Grundgestalt" for both sonatas, especially through the development of its central motive, (¢). This motive is extended to the eighth Sonata where itis stated as an underlying figuration for the second theme group of the first movement. This becomes ‘even more significant when the theme which it supports re-appears in the third movement (refer to chapter Il, Example No. 5 and chapter IV, example No. 51). The pitches of a minor second, used also as a minor ninth , are also vital as they are the germinal element from the Grundgestalt. The ostinato role, given especially to the minor second, pervades both sonatas while expressing sorrow and grief. It is of interest to note the expansion from the initial interval C-B in the Seventh Sonata, while the interval of a minor second is109 extensively developed throughout both compositions. Indeed it is characteristic that the study of this recurring interval as a motive finds it in various ostinato settings throughout the two sonatas. Its expansion is a manifestation of intemal growth generated from the smallest opening interval in the Grundgestalt ‘This approach to development typifies the elements found in a realistic context of war: an obsessive march that haunts consciousness, expressed by the recurring minor second, and an expansion from this interval, which will grow from its original shape of minor second to the most heroic leaps as exemplified by the coda of the Seventh, and even. more impressively, in the final giant leaps of the coda ending brilliantly the Eighth Sonata with a strong sense of conquest. Here is a spectacular example of a composer whose creative motivation and inspiration launched and pervaded two of his most powerful ‘works, In light of the empowering significance of these sonatas at the dramatic level, it ‘would be incomplete not to mention Richard Taruskin's point of view which contradicts this author's present study: Prokofiev just went his methodical way. His exquisitely crafted scores strike his newly critical countrymen as ‘unprincipled , aloof to the point of witlessness, even soullessness.49 One can imagine how the motives may have haunted the composer's imagination to such extent that they were reproduced or manipulated in the other movements. Glenn Gould describes his perception of the war program with his characteristic verve: ‘The Sonata (No. 7) with its schizophrenic oscillation of mood and its nervous instability of tonality, is certainly a war piece. It is full of that uniquely Prokofievian mixture of 49 Richard Taruskin, "Prokofiev, Hail..and Farewell?,” The New York Times (April 21, 1991) : 2: 32.110 bittersweet lamentation, percussive intensity, and ‘there with the grace of a more judicious foreign policy go we' lyricism 50 He then colorfully comments on the third movement: And in the finale, in 7/8 time, is one of those ‘ust as our lines are beginning to crumble comes another colurnn of our impregnable tanks, even if they do happen to be Sherman's and to have arrived lend-lease at Murmansk last week’ toccatas.5! In regard to the Eighth Sonata, the "after-thought" type lyrical, yet monolithic mood of the opening "Andante dolce" would be well handled with the awareness of the tension and conflicts of the Seventh, as suggested by Chaiken. A mood of emotional exhaustion could be the setting of what once was mistaken for a "dull" movement by Mr. Hughes of the New York Times.52 It appears that in spite of the narrative lyricism of such a work, the recognized standard approach to Prokofiev's music is that of angular playing, percussive attacks and harshness. However,whether this is perceived as the “authentic” Prokofiev style (often referring to the likeness of the composer's playing), it is often a subject of disagreement. Presumably, this contradiction may be the consequence of a misunderstanding about Prokofiev's piano music, or an expectation that it ought to sound percussive because of what is often believed to be its inherent nature 50 Tim Page, ed., The Glenn Gould Reader (Toronto: Lester & Orpen Dennys Limited, 1984), 166. 51 pid, 166. 52 Quoted by Lawrence Chaikin in "The Prokofieff Sonatas: A Psychograph,” Piano Quarterly 86 (Summer 1974) 15.1 ‘To address the question of style as influenced by our knowledge of Prokofiev the pianist, let us consider a parallel with Beethoven the pianist and composer. In his middle period, Beethoven's "rough" and physical pianistic approach complimented his piano music because novel genius had already been recognized. As a pianist, his popularity only enhanced his prestige as a composer. Prokofiev also often used his own pianistic skills to promote his own music, Since his conservatory years, Prokofiev was perceived as a "rebel." His graduation performance certainly is an example of this: determined to play his First Piano Concerto instead of a work from the standard repertoire, he was informed that, unless he provide a score for each of the members of his jury, he wouldn't be given permission to perform it. ‘At that time, the score was just being prepared for publication. Prokofiev's publisher was successful in providing the number of copies on time. This perception of the composer as a rebel did not serve him in a positive way, like Beethoven's revolutionary image strengthened his status. The reasons for this belongs to the respective context of Beethoven's and Prokofiev's time and society: the forty year old Beethoven had just lived the most important revolution of the Western world and was gratified by it. How sgxatifying to be a hero at a time of newly conquered rights for the common citizen! What could have been Prokofiev's reward for being a hero during Stalin's reign? Probably the same as Meyerhold's and his wife. Mr. Taruskin is certainly daring to criticize Prokofiev's, integrity, under such circumstances: ‘What a piece of music says is not always only what its ‘composer meant to say. Prokofiev did not always play toady to the tyrant as overtly as he did in "Nevsky." Many of his works cast him as the tyrant's victim, not his shill.53 53 Richard Taruskin, "Prokofiev, Hail..and Farewell?” The New York Times (April 21, 1991) : 2: 32.112 Prokofiev's fate as a Soviet citizen is in part the explanation of his controversial status as a composer. This status produced an image of the composer that could only be magnified by Prokofiev the pianist. Performance practice of Prokofiev's piano works has yet to settle into a consensus of style that only few composers have enjoyed. This would only be possible if an adherence to his style were largely approved, like other traditions of performance style (such as practices of Beethoven's, Liszt's, Scarlatti's, or even Debussy's piano styles), A. change is gradually being realized as his intimidating repertoire has finally met its challenges among a large number of concert artists113 BIBLIOGRAPHY BOOKS: Blok, Vladimir, ed. Sergei Prokofiev, Materials, Articles, Interviews. Union of Soviet Socialist Republics, 1978. Dubal, David. Reflections from the Keyboard. New York: Summit Book, 1984. Epstein, David. Beyond Orpheus. Cambridge, Mass.: The MIT Press, 1979. Gerig, Reginald R. Famous Pianists and their Technique. Washington: Robert B. Luce, Inc., 1974, Ginsburg, Evgenia. Journey into the Whirlwind. Collins, Harvill, 1967. Hanson, Lawrence and Elisabeth. Prokofiev, A Biography in Three Movements. New York: Random House, 1964. Hanson, biieae! and Elisabeth. Prokofiev - The Prodigal Son. NewYork: Cassell, 1964. Nestyev, Israel V. Prokofiev. Stanford, California: Stanford University Press, 1960. Nestyey, Israel V. Sergei Prokofiev. His Musical Life. New York: Alfred A.Knopf, 1946. Neuhaus, Heinrich. L'Artdu Piano. Tours, France: Editions Van de Velde, 1971. Page, Tim. The Glenn Gould Reader. Toronto: Lester & Orpen Dennys,Ltd.,1984 Prokofiev, Sergei. Prokofiev by Prokofiev. A Composer's Memoir. London: ‘Macdonald General Books, Macdonald and Jane's, 1979, Prokofiev, Sergei. itings. Boston: Northeastem University Press, 1991. Robinson, Harlow. Sergei Prokofiev, A Biography. New York: Viking Penguin, Inc., 1987. Rosen, Charles, ‘The Classical Style. New York: W.W. Norton & Company, Inc., 1972. Sadie, Stanley. The New Grove Dictionary of Music and Musicians Washington, D.C.: Grove's Dictionaries of Music, 1981. ‘Schoenberg, Harold C. The Great Pianists. New York: Simon and Schuster, 1963.114 Seroff, Victor. Sergei Prokofiev, A Soviet Tragedy. London: Leslie Frewin Publishers Limited, 1969. Shlifstein, S., ed. Sergei Prokofiev, Autobiography, Articles, Reminiscences. Moscow: Foreign Languages Publishing House. Slonimsky, Nicolas. Music Since 1900. New York: Coleman, 1949. ARTICLES: Ashby, Arved. "Prokofieff: Piano Sonatas 7 and 8." (Murray McLachlan Recording Reviews). American Record Guide (July-August 1990) : 74. Ashby, Arved. "Prokofieff: Piano Sonatas 2, 7 and 8." (Murray McLachlan Recording Reviews). American Record Guide (July-August 1990): 86 Applebaum, Yaakov N. "Prokofiev's Preferred Pianist." Ovation (June 1987) 8: 6. Brown, M. H. "Prokofiev's War and Peace: A Chronicle." Musical Quarterly LXTI (1977) : 297-326. Chaikin, Lawrence, "The Prokofieff Sonatas: A Psychograph." Piano Quarterly 86 (Summer 1974) : 8-17. “The Changing Style of Soviet Music." American Musicological Oe Frankenstein, Alfred. "Prokofiev on Microgroove." High Fidelity 6: 3 (March 1956) : 95. Ginsburg, James. "Prokofieff: Piano Sonatas 7, 8, and 9." (John Lill Recording Reviews)." American Record Guide (September - October 1991): 87 Ginsburg, James. "Prokofieff: Piano Sonatas 8 and 9." (Walid Akl Recording Reviews)” Giuly - August 1991): 108. is. " Glenn Gould in a Brand-New Role eee Old Pianistic Hair - .” High Fidelity Magazine 19 (March 1969) : Hawkins, Edward. "Prokofieff: Piano Sonatas 8 and 9." (Nicolai Petrov Recording Reviews).” American Record Guide (January - February 1992): 91. Jefferson, A. “The Angel of Fire." Music and Musicians XUI:12 (1965) : 32. Joselson, Tedd. "Master Class: Prokofiev's Sonata No. 8." Contemporary Keyboard 4 (November 1978) : 87.11s Kabalevsky, Dmitri, "The Music of Serge Prokofieff." Daily Worker 1 (September 1953) 21, Lockspeiser, Edward. "The Unknown Prokofiev.” The Listener (October 22,1953). McAllister, Rita. "Sergei Prokofiev: A Soviet Tragedy - A Review." Music and Letters (November 1970) : 78-81. ‘McAllister, Rita. "Sergei Prokofiev.” Edited by Stanley Sadie, Vol 15, (1980) : 288-301. Merrick, F, “Prokofiev's Piano Sonatas Nos. 1-5." Musical Time LXXXVI (1945) : 9. Merrick, F. "Prokofiev's Seventh and Eighth Piano Sonatas." Musical Time LXXXIX (1948) : 234, Nissman, Barbara "Discovering Prokofiev's Sonatas.” Musical Opinion (February 1989) . "Prokofiev." International Encyclopedia of Music and Musicians. ‘Sth Edition (1949) : 2285-87. Rosebery, Fito. "The Prokofiev Piano Sonatas." Music and Musicians 40 (March 1971) Schwarz, Boris. "Soviet Music Since the Second World War." Musical Quarterly 51: 1 Ganuary 1965) ; 259-281. Slonimsky, Nicolas. "Serge Prokofiev and his Works.” American Quarterly on the Soviet Union 2: 1 (April 1939): 37, Slonimsky, Nicolas. "The ‘Ugly Duckling’ of Russian Music." Christian Science Monitor, (January 27, 1945) : 7. ‘Swarsenski, Hans. "Unknown Works with a New Aspect." Tempo 30 (1953) : 14-16. Taruskin, Richard. “Prokofiev, Hail ... and Farewell ?” The New York Times, (April 21,1991): 2: 25, 32. ‘Tempo No. 20 (1949). Special issue devoted to Prokofiev. DISSERTATIONS ‘Amold, Cecil Benjamin, I. "War Peace and the Apocalypse in Art Music Since World ‘War Il." Ph.D. diss., University of Kentucky, 1986.116 Ashley, P.R. "Prokofiev's Piano Music: Line, Chord, Key.” Ph.D. diss., Rochester University, 1963. Chapman Nyaho, William Henry. "Cyclicism in the War Sonatas of Sergei Prokofiev.” Docioral dissertation, University of Texas at Austin, 1990, Janove, Marjorie Becker. "Prokofiev's Sonata No. 6, Op. 82: An Analysis and Discussion of Pianistic Problems." Doctoral dissertation, Indiana University, 1986. Kinsey, David Leslie. "The Piano Sonatas of Serge Prokofieff; a Critical Study of the Elements of their Style." Ph.D. diss., Columbia University, 1959. Martin, Rebecca Gena. "The Nine Piano Sonatas of Sergei Prokofiev." Doctoral dissertation, University of Kentucky, 1982. Mathes, James Robert, "Texture and Musical Structure: An Analysis of First Movements of Select Twentieth Century Piano Sonatas." Ph.D diss., Florida State University, 1986. Roberts, Peter Deane. "Aspects of Modernism in Russian Piano Music, 1910-1929." Ph.D. diss., Council for National Academic Awards, (United Kingdom), 1988. Viahcevic, Sonia Klosek, "Thematic-Tonal Organization in the Piano Sonatas of Sergei Prokofiev.” Ph.D. diss., Catholic University, 1975.