Sergey Prokofiev – författare

The second volume of Sergey Prokofiev's recently uncovered Diaries covers the years 1915 to 1922. It describes in detail the genesis and the problematic path to performance of major works in his canon, and the life-changing experiences of living in war-torn and revolutionary Russia, and deciding to leave for the mythic America he had long dreamed of visiting. The Diaries chart the author's swings of fortune, the loneliness of the émigré, his encounters with a luminous range of personalities from music, theatre, art and literature, and the search for love and friendship, all cast in the burnished prose of a born master, not just of music, but of words.

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

Prokofiev, a compulsive diarist, gifted and idiosyncratic writer, possessed an incorrigibly sardonic curiosity about individuals and events. When he left Russia following the 1917 Revolution, his diaries were recovered from the family flat in Petrograd, and Prokofiev smuggled them out of the country after his first return to the Soviet Union in 1927. The later diaries, written in the West, were brought back by legal decree after the composer's death, to be kept in a special, closed section of the Russian State Archive. Eventually Prokofiev's son Svyatoslav was allowed to copy the voluminous contents; when he and his son Serge Jr moved to Paris they undertook the gigantic task of reproducing the partially encoded manuscript in an intelligible form.Volume I covers the bulk of Prokofiev's years at the St Petersburg Conservatoire, ending with his triumphant graduation. Simultaneously attached to and exasperated by the traditions exemplified at this time by such famous men as Rimsky-Korsakov, Glazunov, Lyadov and Tcherepnin, the relentlessly brash young genius relishes the power of his talent to irritate, challenge and finally overcome the establishment, alongside unusually candid revelations of the all-too-normal preoccupations of a young man flexing his muscles in society.Taken as a whole, the diaries represent an inexhaustibly rich portrait of one of the most vibrant periods in the whole of Western art, peopled by virtually every musician and artist of note. They constitute both an indispensable and an entertaining source of reference for all scholars and lovers of Prokofiev's music.

'I am sure that in time [Prokofiev's diaries] will come to be ranked among the great classic diaries of European literature. Truly impressive.' Alexander Waugh, Literary ReviewThe second volume of Sergey Prokofiev's recently uncovered Diaries covers the years 1915 to 1922. It describes in detail the genesis and the problematic path to performance of major works in his canon, and the life-changing experiences of living in war-torn and revolutionary Russia, and deciding to leave for the mythic America he had long dreamed of visiting. The Diaries chart the author's swings of fortune, the loneliness of the émigré, his encounters with a luminous range of personalities from music, theatre, art and literature, and the search for love and friendship, all cast in the burnished prose of a born master, not just of music, but of words.