Boris Berman quotes
Prokofiev had a lifelong love of the sonata form. Ever since learning the basic rules during his childhood years, he strove to master them; ... In 1941, describing his Sonatinas op. 54 (1931), he remarked, "I liked the idea of writing a simple work in such a superior form as sonata.” One can learn a lot about the composer's growth by tracing his progress from the early sonatas, which cautiously dare to bend the textbook rules, to the masterful treatment of the form in his late works.
Boris Berman
Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, ... They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist.
Boris Berman
In spite of the many valuable books available today, the state of Prokofiev scholarship cannot be considered adequate: suffice it to say that the detailed catalogue of his works has not been updated since it was published in 1961. At present, there is no edition of the Prokofiev sonatas free of errors. I have tried to do my best in pointing out some obvious mistakes, as well as certain doubtful readings. Many questions cannot be answered with certainty, as the manuscripts for some of the sonatas have been lost; those that have survived are not easily available for inspection. To get to some of them, I was fortunate to have the help of Russian colleagues in overcoming the restrictions of the current gatekeepers in Russia.
Boris Berman
Prokofiev was not alone among the leading composers of the twentieth century in changing his style repeatedly in the course of his career: Stravinsky, Schoenberg, Bartók, and others modified their musical language drastically at various stages of their creative lives. In Prokofiev's case, he always maintained certain stylistic facets throughout the transformations of his musical language.
Boris Berman
Young Prokofiev was attentive to new musical trends. We can find traces of various influences in his early compositions. Some of the piano works from the set Visions fugitives, op. 22 (1915–17), are reminiscent of Debussy; the Andante assai section of the First Piano Concerto, op. 10 (1911–12), sounds like Rachmaninov; and the harmonies of the symphonic poem Osen neye(Autumnor Autumnal Sketch), op. 8 (1910), harken back to Scriabin. These, however, were rather passing influences. Others proved to be more enduring.
One of them was the fairy-tale streak in Russian music. Russians have always been fond of fairy tales, which to this day continue to be an important part of every child's upbringing. ...
Another significant influence was the Classical style.
Boris Berman
Prokofiev's creative path traversed many countries and was affected by wars and revolutions. Life brought him into contact with some of the most prominent and influential artistic figures of his time. Observing the magnificent panorama of Prokofiev's oeuvre, one sees that the composer's musical style evolved significantly over the course of his creative life. The reasons for the changes of direction have been much discussed and debated.
Boris Berman
It is essential that a pianist meticulously observe the composer's indications regarding tempo, dynamics, and articulation. These are all crucial in creating full characterizations of individual themes and passages. Far too often one hears unidiomatic performances of Prokofiev's music in which speed and loudness seem to be the only parameters that matter to the pianist.
Boris Berman
