Interpretation of Operatic Thematicism in Sergei Prokofiev’s Orchestral Cycle “Four Portraits and ‘Denouement’ from the Opera ‘The Gambler’”
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Abstract
where the composer demonstrates the method of work with
themes from his previously written composition. In Prokofiev’s
preface to the score of his orchestral oeuvre, the composer
provides comments to his method, based on a preliminary
“expansion” of the initial musical text and its systematization
according to the attribution of the individual themes to the
characters of the opera. The article demonstrates the work
compositional dramaturgical peculiarities, brings in the
differentiation of the themes according to the fragments derived
from the initial musical score, and also analyzes the particular
features of their arrangement. During the process of studying
the music, factors are revealed determining the integrity of
the musical material and the structure of the composition.
The conclusions substantiate the conception of the orchestral
composition, the stages of the process of meaning-generation
and features of the four-movement orchestral cycle with a coda.
The “Portraits” are interpreted as an independent, completed,
purposeful composition, not losing its value when not being
correlated with the opera that carries out the function of the
source.
Keywords: Sergei Prokofiev’s musical legacy, orchestral
cycle
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References
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