concert notes SERGEI PROKOFIEV born: April 23, 1891 in Sontskiva, Russia died: March 5, 1953 in Moscow, Russia
Peter and the Wolf
Opus 67
composed: 1936 premiere: May 2, 1936 in Moscow Sergei Prokofiev composed Peter and the Wolf at the request of Natalia Satz, director of the Moscow Children’s Musical Theater. Prokofiev and Satz agreed to present a fairy tale for narrator and orchestra in which the story’s characters were portrayed by instruments of the orchestra. “We must start with something specific, something full of contrasts, something that makes a strong impression. The most important thing is to find a common language with the kids,” Prokofiev insisted. “The distinct characters will be reflected in the distinct quality of the various musical timbres; each character will have its own leitmotif.” Prokofiev was so enthusiastic about the project, he agreed to compose the work without a set fee agreement. The Moscow Children’s Theater would pay whatever amount it felt was appropriate and could afford. Satz assigned the writing of the spoken narration to the young poet Nina Saksonskaya. But Prokofiev felt Saksonskaya’s rhymed text lacked the directness and simplicity that would engage his intended audience. Satz recalled a meeting between Saksonskaya and Prokofiev in which the poet was “huddled against the door, or rather clinging to it. Sparks were flying from 6 program notes
the composer’s eyes.” The composer decided to substitute his own prose narration, and on April 15, 1936, after just a few days’ work, Prokofiev completed the piano score for Peter and the Wolf. Prokofiev finished the orchestration nine days later. The premiere of Peter and the Wolf, led by the composer, took place at the Moscow Children’s Musical Theater on May 2, 1936. Peter and the Wolf quickly became one of Prokofiev’s best-known and most beloved works. Prokofiev was somewhat frustrated by the fact that Peter and the Wolf received such adulation, while so many other compositions he viewed as being of greater artistic merit languished in relative obscurity. Still, Prokofiev had to derive considerable satisfaction from his achievements in Peter and the Wolf. By making the instruments the protagonists of a captivating fairy tale adventure, Prokofiev offers children an enchanting introduction to the beauties of orchestral music. And the music itself is so attractive and dramatically apt that Peter and the Wolf continues to charm the listener long after the magical first encounter.
Notes on the Program by Ken Meltzer
