Search - Sergey Prokofiev, Neeme Järvi, Accordion Band :: Prokofiev: Cantata for the 20th Anniversary of the October Revolution; The Stone Flower [Excerpts]

Absolutely Essential for Prokofiev Fans

John | Winnipeg, Manitoba, Canada | 05/31/2001

(5 out of 5 stars)

"Since its premier, Prokofiev's 'October' Cantata has generated much debate as to whether it is serious or satire. Whether Prokofiev was serious or not doesn't matter now, for there is no denying that this is great music. One cannot help but be struck by the magnificence and beauty of 'The Philosopers,' and blown away by 'Revolution.' Upon listening to the piece, it is hard to imagine that Prokofiev was being anything but satirical. The Prelude's "spectre of Communism" is nothing less than terrifying, and 'Victory' is more a lament than a celebration. The last half of 'Revolution' depicts, crudely but very effectively, the Bolsheviks' takeover. It is a fast-paced, sprawling, bombastic tour de force whose rhythmic singing, massive orchestral outbursts, marching feet, alarm bells, accordion band interruption, and, at the climax of it all, "Voice of Lenin" will leave you breathless. Prokofiev calls upon massive forces for this score, and Neeme Jarvi weilds them masterfully. This recording will have you enthralled from the massive, opening crash to the final, celebratory chord. Excerpts from 'The Tale of the Stone Flower' round off the disc, and while the Cantata proves it almost trivial by comparison, there is much to be heard here. This is the only recording of the complete Cantata, so we are truly blessed that it is such a spectacular one. This album is absolutely essential for Prokofiev fans."

Lousy Propaganda, Super Choral Music from Prokofiev

John | 03/02/2004

(5 out of 5 stars)

"Yes, this is an indispensable recording for lovers of Prokofiev. The Cantata for the 20th Anniversary of the October Revolution, which Prokofiev showed to his colleague Myaskovsky and others with negative results, was presumably shelved by the composer because he didn't want to end up in a gulag, and no Soviet composer in the wake of the adverse official reaction to Shostakovich's Lady Macbeth knew exactly what would land him there. While Myaskovksy et al. had reservations, and may even have seen the work as a one-way ticket to Siberia for Prokofiev if he should release it, does this mean the work is a satire of Communist propaganda, and Prokofiev's colleagues knew it? Well, just listen to the work! It is clearly a serious, heartfelt, politically naïve paean by what the note writer for this CD calls "at heart a naïf, an idealist." No, I think what Myaskovsky objected to was the stark modernism that Prokofiev managed to weave into the huge tapestry of his score. Because the austere Prelude is echt Prokofiev, with those grating, advanced harmonies that would have set Stalin's teeth on edge if he had ever heard the score. It reminds me of that icy music that precedes the great Battle on the Ice from Alexander Nevsky. Woven amidst the de rigueur bombast of this score, too, are the sweeping Prokofiev melodies that Myaskovksy, or any other composer Soviet or other, would be envious of. But then the bombast--how artfully Prokofiev handles it! In his hands the political sentiment here sounds like deep philosophical thinking deserving of the best musical garb. Only a great composer could make us believe this libretto--at least musically. Over the top this music clearly is: Just wait till you get to the Revolution section! But it is also argued with the soundness of the great musical mind that Prokofiev was. If you like Nevsky, the Sixth Symphony, and (I'm guessing) War and Peace (though I'm not all that familiar with the work), then you will definitely find the Cantata worth your time. Because this work looks forward to all of them.The CD also includes probably all of the Stone Flower ballet you'll need in your collection. When you listen to the Ural Rhapsody that begins these excerpts, you may think that Prokofiev saw Khatchaturian as having concocted the right formula for Soviet musical expression; it has some of the same raw energy and oriental sinuousness of the Gayne ballet score. But then we move on to Katerina Sits by the Fire, and here are the languid, long-breathed Prokofiev melody and the girlish, scampering pre-ball music the composer penned for his Cinderella, replete with those signature percussion accents from xylophone and glockenspiel. Truth to tell, though, the Stone Flower is not top-drawer Prokofiev, and it has only echoes of the greatness of Romeo and Juliet and Cinderella, though there is something to be said for the rough-hewn folksiness of the Gypsy Dance and Severyan's Dance. Best of all is the Gypsy Girl's Solo Dance, which recalls the steel-spring scherzo of the Fifth Symphony. But much of the suavity and wit are gone in this 1948 ballet, and I imagine that like me, you'll miss them.Still, given the excellent performance and beautifully detailed but airy recording--in Chandos' best fashion--the ballet music is very welcome. Especially in company with that knockout Cantata!"

Greatest Russian Choral Work besides Boris!

John | 10/06/1999

(5 out of 5 stars)

"If you haven't heard this piece and you are a Prokofievphile like myself, you have to get this. You've never heard anything like this! It is the most exciting piece for orchestra and choir I have ever heard. Both beautiful and bombastic this work is a tour de force that grabs you and won't let you go until it is all over. This piece makes my heart speed up and my hands to sweat everytime I hear it. Those who like Alexander Nevsky will find this even more incredible. It is a shame that this piece is sorely neglected. There should be tons of recordings which is deserves. Thank God that Neeme Jarvi made this recording. The only thing that makes me feel better when I read that Prokofiev did not get to hear this piece before he died is that there is this EXCELLENT recording of it for us today."