著者

木本 麻希子

出版者

ロシア・東欧学会

雑誌

ロシア・東欧研究 (ISSN:13486497)

巻号頁・発行日

vol.2014, no.43, pp.105-120, 2014 (Released:2016-09-09)

参考文献数

48

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This study aims to clarify Sergei Prokofiev’s compositional characteristics and techniques used in his late piano sonatas through both aesthetic and theoretical analyses based on the manifestation of his so-called “five lines.” This research also focuses on the historical background and conceptual origin of his five lines to highlight his usage of these lines in his works. In his autobiography, Prokofiev specifically mentioned that his five lines permeated all his compositions. These lines have distinct musical characteristics: classical, which takes a neo-classical form in pieces such as sonatas or concertos and is indispensable for exploring the form and structure of his piano sonatas; modern, which is mainly found in his harmonic language, including melody, orchestration and dramatic features; toccata or motor, traceable to the Toccata Op. 7, which is one of Robert Schumann’s solo piano works, and its driving energy from its repetitive rhythmic pattern reflecting the industrialization of the early 20th century; lyrical, which reflects a thoughtful and meditative mood and links long melodic lines, showing Prokofiev’s romanticism; and grotesque, a term used by his contemporaries that Prokofiev himself described as “scherzo-ish.” In addition, Prokofiev’s five lines manifest his standing in music among his contemporaries, and compositions based on them echo several aesthetic ideas such as neo-classicism, primitivism and constructivism. Prokofiev’s musical career in piano sonatas is generally divided into the following three periods. The first period constitutes his formative years in Russia, namely 1891–1918 (Piano Sonatas Nos. 1–4); the second period includes his years in the USA and Europe, namely 1918–1936 (Piano Sonata No. 5), and the third period includes his final years in the U.S.S.R., namely 1936–1953 (Piano Sonatas Nos. 7–9). Prokofiev wrote many works during this latter period, which include ballet music for “Romeo and Juliet” Op. 64 and “Cinderella” Op. 87 and film music for “The Queen of Spades” Op. 70, the opera “War and Peace” Op. 91, and Symphony No. 5 Op. 100. Above all, his late Piano Sonatas (i.e., No. 6 Op. 82, No. 7 Op. 83, and No. 8 Op. 84), commonly referred to as “The War Sonatas” since they were composed during the Second World War, are most representative of his piano writing. However, previous analytical studies on his late piano sonatas allow plenty of scope to reconsider these works for an aesthetic and historical investigation against the political background at the time (such as against the existing socialist realism). This study explores Prokofiev’s five lines principle and its compositional practice against the social background in his later works to illustrate the composer’s approach during the political repression of the time. The results of this investigation show that, despite the intense political pressure in the U.S.S.R. during the 1930s and 1940s, Prokofiev managed to maintain his own musical identity and expressive style through his manifestation of the five lines concept.