Rita McAllister is a composer, pianist, educationalist, and writer on music. She holds a Research Chair at the Royal Conservatoire of Scotland. She was educated at the Universities of Glasgow and Cambridge: her doctoral thesis was on the operas of Sergei Prokofiev. She has published extensively on Prokofiev and on many other aspects of Russian and Soviet music in journals, magazines, and music encyclopedias, and recently re-constructed the first version of Prokofiev's War and Peace, which was premièred in Glasgow, Edinburgh, and Rostov-on-Don.

Christina Guillaumier is a musicologist, pianist, and writer on music. She is Head of Undergraduate Programmes at the Royal College of Music (London) and is a member of the Centre for Russian Music at Goldsmiths, University of London. A graduate of the Universities of St Andrews, the Royal Conservatoire of Scotland, and Oxford, her research has been awarded several grants and fellowships. She is a published author on Russian music,

including Prokofiev's childhood compositions, his operas, and his early orchestral music.

• List of Contributors


• Acknowledgments


• About the Companion Website


• A Note on Archival Sources


• Rita McAllister


• Preface


• Simon Morrison


• Introduction: Why Re-Assess Prokofiev?


• Rita McAllister and Christina Guillaumier


• Part I Prokofiev and the Russian Models


• 1 Prokofiev and the Russian Tradition


• Marina Raku


• 2 Prokofiev and the Development of Soviet Composition in the 1920s and 1930s


• Patrick Zuk


• 3 Prokofiev and the Soviet Symphony


• Daniel Tooke


• Part II Prokofiev and his Contemporaries


• 4 'Monsieur Prokofieff': Prokofiev in the French Context


• Marina Frolova-Walker


• 5 Prokofiev and Shostakovich: A Two-Way Influence


• Ivana Medic


• 6 Prokofiev and Atovmian: The Story of a Unique Friendship


• Nelly Kravetz


• Part III Music and Text: Prokofiev's Relationship with his Literary Sources


• 7 The Sun-Sounding Scythian: Prokofiev's Musical Interpretation of Russian Silver-Age Poetry


• Polina Dimova


• 8 Editing Prokofiev's Seven, they are Seven: A Case Study


• Nicolas Moron


• 9 From Film Score to Art Music and Back: Prokofiev's Film Music in the Context of Text-Based Genres


• Julia Khait


• 10 Semyon Kotko and War and Peace: Prokofiev and His Collaborators


• Terry Dean


• Part IV Drama and Gesture


• 11 Staging Prokofiev's Early Ballet


• Jane Pritchard


• 12 Drama, Theatre and Gesture in the Operas of Prokofiev


• Christina Guillaumier


• 13 Audio-Visual Montage in Ivan the Terrible: Understanding Prokofiev's Film Score through Eisensteinian Sound Theory


• Katya Ermolaeva


• 14 'Yea, Though I Walk Through the Valley of the Shadow of Death..': An Introduction to Prokofiev's Thanatology


• Natalia Savkina


• Part V Identity and Structure


• 15 A Genealogy of Prokofiev's Musical Gestures from the Juvenilia to the Later Piano Works


• Christina Guillaumier


• 16 The Five Piano Concertos: The Pianist's Perspective


• Boris Berman


• 17 'Things in Themselves': An Analytical Study of Prokofiev's Music Notebooks


• Rita McAllister


• 18 Towards an Analysis of Prokofiev's Middle Period Works


• Konrad Harley


• Part VI The Reception and After-Life of the Music


• 19 Prokofiev's Reception in the United Kingdom: A Case Study


• Joseph Schultz


• 20 Prokofiev, Soviet Influence, and the Music World in Stalinist Central Europe


• David G. Tompkins


• 21 Prokofiev in the Popular Consciousness


• Peter Kupfer


• 22 Prokofiev's Problems - and Ours


• Richard Taruskin


• Glossary


• Index