Preview: S. Prokofiev: Fleetingness, op. 22, (1915-17), orchestrated by A. Leytush - Score Only
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S. Prokofiev: Fleetingness, op. 22, (1915-17), orchestrated by A. Leytush - Score Only
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SKU: A0.1344002
Composed by S. Prokofiev. Arranged by A. Leytush. 20th Century. 181 pages. Arkady Leytush #929484. Published by Arkady Leytush (A0.1344002).1. Fear & Comfort 2. Slumber 3. Under & Above Water 4. Manipulate Magician 5. Bird Commotion 6. Tree of Us 7. Harp (original name) 8. Melancholy 9. In the Park 10. Grimaces 11. Jester 12. Lame Grasshopper & Dragonfly 13. Laziness 14. Tin Soldiers & Ballerina 15. Premonition of Impending Disaster 16. Unrealistic Hopes 17. Tears & Calm 18. Reverie 19. Overturn 20. Dreams About the Future
The reason for writing was the poems of K. D. Balmont, two lines of which Prokofiev chose as an epigraph: “In every fleeting moment I see worlds, full of changing rainbow play”. In 1940-42, the famous avant-garde artist Alexander Rodchenko created a series of drawings illustrating “Fleetingness”.“Fleetingness” is initially the author’s sketches, sketches, blanks, so to speak, a test of the pen, when musical images are created using minimal means and the search for one’s own language, a certain mood is conveyed, small picturesque etudes are drawn, paintings are also searched for and the possibility of conveying an almost theatrical action exclusively musical techniques. A little later, when a fair number of these short pieces had accumulated, Prokofiev added a few more, bringing the total number to 20. It was then that this suite was compiled, as an example of one of the first attempts to find a new style in music, which would later be called minimalism. Undoubtedly, the impetus for the creation of this 22nd opus was the piano preludes of Debussy, who had a huge influence on the subsequent development of academic music in the 20th century. My task in the orchestral transcription of this suite was, first of all, to make each sketch of this cycle visible using the means of a symphony orchestra. For this purpose, I initially provided each number of this suite with a specific name, in order to somehow indicate the path and arouse the imagination of the listeners. (As is known, only one piece of this cycle had a specific author's title - #7, Harp) Having started work on the orchestration, I had in advance the goal of addressing this arrangement to young musicians and young listeners.
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