Composed during his student years at the St. Petersburg Conservatory, Sergei Prokofiev’s opus 12 comprises ten lighthearted and often humorous miniatures for the piano. The opening piece in the set, “Marche,” looks forward to the famous march from the opera The Love of Three Oranges. The following two pieces, “Gavotte” and “Rigaudon,” reveal the composer’s curiosity with the 18th century that would eventually bring about the “Classical” Symphony. Next, the “Mazurka” is a rather comic exaggeration of the dance and is far removed from the marvelous examples by Chopin which are inextricably connected to the title. Curiously, Prokofiev here imitates a Medieval organum with two contrapuntal parts that are each accompanied by another part in parallel fourths. Fifth in the set, the “Caprice” is another example of Prokofiev’s Neo-Classical style with a blithe opening melody accompanied by imitations of an Alberti bass.
The following piece, “Légende,” is the only “slow” piece in the set. It begins hesitantly, but eventually reaches a tranquil Andante religioso section. The following Prélude is again a nod to the forms and manners of earlier music. Figured chords persist unabated through much of the piece, broken only by the brief central episode. Yet another Neo-Classical piece, the following “Allemande” pokes fun at the stately German dance. Next, the “Scherzo humoristique” takes place entirely in the low and middle register of the piano, and with its rhythms and motifs takes quite seriously its humorous title. Lastly, the set concludes with another Scherzo. Essentially a perpetuum mobile, it begins quietly and steadily builds to a punctuated fortissimo conclusion.Joseph DuBose
__________________________________
Scherzo, Op. 12, No. 10 Sergei Prokofiev
This etude-like showpiece is evidence of Prokofiev's prowess as a pianist. Though an early work, the hallmarks of his style-a machine-like, driving quality, clever counterpoint, and ironic sense of humor-are evident, paving the way to his piano Sonatas, Five Sarcasms and Visions Fugitives.
Classical Music | Piano Music
Sergei Prokofiev
Scherzo, Op. 12, No. 10 Play
Recorded on 06/28/2005, uploaded on 01/21/2009
Musician's or Publisher's Notes
Composed during his student years at the St. Petersburg Conservatory, Sergei Prokofiev’s opus 12 comprises ten lighthearted and often humorous miniatures for the piano. The opening piece in the set, “Marche,” looks forward to the famous march from the opera The Love of Three Oranges. The following two pieces, “Gavotte” and “Rigaudon,” reveal the composer’s curiosity with the 18th century that would eventually bring about the “Classical” Symphony. Next, the “Mazurka” is a rather comic exaggeration of the dance and is far removed from the marvelous examples by Chopin which are inextricably connected to the title. Curiously, Prokofiev here imitates a Medieval organum with two contrapuntal parts that are each accompanied by another part in parallel fourths. Fifth in the set, the “Caprice” is another example of Prokofiev’s Neo-Classical style with a blithe opening melody accompanied by imitations of an Alberti bass.
The following piece, “Légende,” is the only “slow” piece in the set. It begins hesitantly, but eventually reaches a tranquil Andante religioso section. The following Prélude is again a nod to the forms and manners of earlier music. Figured chords persist unabated through much of the piece, broken only by the brief central episode. Yet another Neo-Classical piece, the following “Allemande” pokes fun at the stately German dance. Next, the “Scherzo humoristique” takes place entirely in the low and middle register of the piano, and with its rhythms and motifs takes quite seriously its humorous title. Lastly, the set concludes with another Scherzo. Essentially a perpetuum mobile, it begins quietly and steadily builds to a punctuated fortissimo conclusion. Joseph DuBose
__________________________________
Scherzo, Op. 12, No. 10 Sergei Prokofiev
This etude-like showpiece is evidence of Prokofiev's prowess as a pianist. Though an early work, the hallmarks of his style-a machine-like, driving quality, clever counterpoint, and ironic sense of humor-are evident, paving the way to his piano Sonatas, Five Sarcasms and Visions Fugitives.
More music by Sergei Prokofiev
The Scythian Suite
Violin Sonata No. 1 in f minor
Piano Concerto No.2 In G Minor Op.16
Piano Sonata no. 8
Dance of the Knights from Romeo and Juliet
Sonata for Cello and Piano in C Major, op.119
Dance of the Knights from Romeo and Juliet
Sonata No. 9 in C major, op. 103
March from the opera "Love to the three oranges"
Five pieces from the ballet Romeo and Juliet for viola and piano
Performances by same musician(s)
Rondo in D Major, K. 485
Allegretto from Symphony No. 7
For Five or Ten People
Three Piano Pieces (Drei Klavierstücke), D. 946
Five Pieces for Orchestra Op. 10
Sonata V for prepared piano
Piece for Four Pianos (1962)
Ouverture, Courante, Gigue from Partita No. 4 BWV 828
59 1/2 seconds for a string-player
Nocturne in c minor, Op. 48, No. 1
Classical Music for the Internet Era™
Courtesy of International Music Foundation.