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Serge Prokofieff Timeline

A year by year alignment of Prokofieff's life and works
Biographical information by David Nice

The chronological list of works indicates the publisher of each work and provides links for further information on those published by Boosey & Hawkes


 

Born 11th April (23rd April New Calendar style) as Sontsovka in the Ukraine, a large country where his father worked as a managing agronomist.


1891
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Encouraged by his mother’s playing, writes his first piano piece, Indian Galop.


1896
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Sees Gounod’s Faust on his first visit to Moscow, and is inspired to compose his first opera, The Giant, performed before a select family audience.

1900
The Giant Opera in three acts
 

Introduced through family connections, to Taneyev in Moscow, who recommends theory studies with Pomerantsev and two summers’ tuition at Sontsovka with Glière.


1902
Desert Islands Opera (unfinished) (1900-02)
 


 
Symphony in G
 


1903
Violin Sonata in C
 


 
Begins work on the Six Early Piano Sonatas (1903-09)
 

Meets Glazunov in St. Petersburg and is enrolled at the Conservatoire. Brings with him to his entrance examination four operas, two sonatas, a symphony and piano pieces.


1904
 

The 1905 revolution disrupts classes at the Conservatoire and Prokofieff, although not an active sympathiser, signs one of the students’ petitions protesting at the dismissal of the leading composer-directors.


1905
Undina Opera in four acts (1904-07) composed around this time
 

Friendship with Miaskovsky, an already-distinguished student ten years Prokofieff’s senior, compensates for dissatisfaction with Rimsky-Korsakov’s over-crowded orchestration classes and study of counterpoint with the uninspiring Liadov.


1906
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Plays some of his first distinctive piano pieces, two from op.2 and the now-celebrated Suggestion diabolique from op.4, to the leading lights of St. Petersburg’s Contemporary Music Evenings and gives his first public performance in the series on 18 December.

1908
Four Pieces  for piano (1907-08) BH
Starts composing his series of solo piano works around this time:
 


 
Four Pieces  for piano Op. 3 (1907-11) BH
 


 
Four Pieces  for piano Op. 4 (1908-12) BH
 


 
Ten Pieces for piano Op.12 (1906-13) For
 


 
Symphony No.2
 

His new compositions at the Spring examinations shock Liadov because of their Scriabinesque tendencies. Begins graduate studies as a ‘Free Artist’ of the Conservatoire including conducting under Nikolai Tcherepnin, who encourages a taste for Haydn and Mozart.


1909
A Feast in Time of Plague Opera in one act (1908-09)
 


 
 

Moscow debut with premiere of Piano Sonata No.1. His father dies in July, which may account for the elegiac mood of the symphonic poem Autumn.


1910
Autumn  for orchestra BH
 


 
Two Choral Songs  for women’s voices and orchestra (1909-10) BH
 


 
Reves  Symphonic poem for orchestra BH
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Piano Sonata No.1 published by Jurgenson – Prokofieff’s first work in print. Begins what he later regards as ‘my first more or less mature composition’, the whimsical Piano Concerto No.1, and a one-act opera based on a play with Wildean overtones, Maddalena; he is to orchestrate only the first of the four scenes.

1911
Two Poems  for voice and piano (1910-11) BH
 


 
Piano Concerto No.1 (1911-12) For
 


 
Maddalena  Opera in one act (1911, rev. 1913) BH
 

Compositions include the utterly characteristic, motoric Toccata and the Piano Sonata No.2. Premieres Piano Concerto No.1 in Moscow, to a lively mixture of reactions.


1912
Toccata in D minor for piano For
 


 
Piano Sonata No.2 in D minor For
 


 
Scherzo for four bassoons For
 


 
Ballade  for cello and piano BH
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First performance of Piano Concerto No.2, with its more consciously brilliant role for the soloist, at an open-air concert in Pavlovsk; it provokes an uproar among the largely conservative members of the audience.

1913
Piano Concerto No.2 in G minor  in G minor (1913, rev. 1923) BH
 

Graduates from the Conservatoire; the absence through illness of his authoritarian piano teacher, Anna Essipova, prompts him to perform his Piano Concerto No.1 in the final competition for the Rubinstein Prize – which he wins despite Glazunov’s opposition. Travels to London, where he sees the latest successes of Diaghilev’s Ballets Russes and meets the impresario. Diaghilev commissions a ballet on a savage, prehistoric theme. Arriving back in Russia just before the outbreak of war, works on the ballet (Ala et Lolly) alongside the voice-and-piano fairy tale The Ugly Duckling and completion of the piano Sarcasms.


1914
Sinfonietta  (first version) (1909/14) BH
 


 
Scythian Suite (Ala et Lolly)  for orchestra (1914-15) BH
 


 
The Ugly Duckling  for voice and piano BH
 


 
Completes Sarcasms for piano (1912, rev.14) For
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Travels to Italy to see Diaghilev, who rejects Ala et Lolly and commissions instead a ‘truly Russian’ folk tale (Chout or The Buffoon). Meets Stravinsky for the second time and joins him in a four-hand piano performance of Petrushka. Reworks material from Ala et Lolly as the Scythian Suite and begins The Gambler.

1915
Cinq Poesies  for voice and piano BH
 


 
Chout  Ballet in six scenes (1915/20) BH
 

Conducts the Scythian Suite in Petrograd (the re-named St. Petersburg); Glazunov walks out just before the end. Encouraged by the Mariinsky Theatre’s new conductor Albert Coates and its most innovative and influential director, Vsevolod Meyerhold, spends most of the year composing The Gambler. A more lyrical style surfaces in some of the Visions fugitives, completed the following year, and the op.27 songs to poems by Anna Akhmatova.


1916
The Gambler  Opera in four acts and six scenes (1915/28) BH
 


 
Visions fugitives  for piano (1915-17) BH
 


 
Cinq Poesies d'Anna Akhmatova  for voice and piano BH

 

 

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Witnesses the February Revolution in Petrograd, but spends much of the rest of the year away from the cities. Plans for production of The Gambler abandoned. A summer in the country yields two relatively untroubled works, the Classical Symphony and Violin Concerto No.1. Composes, by way of contrast, the wild, ‘Scythian’ cantata Seven, they are Seven. Completes Piano Sonatas Nos.3 and 4, based on sketches from the Conservatoire years.

1917
Piano Sonata No.3 in A minor  in A minor (1908/17) BH
 


 
 


 
Violin Concerto No.1 in D  in D (1916-17) BH
 


 
Classical Symphony in D (Symphony No.1)  in D (Symphony No.1) BH
 


 
Seven, they are Seven  for tenor, chorus and orchestra (1917, rev. 1933) BH
 

Gives two piano recitals and the premiere of the Classical Symphony in Petrograd before setting out for America in May, travelling via Japan and arriving in New York in September. Some success in recital there but concerts in December are abusively received by the critics. Meets Carolina Codina (Lina Lubera), his future wife.


1918
 


 
 


 
Four Pieces  for piano BH
 


 
Schubert Waltzes  arr. for piano BH
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Greater success in Chicago. Cleofonte Campanini, music director of the Chicago Opera, expresses delight at the prospect of an opera based on a fable by his compatriot Gozzi, The Love for Three Oranges; a contract is signed in January, and despite the onslaught of scarlet fever and diphtheria in March, Prokofieff has the score ready by October. Campanini’s death in December throws plans for the premiere into disarray. Meanwhile Prokofieff begins a more ‘wild and passionate’ opera, The Fiery Angel; it will take him seven years to complete.

1919
Overture on Hebrew Themes  for sextet BH
 


 
Overture on Hebrew Themes  arr. for chamber orchestra BH
 


 
The Love for Three Oranges  Opera in four acts and a prologue BH
 


 
The Love for Three Oranges  (1919. Rev. 1924) BH
 


 
The Fiery Angel  Opera in five acts and seven scenes (1919-23, rev. 1926-7) BH
 

Visits Paris to discuss revisions of Chout with Diaghilev. Returns in October to America, where Chicago’s wrangles over The Love for Three Oranges force another year’s postponement.


1920
Cinq Melodies (sans paroles)  for voice and piano BH
 

Diaghilev’s planned presentation of Prokofieff to Parisian audiences through Chout is pre-empted by Koussevitzky’s concert performance of the Scythian Suite; both are successful, though Chout’s London premiere is coldly received. Completes work on Piano Concerto No.3 in Brittany, dedicating it to the Russian poet Konstantin Balmont, who is staying nearby and five of whose poems he sets to music around the same time. The Love for Three Oranges successfully premiered at the end of the year in Chicago under Mary Garden’s administration.


1921
Piano Concerto No.3 in C  (1917-21) BH
 


 
Piano Concerto No.3 in C  (1917-21) BH
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After four years resident in America returns to Europe, settling in Ettal in the foothills of the Bavarian Alps, his base for the next year and a half.

1922
The Love for Three Oranges  transcribed for piano. BH
 


 
Chout  BH
 

Concert engagements in five European countries. Marries Lina and moves to Paris, where the first performances of Violin Concerto No.1 and Piano Sonata No.5 are indifferently received.


1923
Piano Sonata No.5 in C  in C (first version) BH
 

Greater success in Paris with the more consciously modernistic Seven, they are Seven and revised version of Piano Concerto No.2. Faced with the charge of ‘living off old compositions’, begins to write a large symphony ‘of iron and steel’ and earns money in the meantime through a commission to write a short circus ballet, Trapeze. First son, Sviatoslav, born in February, but Prokofieff’s mother dies in December.


1924
Quintet in G minor  BH

 

 

 


 
Symphony No.2 in D minor  in D minor (1924-25)
 


 
Trapèze  for Mixed ensemble BH
 

Koussevitzky conducts the premiere of the ‘difficult’ Symphony No.2, but Paris no longer finds Prokofieff a sensation. Diaghilev, nonetheless, is intrigued enough to commission another new ballet presenting the new Soviet spirit of construction in a way that will suit modish Parisian tastes, Le Pas d’acier. Returns to the United States for a concert tour beginning in December.


1925
Cinq Melodies (sans paroles)  arr. for violin and piano BH

 

 

 


 
Le Pas d'acier  Ballet in two scenes (1925-26) BH
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The Love for Three Oranges successfully performed in Leningrad. Works on the complex orchestration of The Fiery Angel, with the prospect of a Berlin premiere to be conducted by Bruno Walter.

1926
 


 
Overture (American)  for chamber orchestra BH
 

First trip to the Soviet Union, giving recitals and appearances as soloist in Moscow, Leningrad and the Ukraine. At its June premiere, Le Pas d’acier revives his flagging reputation in Paris. Berlin production of The Fiery Angel cancelled; Leningrad shows interest in The Gambler, which he revises.


1927
The Fiery Angel  completed. Opera in five acts and seven scenes (1919-23, rev. 1926-7) BH
 


 
 

Portions of The Fiery Angel’s second act conducted by Koussevitzky in Paris; Prokofieff reworks the thematic developments of the opera into Symphony No.3. Diaghilev commissions another ballet, The Prodigal Son, and is amazed when Prokofieff completes it in a few months. Second son, Oleg, born in December.


1928
Overture (American)  version for full orchestra BH
 


 
 


 
Chose en soi  for piano BH
 


 
The Prodigal Son  Ballet in three scenes (1928-29) BH
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Brussels, not Leningrad, hosts the first performance of The Gambler. The Prodigal Son opens in Paris after clashes with Balanchine, the choreographer; Diaghilev dies shortly afterwards in Venice. Revisits Moscow, this time without concert engagements; shape of things to come in the Proletarian Musicians’ Union’s rejection of the ‘historically inaccurate’ Pas d’acier.

1929
Divertimento  for orchestra completed (1925/29) BH
 


 
 


 
Sinfonietta  (final version of op.5) BH

 

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Extended USA concert tour. Works on two American commissions: String Quartet No.1 for the Washington Library of Congress and Symphony No.4, a reworking of themes from The Prodigal Son, for the 50th anniversary of the Boston Symphony Orchestra where Koussevitzky is now principal conductor. Composes a new ballet for the Paris Grand Opéra, On the Dnieper (Sur le Borysthène).

1930
 


 
Symphony No.4 in C  (1929-30) BH
 


 
Andante  from op.50, arr. for string orchestra BH
 


 
On the Dnieper  Ballet in two scenes BH
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Composes Piano Concerto No.4 for Paul Wittgenstein, who has lost his right hand in the war, but the pianist rejects it outright. Concert appearances in most of the major European cities.

1931
The Gambler  Symphonic Suite from The Gambler (1930-31) BH
 


 
Six morceaux  for piano (1930-31) BH
 


 
 


 
Deux chansons Russes for voice and piano BH

 

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Plays his new Piano Concerto No.5 with Furtwängler and the Berlin Philharmonic, repeating his solo role in Moscow (November) and Leningrad (December), where Le pas d’acier is accepted in concert-suite form. Receives Belgoskino Commission to write his first film music, for Faintsimmer’s Lieutenant Kijé. First performance of Sonata for Two Violins takes place in Paris, half an hour before the premiere of On the Dnieper.

1932
 


 
Two Sonatinas  for piano (1931-32) BH
 


 
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Though he tours America in January, Prokofieff spends most of the year in the Soviet Union, to hear the recording of his Kijé score and to work on a Shaw-Shakespeare compendium for the Moscow Kamerny Theatre, Egyptian Nights.

1933
 


 
Chant symphonique  for orchestra BH
 


 
Cello Concerto in E minor  (1933-38) BH
 


 
Lieutenant Kije  Music for the film BH

 

Writes Izvestia article on a ‘new simplicity’ in melody and form which matches his aims in the West over the past few years. Spends five months in USSR, discussing Kirov plans for Romeo and Juliet towards the end of the year.


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1934
Trois Pieces  for piano (1933-34) BH
 


 
Pensees  for piano (1933-34) BH
 


 
Andante  from op.29 transcribed for orchestra BH
 


 
Lieutenant Kije  from the film BH
 


 
Two Songs from the film Lieutenant Kije  for voice and piano BH
 


 
Egyptian Nights  Incidental Music BH
 


 
Egyptian Nights  Symphonic Suite BH
 

Piano score of Romeo and Juliet completed in September, alongside his last non-Soviet commission, Violin Concerto No.2, premiered by the French violinist Robert Soetens in Madrid.


1935
Musiques d'enfants  Twelve Easy Pieces for piano BH
 


 
Six Mass Songs  for voice and piano BH*
 


 
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Moves his family to Moscow, but continues to tour in the west. Pravda attack on Shostakovich’s Lady Macbeth of Mtsensk initiates tighter state control over new music. Many cancellations of theatrical works and films with non-Soviet literary subject matter, including Romeo and Juliet and three Pushkin centenary projects for which Prokofieff has written extensive incidental music – Romm’s film of The Queen of Spades, Tairov’s stage adaptation of Eugene Onegin and Meyerhold’s radical production of Boris Godunov. Only Peter and the Wolf, written spontaneously for Natalia Satz’s Moscow Children’s Musical Theatre, reaches performance.

1936
Romeo and Juliet  Ballet in four acts and epilogue BH*
 


 
Romeo and Juliet  for orchestra BH*


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Romeo and Juliet  for orchestra BH*
 


 
Peter and the Wolf   A Musical Tale for Children BH
 


 
The Queen of Spades  Film music (unfinished) BH*
 


 
Boris Godunov  Incidental music for SATB soli, chorus and orchestra BH*
 


 
Eugene Onegin  Incidental Music for narrator, actors and orchestra BH*
 


 
Russian Overture  for orchestra BH
 


 
Three Romances  for voice and piano BH*
 


 
Three Children's Songs  for voice and piano (1936/39) BH*
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Conducts Suite No.2 from Romeo and Juliet in Leningrad. The score of the riotous and inventive Cantata for the Twentieth Anniversary of the October Revolution, Prokofieff’s second ‘national’ work after the Russian Overture of the previous year, provokes ‘more indignation than rapture’ among the bureaucrats and remains unperformed until 1966.

1937
Four Marches  for brass band (1935/37) BH*
 


 
Cantata for the 20th Anniversary of the October Revolution  for chorus, military band, accordions and orchestra (1936-37) BH*
 


 
Romeo and Juliet  for piano BH*
 


 
Songs of our days  Cantata for mezzo and baritone soloists, chorus and orchestra BH*
 

Final tour in the west; meets Walt Disney in Hollywood and is offered $2500 a week to write music for a film studio. Starts cinema work, but back in Russia collaborates with Sergei Eisenstein on the patriotic Alexander Nevsky. The premiere screening in December is a great success – not least with Stalin – though another first performance, of the austere Cello Concerto No.1, fails and Romeo and Juliet receives an unremarked premiere in the Czech city of Brno.


1938
Hamlet  Incidental music for soprano and baritone soloists, and orchestra (1937-38) BH*
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Divertissement  Music from Divertimento arr. for piano BH
 


 
Gavotte  Piano transcription of music from Hamlet BH
 


 
Alexander Nevsky  Music for the film BH*
 

Music from Alexander Nevsky fashioned into a concert cantata alongside work on a new, ‘Soviet’ opera Semyon Kotko; Meyerhold, who is to direct the first production, is arrested for his outspokenness in July and executed in prison the following year; the oddly wistful melody that launches the short cantata Zdravitsa (A Musical Toast or Hail to Stalin) perhaps represents Prokofieff’s sense of loss. Meets Mira Mendelson, who is to become his second wife, in the Caucasian town of Kislovodsk.


1939
Alexander Nevsky  Cantata for mezzo-soprano solo, chorus and orchestra (1928-39) BH*
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Semyon Kotko  Opera in five acts BH*
 


 
Zdravitsa  (Toast to Stalin) Cantata for chorus and orchestra BH*
 


 
Seven Mass Songs  for voice and piano BH*
 

The Kirov finally stages Romeo and Juliet. Semyon Kotko goes ahead at the Stanislavsky Opera Theatre; Serafima Birman (later to play the scheming Euphrosynia in Ivan the Terrible) takes Meyerhold’s place as director, but the opera is not seen as a suitable ‘example to the masses’. Escapes into the world of the Sheridan-based opera The Duenna (Betrothal in a Monastery).


1940
Piano Sonata No.6 in A  (1939/40) BH*
 

The Kirov finally stages Romeo and Juliet. Semyon Kotko goes ahead at the Stanislavsky Opera Theatre; Serafima Birman (later to play the scheming Euphrosynia in Ivan the Terrible) takes Meyerhold’s place as director, but the opera is not seen as a suitable ‘example to the masses’. Escapes into the world of the Sheridan-based opera The Duenna (Betrothal in a Monastery).


 
 


 
The Duenna (Betrothal in a Monastery)  Opera in four acts (1940-41) BH*
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Sviatoslav Richter gives the first performance of Piano Sonata No.6 in Moscow. Prokofieff finally leaves Lina for Mira. The German invasion of Russia in June turns his thoughts from a new ballet, Cinderella, to an opera based on Tolstoy’s War and Peace. Evacuated with Mira to Nalchik, where he composes String Quartet No.2, on local Kabardanian Themes.

 

 

1941
A Summer Day  Children’s Suite for small orchestra BH


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Semyon Kotko  BH*
 


 
Symphonic March in Bb  for orchestra BH*
 


 
 


 
String Quartet No.2  in F BH*
 


 
Cinderella  Ballet in three acts (1940-44) BH*
 


 
War and Peace  Lyric-dramatic scenes (1941/52) BH*
 

Works on War and Peace and the whirlwind Piano Sonata No.7 in Tbilisi. Travels to Alma-Ata in Central Asia to collaborate with Eisenstein on Ivan the Terrible, and completes scores for several minor patriotic films.


1942
Piano Sonata No.7 in Bb  (1939-42) BH*


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Seven Mass Songs  for chorus and piano (1941-42) BH*
 


 
March in Ab  for chorus and piano BH*
 


 
Three Pieces  (1941-42) BH*
 


 
Lermontov  Film music (unfinished) BH*
 


 
Kotovsky  Film music BH*
 


 
 


 
Tonya  Film music BH*
 


 
Khan Buzay Opera (unfinished)
 


 
Cinderella  for piano BH*
 


 
Ivan the Terrible  Film music (1942-46) BH*
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Six weeks in Moscow followed by four months back in Alma-Ata. Receives his first Stalin Prize for Piano Sonata No.7, triumphantly premiered by Richter in January. Piano score of Cinderella and Flute Sonata completed in Perm. Back in Moscow by October.

1943
Ballad of an unknown boy  Cantata for soprano and tenor soloists, chorus and orchestra (1942-43) BH*
 


 
 


 
Cinderella  for piano BH*
 


 
 

Concentrates on two major projects completed during summer in the country, at Ivanovo: Piano Sonata No.8, premiered at the end of the year by Emil Gilels, and Symphony No.5. First public hearing of the original eleven-scene version of War and Peace in October is moderately successful, though stagings are postponed and the event is soon eclipsed by the screening of Ivan the Terrible Part One, for which Prokofieff and Eisenstein both receive class one Stalin Prizes.


1944
Violin Sonata No.2  transcription of Flute Sonata (1943-44) BH*
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Cinderella  for cello and piano (1943-44) BH*
 


 
March in Bb  for military band (1943-44) BH*
 


 
Piano Sonata No.8 in Bb  (1939-44) BH*
 


 
 


 
Cinderella  for piano BH*
 


 
Twelve Russian Folksongs  for voice and piano BH*
 

Moscow premiere of Symphony No.5, Prokofieff’s last appearance as conductor, coincides with the impending defeat of the Germans. Several days later, suffers concussion of the brain after a fall and never recovers his health. Able to work on music for Ivan the Terrible Part Two and revisions to War and Peace in the autumn, and celebrates victory with the bizarrely-scored Ode to the End of the War. Cinderella’s Bolshoi premiere takes place in November.


1945
Ode to the End of the War  for orchestra BH*
 


 
Two Duets  for tenor, bass and piano BH*
 

Triumphant Leningrad stagings of the revised first part of War and Peace at the Maly Theatre, conducted by its champion Samosud, and of The Duenna at the Kirov Theatre. Prokofieff and Mira purchase a dacha in Nikolina Gora, where he spends most of his time. Composes the spare, tragic Violin Sonata No.1 and works on his bleak orchestral masterpiece, Symphony No.6. Ivan the Terrible Part Two criticised for ‘historical inaccuracies’ and banned.


1946
Violin Sonata No.1 in F minor  for violin and piano completed (1938/46) BH*
 


 
Ivan the Terrible (film)  Oratorio for male speaker, contralto and baritone soli, children's and mixed chorus and orchestra (1942-46) BH*
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Romeo and Juliet  for orchestra BH*
 


 
Cinderella  for orchestra BH*
 


 
Cinderella  for orchestra BH*
 


 
Cinderella  for orchestra BH*
 


 
Waltz Suite  for orchestra BH*
 

The second (‘war’) half of War and Peace reaches dress rehearsal in Leningrad, only to be withdrawn following official criticism and Prokofieff’s refusal to cut offending scenes. Composes two introspective works at Nikolina Gora, the disarmingly simple Piano Sonata No.9 and the Sonata for Solo Violin. Radically expands Symphony No.4 along the lines of its successor. Mravinsky conducts Symphony No.6 which is hailed at its October premiere, but publicly denounced and withdrawn shortly afterwards.


1947
Piano Sonata No.9 in C  (1945-47) BH*
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Symphony No.6 in E flat minor  completed (1945/47) BH*
 


 
 


 
Festive Poem "Thirty Years"  for orchestra BH*
 


 
Prosper, our mighty land  Cantata for chorus and orchestra BH*
 


 
Sonata in D  for unison violins or solo violin BH*
 

Prokofieff’s official marriage to Mira leaves Lina, as a resident alien, unprotected; she is arrested on trumped-up charges and deported to a Siberian labour camp. Andrei Zhdanov, Stalin’s right-hand man, denounces ‘formalism in music’ at a February conference. Prokofieff is powerless; his works are unperformed over the following months and even his ideologically correct new opera, The Story of a Real Man, is ferociously denounced at the end of the year.


1948
The Story of a Real Man  Opera in four acts (1947-48) BH*
 


 
Distant Seas (unfinished)
 


 
The Stone Flower  Ballet in four acts BH*
 

A new full-length ballet score, The Tale of the Stone Flower, is deemed unacceptable and a Bolshoi production postponed. Prokofieff finds some consolation in his musical friendship with the young Mstislav Rostropovich, for whom he composes a cello sonata.


1949
 


 
Two Pushkin Waltzes  for orchestra BH*
 

Attends his last premiere, the first public performance of the Cello Sonata in March, Prokofieff works slowly on the oratorio On Guard for Peace and the suite for children Winter Bonfire. Concert-hall rehabilitation for his works begins.


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1950
Winter Bonfire  Suite for narrator, boys' chorus and orchestra (1949-50) BH*
 


 
Soldiers' Marching Song  for voice and piano BH*
 


 
 


 
On Guard for Peace  Oratorio for narrator, contralto, boy alto, boys’ chorus, chorus and orchestra BH*
 

Richter gives the first performance of Piano Sonata No.9 shortly before Prokofieff’s sixtieth birthday, relayed by telephone to the composer from the Union of Composers. Rostropovich collaborates with him on the transformation of Cello Concerto No.1 into what will eventually become the very different Sinfonia-Concertante.


1951
Sinfonia Concertante  for cello and orchestra (1950 – 52) BH


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The Stone Flower  for orchestra BH*
 


 
 


 
The Stone Flower  for orchestra BH*
 


 
The Stone Flower  for orchestra BH*
 


 
Mistress of the Copper Mountain from The Stone Flower Suite for orchestra (unrealised)
 


 
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Completion of the Sinfonia-Concertante and the enigmatic, only superficially simple Symphony No.7, conducted by Samosud in October; Prokofieff makes his last concert-hall appearance. Makes sketches for the Cello Concertino, revises Piano Sonata No.5 and plans a revision of Symphony No.2.

1952
 


 
 


 
Cello Sonata in C sharp minor  (unfinished) BH*

 

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Writes his childhood autobiography and hears news of Bolshoi rehearsals for The Stone Flower. Plans a series of new works and composes up until his death on 5 March, only hours before that of Stalin.

1953
Symphony No.2 (second version, unfinished)
 


 
 


 
Piano Sonata No.10 (sketch)
 


 
Piano Sonata No.10 (sketch)
 


 
Piano Sonata No.11 (sketch)
 


 
Piano Sonata No.11 (sketch)

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BH* = Boosey & Hawkes copyright owner and sole publisher of the UK, the British Commonwealth (excluding Canada), Eire and South Africa


For = Robert Forberg

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