Prokofiev, String Quartet No. 1 ,2

Sergei Prokofiev

 

 

 

  String Quartet No. 1 in B minor Op. 50

 

Quartetto Energie Nove
Hans Liviabella & Barbara Ciannamea - violins,

Ivan Vukcevic - viola, Felix Vogelsang - cello

 

String Quartet No. 1 in B minor, Op. 50 (1931) was commissioned by the Library of Congress.^[1][2] The Quartet was first performed in Washington, D. C. on 25 April 1931 by the Brosa Quartet^[3] and in Moscow on 9 October 1931 by the Roth Quartet.^[1][2] The string quartet is in three movements, lasting around 20–25 minutes.

 

Movements

1. Allegro
2. Andante molto
3. Andante

Analysis

The work is distinctive in that its key, B minor, is just a semitone below the limits of the viola and cello range. Another distinctive feature is that the finale is the slow movement, which is highly intense in emotion and full of sweeping melodies.

Prokofiev had liked the finale so much that he transcribed a version of it for string orchestra, as Op. 50a, and included a piano transcription in his pieces as Op. 52.

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String Quartet No.2  in F Major, Op. 92 (1941)

 

 

String Quartet No. 2 in F Major, Op. 92 (1941)  was first performed by the Beethoven Quartet in Moscow on 7 April 1942.^[1] A later concert in Moscow, on 5 September 1942, was delayed by a Nazi air raid and started late. Prokofiev thought it "an extremely turbulent success." The string quartet, lasting for 20–25 minutes, is in three movements.

Background

Prokofiev, along with other Soviet artists, was evacuated from the major cities when the Nazis broke their non-aggression pact and invaded the Soviet Union in 1941. on August 8, 1941, Prokofiev traveled to Nalchik with other artists, among them his friend, musician Nikolai Myaskovsky, actors, such as Anton Chekhov's widow, and others. Prokofiev stayed in the town of Nalchik, the provincial capital of the Kabardino-Balkar Autonomous SSR, in the North Caucasus, about 900 miles south of Moscow (bordered by the European Russia, Turkey, and the Black and Caspian Seas). During this stay, Prokofiev was told by a government official to write a quartet using Kabardino-Balkar folk themes^[2] and wrote this string quartet, with themes based on folk tunes, rhythms and textures.

This quartet, along with the first, has entered the repertory of many string quartets.

Movements

1. Allegro sostenuto
2. Adagio
3. Allegro

Analysis

Prokofiev utilized Kabardino-Balkar folk themes in his string quartet, while at the same retaining his unique style of harmonization. The folk music character is made evident by the string quartet's imitation of oriental plucked and percussion instruments, combined with resourceful use of sonic effects. The background accompaniment in the second movement attempts to imitate the playing of a Caucasian stringed instrument, the kjamantchi.

Nikolai Myaskovsky, Prokofiev's close friend, wrote two works on Kabardino-Balkar themes, his 23rd symphony and 7th string quartet. The symphony shares a theme with the finale of Prokofiev's quartet.
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