Prokofiev: Visions Fugitives op 22 no. 1 (1915) Y. Bermudez

Prokofiev Visions Fugitives Op 22 No's 1--5 Yudina Rec 1953 .wmv

Introduction

Serguei Prokofiev through this “Visions Fugitives” piano pieces created and recreates the environment of the early 20^th century music. When we look at this piece we can mark a before and after in his creation, it makes clear his developmental evolution which himself stated that in his autobiography. His period as a developing composer lasted from: 1891 to 1918.  He utilized the piano as a main resource of his musical expression. These 20 pieces of his Visions Fugitives op 22 represent a colossal piece in his early years

Analysis

“Visions Fugitives” is full of dynamic contrasts and the melodies are very complex and chromatic melodies, the utilization of tritons and the 7^th chords to create an unstable harmonic function.

The vision Fugitive number 1 has a “lentamente” as a tempo marking and it starts with a pianissimo until the measure 24. From measure 1 to measure 14^th it seems like a cadencial point. However if we look at the measure 9 and the measure 22 we see that there is a pattern of Prokofiev to plan everything. In the measure 14 when the descending chromatic scale is you can hear the triton clearly which resolve in measure 26. After the measure 25 the G note is very important because it makes allusions to the next Vision fugitive that is in the same pitch with the term “Andante” which is interesting because it gives the continuity feeling.

Comparison

The second Vision fugitives plenty of catatonic scales and 7^th chords which can be a point of contrast with

the number one. Besides all these modern elements that surround all Prokofiev music we can hear a traditional melodic and harmonic elements. At the beginning you can think about the tonal ambiguity but then the A flat in the second bit creates a dissonance with the major 7^th chord. All the eight first notes are based on the octatonic scale: G, A-flat, B-flat, B, D-flat, D, E, F.  These elements did not happen in the number one Vision. From the measure 5 to the measure 6. This piece is in Ternary form. A section: from measure 1 to measure 7; B section from measure 7 to measure 11 when the A section returns with a brilliant dynamic contrast. At the end there is an interesting expressive element like if the piece disappears having the similarity of the beginning with the A-flat in the left hand and the G in the right hand forming a major 7^th chord.

Observations

For me have been interesting to see the contrasts in Prokofiev piano pieces. In this particular one you can see the individuality of each but then the sense of unity over the whole 20 pieces and the dissonant harmonies.

Works Cited

Minturn, Neil; Serguei Prokofiev. The Music of Sergei Prokofiev. Journal of Music 'Theory, Vol. 42, No. 1 (1998): 153-164

 “Prokofiev Visions Fugitives Op 22 No's 1--5 Yudina Rec 1953 .wmv.”YouTube Video. Uploaded by "Beckmesser2" on Jan 16, 2010.http://www.youtube.com/watch?v=O5ShRtQgZUM

“Visions Fugitives op 22 by S. Prokofiev op 22.”http://conquest.imslp.info/files/imglnks/usimg/b/b7/IMSLP00346-Prokofiev_-_Fugitives_vision_Op_22.pdf

Link to the picture1: http://forte.music.unt.edu/?q=node/143

Link to the picture 2: http://imslp.org/wiki/Visions_fugitives,_Op.22_%28Prokofiev,_Sergey%29