As with most composers of the 20th-century, there's a discrepancy in our perception between Prokofiev the artist and his 'persona'. One can't help feeling involved with the experiences of his life against the backdrop of the Soviet Union, which can lead to misunderstandings.
I feel there has been a reluctance to recognise Prokofiev as a genius because of how his politics are understood. After escaping the restrictive creative environment of his homeland in 1918, moving to the USA and then Paris, Prokofiev felt compelled to return to the Soviet Union in 1936, bearing the brunt of artistic censorship until his death in 1953.
This festival gives us the opportunity to gain a more in-depth understanding of him as a composer and as a man, enriching the black and white over- simplified view that tends to be held – especially in Britain.
By sidestepping his popular output and looking at his lesser-known works for the concert hall, stage and screen we will try to analyse his work in terms of its relationship with neighbouring art forms, and his connection or otherwise with fellow composers. We'll be giving the world-première performance of an unknown oratorio version of the music Prokofiev wrote for Eisenstein's film Ivan the Terrible, prepared by his confidant Levon Atovmyan.
To me Prokofiev may be clever and virtuosic but he had as much heart as head, and he found ways of including that emotion in his music. He doesn't readily put it on show or give it away easily.
We are starting out on a new journey – both Orchestra and audience together – to discover the vulnerable soul that lies behind the façade.
Audio Introduction from Vladimir Jurowski
Overview of the festival: "we'll be trying to avoid works that are too famous"
The people's artist: "Prokofiev was looking for new ways of writing music that was intelligent, yet not intellectual, complex and yet accessible."
Prokofiev's diaries: "Reading Prokofiev is almost more interesting than any of the modern thrillers"
Ivan the Terrible: "this will be the first public performance of the piece more-or-less as Prokofiev would have wished to hear it."
I feel there has been a reluctance to recognise Prokofiev as a genius because of how his politics are understood. After escaping the restrictive creative environment of his homeland in 1918, moving to the USA and then Paris, Prokofiev felt compelled to return to the Soviet Union in 1936, bearing the brunt of artistic censorship until his death in 1953.
This festival gives us the opportunity to gain a more in-depth understanding of him as a composer and as a man, enriching the black and white over- simplified view that tends to be held – especially in Britain.
By sidestepping his popular output and looking at his lesser-known works for the concert hall, stage and screen we will try to analyse his work in terms of its relationship with neighbouring art forms, and his connection or otherwise with fellow composers. We'll be giving the world-première performance of an unknown oratorio version of the music Prokofiev wrote for Eisenstein's film Ivan the Terrible, prepared by his confidant Levon Atovmyan.
To me Prokofiev may be clever and virtuosic but he had as much heart as head, and he found ways of including that emotion in his music. He doesn't readily put it on show or give it away easily.
We are starting out on a new journey – both Orchestra and audience together – to discover the vulnerable soul that lies behind the façade.
Audio Introduction from Vladimir Jurowski
Overview of the festival: "we'll be trying to avoid works that are too famous"
The people's artist: "Prokofiev was looking for new ways of writing music that was intelligent, yet not intellectual, complex and yet accessible."
Prokofiev's diaries: "Reading Prokofiev is almost more interesting than any of the modern thrillers"
Ivan the Terrible: "this will be the first public performance of the piece more-or-less as Prokofiev would have wished to hear it."
–
Vladimir Jurowski,
Artistic Director
Vladimir Jurowski,
Artistic Director
