Selected and Reviewed by Andrew Eales
Find out more: About Pianodao Reviews
Sergei Prokofiev (1891-1953) is unquestionably among the great composers of the solo piano repertoire, as well as one of the most important innovators. As Maurice Hinson and Wesley Roberts assert (in their Guide to the Pianist’s Repertoire, fourth edition, 2014):
“Prokofiev developed an individual, percussive style, which was probably the most signifiant innovation in piano technique since Chopin. His percussive manner is uniquely blended with a lyric element frequently accompanied by strong dissonance, yet his basic arsenal of figuration stems directly from the nineteenth century. Influences of Russian folk song are evident in his melodies and energetic rhythms.”
To this impressive list of qualities, I think we must also add Prokofiev’s contrapuntal genius, clarity of musical texture, profound affinity with the instrument, biting wit, and of course remember that he composed some of the twentieth century’s most remarkably memorable and widely recognised melodies.
With the relaxing of copyright restrictions, we can happily anticipate that the available catalogue of Prokofiev piano music in print will rapidly grow in the coming months, raising the quality and increasing the choice of editions, as well as improving access to the composer’s less well-known pieces.
Dominated by the nine Sonatas, this astonishing body of work also includes more than 100 smaller pieces, as well as the composer’s transcriptions of his famous orchestral works. Edition Peters have been quick to reissue legacy editions, but perhaps more significantly, Henle have begun to bring out brand new scholarly urtext editions of the most significant pieces, so far including the Seventh Sonata and the virtuosic Toccata Op.11.
Among these releases, Henle’s new edition of the seminal masterpiece Visions Fugitives Op.22 is the subject of this review…
Visions Fugitives
Visions Fugitives (or fleeting visions) is a tableaux of twenty wildly distinctive miniatures which together offer a stunning kaleidoscope of the composer’s art. Composed between 1915 and 1917, during a period of immense social and political upheaval in Russia, these pieces reflect the young Prokofiev’s revolutionary approach to composing, each piece encapsulating a distinct mood or idea in a concise, startlingly original musical language.
In his preface to the new Henle edition, Simon Morrison tells us,
“The work has no over-arching programme, though images of the transience of youth. the turbulent final years of the Romanov dynasty, and the demons awaiting release by the Bolsheviks have been mapped onto them.”
And indeed, while it is perhaps too fanciful to imagine the composer’s intentions in each and every piece, we know that the outburst of No.19, Presto agitatissimo e molto accentuato, was the composer’s response to the events of February 1917 in Petrograd, the first phase of the Russian Revolution which precipitated the abdication of the last Russian Tsar, Nicholas II.
Many of the pieces seem to have been written with Prokofiev’s friends in mind. No.7 was originally written for the harp, specifically for the player Eleonora Damskaya, on whom Prokofiev had a crush. Meanwhile, the chimes of No.5, Con eleganza, commemorate the marriage of his friend Lidiya Karneyeva to a Russian navy captain.
Taken as a whole, the collection is a captivating exploration of contrasts, showcasing moments of whimsy, melancholy, and exuberance. From playful dances to introspective musings, Visions Fugitives demonstrates Prokofiev’s ability to evoke a wide range of emotions within a compact musical framework.
Individual pieces have variously appeared at Grades 6-8 and Associate Diploma level, making Visions Fugitives a formidable pedagogic milestone, and one which is surely essential for any pianist’s development, as well as a sparkling recital favourite when performed complete.
A Better Edition
I am frequently asked what makes one edition better than another, and given that Henle’s new edition of Visions Fugitives is undoubtedly superior to the well-established edition from Boosey & Hawkes, this makes for an interesting case study.
Firstly, there is the question of extant sources. In many cases (and certainly here) more than one respected copy can be considered in the making of a new edition.
Following the first edition, published in Moscow in 1917, a second appeared in 1922 with minor revisions, and this version has remained the basis of the subsequent European editions from Boosey & Hawkes. However, in 1934, Prokofiev made further amendments to the score, which formed the basis of the Soviet editions published in 1939 and 1952 (the latter including several misprints).
As the 1939 revision is the latest reliable edition, reflecting Prokofiev’s last authoritative word on the text of the Visions Fugitives (primarily including changes to the details of articulation and dynamic markings) it forms the basis of the new Henle edition, which has been edited by Norbert Gertsch.
Secondly, the new Henle edition includes additional fingerings by esteemed concert pianist Boris Giltburg. These fingerings are instructive not only because of Giltburg’s status as an artist, but also because the previous Boosey & Hawkes edition lacks editorial fingering. Players of these pieces will surely benefit from the insightful support available here.
Finally, the new Henle edition offers significant additional and intrinsic benefits. These include a useful thematic (with musical excerpts) contents page, well written preface by Simon Morrison, critical commentary by editor Gertsch, and pristine notation engraving that far outshines that of the older Boosey & Hawkes edition. The edition is printed on high quality cream paper, and also available digitally in the Henle app.
Simply put, that older edition is rendered redundant by this exemplary new publication, and anyone considering playing or teaching Visions Fugitives must undoubtedly now turn to the new Henle edition for its unparalleled scholarship, practicality, accessibility, and clarity.
Closing Thoughts
Prokofiev’s Visions Fugitives Op.22 has throughout my career remained a top recommendation for students at early advanced level and beyond, an essential introduction to, and treasure trove of, modernist musical brilliance.
A cornucopia of whimsical fancies, fleeting visions and emotions, ranging from introspective lyricism to violent outburst, and from insouciant melodies to glimpses of the stark humour that characterised so much of his later work, these miniatures are indisputably among the most remarkable piano works of the early twentieth century, and a compelling testament to their composer’s creative originality.
Henle’s stunning new edition will, we must hope, awaken fresh interest in this genuinely stupendous masterpiece.
Pianodao Music Club members receive 15% discount from Sheet Music Plus.
Musicroom is joining forces with Sheet Music Plus.
Most Pianodao retail links will redirect you to the new product pages.
Any which don’t will be updated in the coming weeks. Thank you for your patience.
Pianodao includes 700+ free articles and reviews.
If you value this resource, please support the site:
