S.Prokofiev — 4 Visions fugitives for woodwind quartet (arr. M.Starshinov)

S. Prokofiev — 4 Visions fugitives for woodwind quartet (arr. M. Starshinov) The Visions fugitives, Op. 22, are a series of short piano pieces composed by Russian composer Sergei Prokofiev between 1915 and 1917. They were premiered by Prokofiev on April 15, 1918, in Petrograd, Soviet Union. They were written individually, many for specific friends of Prokofiev’s. The pieces contain dissonant harmonies, similar in nature to music composed by Prokofiev’s contemporaries Schoenberg and Scriabin, although still retaining highly original concepts in both tonality and rhythm. The pieces are whimsical musical vignettes and, although dissonant, are pleasant, effervescent, and bright, as if Prokofiev wished to show a slower, more joyous side of his imaginative personality. The overall effect is in the impressionist style, not unlike a work of Debussy; in fact, many of the movements are similar in style and sound. Because of the almost-uniformly mellow style of the piece, performers must have much patience and be willing to work on the relatively difficult technique required to capture the essence of this work. Because the movements are quite short individually (lasting around one or two minutes), most performances include a group of movements. A complete performance lasts between eighteen and twenty minutes. 1)№ 14 This movement is completely distinct to all the other movements in the work. The piece is dissonant, commanding, and march-like, due to its driving, motoristic rhythm quite characteristic of a toccata. The repeating syncopated bass notes are a characteristic of this movement. 2)№ 4 This movement is noticeably more lively than its predecessors. The piece is played detache or staccato for the chordal passages and leggiero for the scalar passages. After this section, the piece goes to a slower, more mellow bass melody. The thematic material is accompanied in the left hand by an ostinato in minor thirds. 3)№ 1 This short movement begins quietly and hesitantly, as if wandering, as the melody does not seem to resolve. The gentle floating chords are like spots of dappled sunshine through a canopy of leaves overhead, ever-changing in the wind; played softly but clearly. However, like the patterns of light, this movement lasts for just a moment. The Lentamente makes certain references to impressionism due to the use of planing. 4)№ 15 This movement’s repeating bass immediately creates a sense of urgency until it opens up to a staccatoed and heavily-chordal melody that gradually grows in magnitude until one great final shove, after which the piece ends. A performance lasts just under a minute.