By Kevin Bartig
Sound movie captivated Sergey Prokofiev in the course of the ultimate 20 years of his lifestyles: he thought of composing for almost dozen photos, finally project 8 of them, all Soviet productions. Hollywood luminaries corresponding to Gloria Swanson tempted him with commissions, and arguably extra humans heard his movie song than his efforts in all different genres mixed. motion pictures for which Prokofiev composed, particularly these of Sergey Eisenstein, are actually classics of worldwide cinema. Drawing on newly on hand resources, Composing for the pink Screen examines - for the 1st time - the complete volume of this prodigious cinematic occupation.
Author Kevin Bartig examines how Prokofiev's movie tune derived from a self-imposed problem: to compose "serious" track for a wide viewers. the image that emerges is of a composer looking somebody film-music voice, shunning Hollywood types and objecting to his Soviet colleagues' ideologically expedient movie songs. taking a look at Prokofiev's movie song as an entire - with famous blockbusters like Alexander Nevsky thought of along extra vague or aborted initiatives - unearths that there have been a number of strategies to the problem, each one with various levels of good fortune. Prokofiev conscientiously balanced his personal populist time table, the perceived aesthetic calls for of the movies themselves, and, afterward, Soviet bureaucratic calls for for accessibility.
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Additional info for Composing for the Red Screen: Prokofiev and Soviet Film
This last detail was not unimportant to Prokofiev’s career, for despite the fact that he had expressed interest in working and perhaps even permanently returning to the Soviet Union, he had not taken practical steps beyond securing a Soviet passport (he still possessed a French certificat d’identité). At this point, furthering his career in Western Europe and America remained priorities. The film’s exact musical requisites were unknown at this early stage in the production, and Fayntsimmer issued no explicit requests for the score.
1) inadvertently adds a nonexistent lieutenant by the name of “Kizhe” to the ranks of Pavel’s army, yet none of the Tsar’s circle has enough courage to incur the wrath of the volatile monarch by pointing out the fictional nature of this absent lieutenant. 12 Tïnyanov quickly fashioned a silent-film script in which the imaginary Kizhe manages to get himself banished to Siberia, return triumphantly, marry the belle of St. Petersburg, and ultimately attain the rank of general before perishing from a mysterious illness—all absurdly engineered by members of the Tsar’s court for their personal gain.
14 Tïnyanov thereafter turned his script into a successful short story that appeared in 1928 under the title Podporuchik Kizhe (Second Lieutenant Kizhe). The positive reception of the short story prompted Tïnyanov in 1932 to revisit the idea of a Kizhe film. 1. Lieutenant Kizhe, The scribe’s error had appeared in Russia; Tïnyanov accordingly revised his original silent scenario to include spoken dialogue, which bears traces of his Formalist writings on Gogolian parody and dynamic verbal structure.