Prokofiev's new simplicity and expressive form
Michael Bradshaw · The University of Queensland · 2018
This study focuses on what Prokofiev called his “new-simplicity” style, from both historical and analytical perspectives, in order to answer the following questions: what motivated Prokofiev to adopt his new-simplicity style, and how is this manifest in his music? The research undertaken broadly falls into three areas: 1) A stylistic analysis of select works from various stages of the composer’s compositional career is undertaken. These works support the argument that in Prokofiev’s new-simplicity compositions there is a simplification of surface-level complexity in the music, while at same time an increased use of what this study calls “expressive form.” 2) As part of the examination into Prokofiev’s formal procedures in the above works, a new framework for considering the composer’s harmonic language is developed, which synthesises neo-Riemannian and set theory approaches. Furthermore, a seven-point taxonomy of Prokofiev’s categories of harmonic language is developed and employed alongside Prokofiev’s own “five lines” analysis of his compositional style. 3) The work provides a synthesis of primary and secondary materials that relate to Prokofiev’s strong personal belief in Christian science and how this, in turn, relates to his compositional activities. In particular, a connection is made between German idealist philosophy, Christian Science theology, and how these world-views approach the arts. The study concludes that what motivated Prokofiev to adopt his new-simplicity style was more than his decision to adapt to Soviet expectations, or a response to a personal stylistic crisis. Instead, it was––at least initially––a personal artistic drive informed by his belief in Christian science. Christian science can be read as a continuation and culmination of Prokofiev’s philosophical studies in Kant and Schopenhauer, and this, in turn, lead to Prokofiev’s focus on the “permanent” formal properties of music as opposed to the “ephemeral,” surface-level properties. In his new-simplicity works, Prokofiev shifted from the use of surface-level complexities to a clarity of texture and depth of formal thought, and this shift is demonstrated through the identification of Prokofiev’s increasing and concentrated use of “expressive form.”