The Nineteenth-Century Russian Operatic Roots of Prokofyev’S
Total Page：16
File Type：pdf, Size：1020Kb
THE NINETEENTH-CENTURY RUSSIAN OPERATIC ROOTS OF PROKOFYEV’S WAR AND PEACE by TERRY LYNN DEAN, JR. (Under the Direction of David Edwin Haas) ABSTRACT More than fifty years after Prokofyev’s death, War and Peace remains a misunderstood composition. While there are many reasons why the opera remains misunderstood, the primary reason for this is the opera’s genesis in Stalinist Russia and his obligation to uphold the “life-affirming” principles of the pro-Soviet aesthetic, Socialist Realism, by drawing inspiration from the rich heritage “Russian classical” opera—specifically the works of Glinka, Chaikovsky, and Musorgsky. The primary intent of this dissertation is to provide new perspectives on War and Peace by examining the relationship between the opera and the nineteenth-century Russian opera tradition. By exploring such a relationship, one can more clearly understand how nineteenth-century Russian operas had a formative effect on Prokofyev’s opera aesthetic. An analysis of the impact of the Russian operatic tradition on War and Peace will also provide insights into the ways in which Prokofyev responded to official Soviet demands to uphold the canon of nineteenth-century Russian opera as models for contemporary composition and to implement aspects of 19th-century compositional practice into 20th-century compositions. Drawing upon the critical theories of Soviet musicologist Boris Asafyev, this study demonstrates that while Prokofyev maintained his distinct compositional voice, he successfully aligned his work with the nineteenth-century tradition. Moreover, the study suggests that Prokofyev’s solution to rendering Tolstoy’s novel as an opera required him to utilize a variety of traits characteristic of the nineteenth-century Russian opera tradition, resulting in a work that is both eclectic in musical style and dramaturgically effective. INDEX WORDS: Sergei Prokofyev, Prokofiev, Opera, Russian music, Soviet music, Rimsky-Korsakov, Chaikovsky, Tchaikovsky, Musorgsky, Mussorgsky, Boris Asafyev, Boris Asafiev, Intonatsiya, War and Peace, Socialist Realism, Psychology and Music THE NINETEENTH-CENTURY RUSSIAN OPERATIC ROOTS OF PROKOFYEV’S WAR AND PEACE by TERRY LYNN DEAN, JR. B.A., West Virginia University, 1998 M.A., University of Georgia, 2002 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2009 © 2009 Terry Lynn Dean, Jr. All Rights Reserved THE NINETEENTH-CENTURY RUSSIAN OPERATIC ROOTS OF PROKOFYEV’S WAR AND PEACE by TERRY LYNN DEAN, JR. Major Professor: David Haas Committee: Dorothea Link Susan Thomas Adrian Childs Elena Krasnostchekova Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2009 DEDICATION This dissertation is dedicated to two men who profoundly shaped me into the musician and scholar I am today. My grandfather, Woodrow Perkins, instilled within me a love for learning as a child. His value of education, second only to family, has remained with me beyond my childhood and continues to influence today. My uncle, Roger Dean, introduced me to opera and the world of music in general. Much of who today is due to the two of you. iv ACKNOWLEDGEMENTS This dissertation would not have been possible without the efforts of my doctoral committee. Dorothea Link, Susan Thomas, and Adrian Childs provided constant support and feedback throughout the writing process. I am absolutely indebted to Elena Krasnostchekova of the Department of Germanic and Slavic Studies, who generously donated countless hours of her time conversing with me about Lev Tolstoy, War and Peace, and Soviet aesthetics. Her insights and encouragement have been priceless. Last but not least, I must thank my dissertation advisor and mentor, David Haas. Working with him during my time at The University of Georgia has allowed me to become the scholar and teacher I am today. I must thank Jean Kidula, David Schiller, and Stephen Valdez for their support and encouragement as well. Even though they did not serve on my committee, they constantly expressed their interest in my work and helped me to continue moving forward with the project even when completion of the dissertation seemed impossible. I must also extend my thanks to Michelle Ballif of the Writing Intensive Program for allowing me the opportunity to work for funding my graduate education and for allowing me to work as part of her program. Without her training as a writer, I would not have been able to muster the strength and discipline to see this project to its end. Finally, my friends and family have provided limitless support and encouragement throughout the process of completing the dissertation. Thanks to Carrie Allen for allowing me to bounce ideas at her over the phone, for reading passages for v clarity, and for helping me to transport forms around campus after relocating to Indiana. I must thank my mother, Lora Dean, and my sister, April Hugus, for suffering through many a tearful phone call as I lost faith in myself and what I was doing. Each time they wisely reminded me that all I had to do was write one page at a time. To my grandparents, Woody and Ruth Perkins, thank you for always encouraging me to be the best student and person I could be. You can now tell all of your friends that my “book” is done! Last, but again not least, to my partner, B.D. Hartman, thank you for being there throughout this long process. I could not have made it through the program, the dissertation, or the past ten years in general without you there smiling and pushing me along. Thank you for reminding me that the best dissertation is a finished dissertation! vi TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.................................................................................................v LIST OF FIGURES .............................................................................................................x LIST OF EXAMPLES....................................................................................................... xi CHAPTER I INTRODUCTION: CONTEXTS AND CONCERNS FOR WAR AND PEACE...........................................................................................................1 History of the Work.......................................................................................5 Literature Review........................................................................................10 Scope and Methodology..............................................................................21 A Note on Transliteration............................................................................27 II RECONCILING PROKOFYEV’S OPERA AESTHETIC WITH SOCIALIST REALISM ...................................................................................................28 Prokofyev and Nineteenth-Century Russian Opera ....................................29 Implementation of Socialist Realism in Literature......................................32 Implementation of Socialist Realism in Music ...........................................38 Prokofyev’s Response to “Muddle Instead of Music” ................................46 The Resolution of 1948 ...............................................................................49 Prokofyev and the Resolution of 1948........................................................51 III PROKOFYEV’S USE OF INTONATSII IN WAR AND PEACE ....................57 vii Intonatsii in Rimsky-Korsakov’s Christmas Eve........................................65 Prokofyev’s Use of Intonatsii in War and Peace........................................77 IV PROKOFYEV’S USE OF INTERNAL PSYCHOLOGY AS DRAMATIC CONFLICT .................................................................................................86 Inner Psychology as a Source of Conflict in Nineteenth-Century Russian Opera .....................................................................................................87 Inner Psychology as Drama in Boris Godunov and Eugene Onegin...........92 Psychological Portrayal in Boris Godunov .................................................93 Psychological Portrayal in Eugene Onegin.................................................99 Inner Psychology as Drama in War and Peace.........................................102 Psychological Portrayal of Natasha Rostov ..............................................103 Psychological Portrayal of Pierre Bezukov...............................................107 V PROKOFYEV’S EVOCATION OF REALMS OF EXPERIENCE.............115 Evoking Opposing Realms of Existence in Sadko ....................................116 Evoking Opposing Realms in War and Peace ..........................................126 Prokofyev’s Five Style Lines ....................................................................127 Constructing Contrasting Sound Complexes for War and Peace .............136 The Musical Style of Prokofyev’s Tableaux of Peace ..............................137 The Musical Style of Prokofyev’s Tableaux of War.................................139 Concluding Remarks .................................................................................153 BIBLIOGRAPHY............................................................................................................157 Discography and Videography..................................................................166 viii APPENDICES .................................................................................................................167