An Octatonic History of Prokofiev’s Compositional Oeuvre

Abstract

The article examines Prokofiev’s compositional oeuvre through the lens of the Rimsky-Korsakov scale (octatonic collection) and its prominence in selected works from 1915 through 1941. Although he never took a composition lesson with Rimsky-Korsakov, Prokofiev’s careful use of the collection shows his intimate knowledge of the scale. The article seeks to add a understanding of the development of the Rimsky-Korsakov scale within Russian theoretical thought. A survey of short octatonic sections culminates in the analysis of Sonata no. 6, which not only uses the same octatonic collection to characterize the themes of first and last movements, but also features a scalar version of the octatonic collection at the very climax of the last movement. This event further enhances the importance of the scale and takes on a dramatic role from its initial association with magical characters in Rimsky-Korsakov’s music to depicting the despicable woes of the Great Patriotic War in Prokofiev’s music.

Second‐Order Topics and Prokofiev's String Quartets

“…3–5 and Bass 1988), with reference to set‐theoretical techniques (Minturn 1997), or as framed within tonality but not saturated by it (Cohn 2012, Sologub 2014 and Harley 2020). Furthermore, theories drawing upon the Russian tradition demonstrate the how the concept of lad (loosely equivalent to mode) might aid in our understanding of Prokofiev's harmony (Kholopov 1967 and Skorik 1969; see also Sologub 2014 and Bazayev 2014 and 2018). Traces of tonal convention may remain, but from a common‐practice perspective the ambiguities of harmony, tonality and cadences often outweigh a possible analytical benefit.…”