A Pedagogical and Performance Guide to Prokofiev's Four Pieces, Op. 32

Abstract

This document provides a pedagogical and performance guide to Sergei Prokofiev’s Four Pieces, Op. 32, a Twentieth Century work for solo piano that is appropriate for late-intermediate to early-advanced piano students. Context and support are provided for the placement of this work as a transitional set between Prokofiev’s Music for Children, Op. 65 and his advanced and virtuosic solo piano repertoire such as the Visions fugitives, Op. 22, the nine Piano Sonatas, the Sarcasms, Op. 17, and the Toccata in D minor, Op. 11. Teachers and students are introduced to the composer’s compositional style and the theoretical underpinnings of his modern harmonic language prior to a formal analysis of each of the Four Pieces which include technical and performance suggestions for each piece. The first chapter provides an overview, explains the purpose and need for the study, the procedures used, and the organization of the study. This is followed in chapter 2 with a review of related literature including the composer’s autobiographical writings, relevant historical and biographical studies, dissertations, journal articles, and selected recordings of the Four Pieces, Op. 32. The third chapter discusses Prokofiev’s compositional style and his unique harmonic language before providing an overview of his solo piano literature. This review of his solo piano repertoire includes available information on the level of difficulty and an assessment of the works, as well as individual pieces within sets, which have pedagogical value. The principal portion of the document is provided in chapter 4 and presents historical context for the Four Pieces, Op. 32. A formal analysis for each individual piece in the set: Dance, Minuet, Gavotte, and Waltz is provided. In addition to the formal analyses, this document includes a discussion of selected technical challenges and suggestions for performance. The study concludes with a summary of key topics including the pedagogical significance of the work, a list of Prokofiev’s teaching repertoire for solo piano, and significant issues and suggestions regarding each of the Four Pieces. The author’s recommendations for ways that the subject matter may be extended through further study are provided, followed by the bibliography and appendices. Many aspects of Prokofiev’s modern harmonic language and his unique compositional style are evident in the Four Pieces, Op. 32, making it an important study work for late-intermediate to early-advanced pianists wishing to prepare for the composer’s extensive solo piano repertoire for advanced and virtuoso performers.