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Sergei  Prokofiev: A Biography
 
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Sergei Prokofiev: A Biography [ペーパーバック]

Harlow Robinson
5つ星のうち 5.0  レビューをすべて見る (1 件のカスタマーレビュー)
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The prolific creator of such classic popular works as "Romeo and Juliet", "Cinderella" and "Peter and the Wolf", Sergei Prokofiev (1891-1953) was one of the most important composers of the 20th century. This biography offers a detailed portrait of a complex man whose character, and music, combined the traditional and contemporary. Drawing on access to previously unknown or unavailable Russian-language sources, including extensive archival material, Harlow Robinson traces Prokofiev's extraordinary life from the fairy-tale world of Tsarist Russia, through his many years abroad in America and Europe, to his perplexing permanent return to Moscow in 1936 under the Soviet regime. He died on the same day as Josef Stalin, his principal persecutor, in the final irony of an intense and enigmatic career.

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"This is the best biography in English to date on Prokofiev. Robinson . . . draws upon previously untranslated Russian documents and letters to provide an unusually rich and detailed view of this enigmatic composer."--Library Journal

登録情報

  • ペーパーバック: 584ページ
  • 出版社: Northeastern Univ Pr; Reprint版 (2002/1/24)
  • 言語: 英語, 英語, 英語
  • ISBN-10: 1555535178
  • ISBN-13: 978-1555535179
  • 発売日: 2002/1/24
  • 商品パッケージの寸法: 3.4 x 15.2 x 23.3 cm
  • おすすめ度: 5つ星のうち 5.0  レビューをすべて見る (1 件のカスタマーレビュー)
  • Amazon ベストセラー商品ランキング: 洋書 - 543,177位 (洋書のベストセラーを見る)
  •  カタログ情報、または画像について報告


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4 人中、4人の方が、「このレビューが参考になった」と投票しています。
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ロシア革命を嫌って横浜経由でアメリカへ亡命したプロコフィエフは、何故再び故国に戻り骨を埋めたのか。モダニズムの申し子としてパリでもてはやされたプロコフィエフは、社会主義の故国でどういう気持ちで数々のわかりやすい「名曲」を作曲していったのか。
こういった疑問に極めて納得性のある答えを与えてくれるのがこの伝記です。ロシア革命と、そして何よりも独裁者スターリンに翻弄され、奇しくもスターリンと同じ日に死んだプロコフィエフの劇的な生涯を、著者は自ら集めた膨大な資料をもとに、客観的かつ克明に追ってゆきます。発言の出所まで細かく記した良心的な姿勢と、過度に技術的な作曲・作品論に踏み込まない記述が、この本を資料としても読み物としても、刺激あふれる超一流の「伝記」としています。最大級の賛辞を惜しみません。おすすめ!
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28 人中、27人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 5.0 Well worth reading 2002/9/23
By bruce robertson - (Amazon.com)
形式:ペーパーバック
Harlow Robinson's book is excellent; well worth reading. He strikes the right balance between the composer's personal charateristics and the body of his musical creation. The book is rich in detail, yet to-the-point; it is objective, yet reflects the complexity of this sometimes very unpleasant genius. It is perfectly comprehensible for the interested non-expert who has invested a good deal of time listening to Prokofiev's music, and seeing his movies, ballets and operas. As a Russian speaker familiar with every day speech and everyday life in the Soviet Union, I can say that Mr Robinson has a keen understanding of that culture, right down to having a very fine ear for transliterations. The composer is the Beethoven of the twentieth century: the one who has created the musical language which is so much a part of us that we take it for granted. Robinson brings us the man and the mind behind that language.
18 人中、18人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 4.0 popular biography that brings rewards 2005/4/6
By LuelCanyon - (Amazon.com)
形式:ペーパーバック
Robinson's is a useful popular biography of Prokofiev that is better researched and better written than any other English language bio of the great composer. Equal measure is given to Prokofiev's time in the West, and to his life after returning to Russia. There's much that's interesting here - a persistent exploration of Prokofiev's quixotic relationship with Diaghilev, generous delving into the composer's personal life, including especially some revealing passages on the almost uncharacteristic affection Prokofiev lavished on his children, and a resonant view of his work habits. Prokofiev's career disappointments were many, some even tragic, and the author doesnt beat around the bush, but the admirable thread of fierce devotion maintained by Prokofiev toward his own unquenchable musical purpose is thoughtfully argued by Robinson throughout the book, indeed it's one its strengths. The author even notes details of some of Prokofiev's foppish Parisian clothing that helped start him off on the wrong foot on his return to Russia. There are a number of subtle moments like that where one can discern the winning hand of a committed biographer. The importance of Prokofiev's canon of works is denied a hearing for the most part, but the book suffers little for that. The useful appendices include a chronology and a catalogue (by genre) of the composer's works, in addition to a healthy bibliography. I recommend this book for anyone just taking up the subject of Prokofiev. Listening again to the seventh Piano Sonata would perhaps serve more succinctly for the already initiated.
5 人中、5人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 4.0 The Mind and Music of Prokofiev 2007/5/2
By T. Knowlton - (Amazon.com)
形式:ペーパーバック|Amazonで購入
Harlow Robinson spent years in Soviet Russia researching Prokofiev during the height of the Cold War. His research does not just include manuscripts and letters but also involves many personal conversations with those who knew Prokofiev and even with those who persecuted Prokofiev. As a result he navigates his way through Prokofiev's life with that added dimension of relating personally to those events. Robinson's writing is interesting and warm without being too academic or dry. This book seems to be intended for any real fan of Prokofiev. Lastly, this book really strives to explain some of the perplexities of Prokofiev's decisions. In particular, Robinson strives to explain why Prokofiev needed to return to Russia after his extended residence in Paris. This book is well worth the time to read.
6 人中、5人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 5.0 One of the best biographies you will ever read 2009/12/1
By Steve Wyzard - (Amazon.com)
形式:ペーパーバック
While I will always love his 5th & 6th symphonies, the 2nd & 3rd piano concerti, and his piano sonatas, Sergei Prokofiev (1891-1953) is not my very favorite composer. There are large swaths of his oeuvre that frankly leave me cold, and while very gifted, the quality of his work was very inconsistent throughout his career. Having read a number of books on Dmitri Shostakovich, and having appreciated Harlow Robinson's liner notes for the Shostakovich quartet cycle on the Essay label, I decided to give this book a chance. I have now "flown" through it twice, and can confidently say this is one of the best-researched, well-written, and downright most-fascinating biographies I have ever read.

Readers looking for a fawning hagiography are advised to look elsewhere. While Robinson focuses on the composer's work (with a special emphasis on the operas), there is no effort to whitewash his self-centeredness and very difficult personality. Stories of Prokofiev's coldness and cruelty are legion. One wonders how he would have fared in today's world with the same talents, but having to continually toe the line of political correctness and "market" himself. Prokofiev, while he mellowed in his later years, simply did not care what other people thought, and was not shy about saying what was on his mind. Paradoxically, he worked all his life to appease those who commissioned works from him, to say nothing of the powers that be in Soviet Russia. Robinson devotes much discussion to the ideological attacks of Stalin and Zhdanov in early 1948, after the composer's health was already in decline. Prokofiev's response, he writes, was "neither a complete apology, nor a statement of indignant rebellion." Obsessed with his music, Prokofiev was apolitical and mostly indifferent to what was going on around him during those historically significant times. Robinson quotes the composer Alfred Schnittke on Prokofiev: "He attempted to overcome the apocalyptic break in 20th century history with the cold composure of an athlete; it was as if he did not hear and did not see the approach of a destructive slaughter unprecendented in history."

This biography is quite a page-turner and moves very quickly without bogging down in technical jargon or historical minutiae. Robinson does an outstanding job in presenting the facts, telling the story, and keeping personal conjecture out. He expects his readers to have a working understanding of the times, eras, and personages involved, and in analyzing Prokofiev's works, he makes fair and accurate observations without descending into self-impressed pedagogy. Originally issued in 1987 and now reissued in 2002, this updated version can truly be described as definitive, an agenda-free treasure among composer biographies. Highly recommended.
2 人中、2人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 5.0 AN EXCELLENT, DETAILED BIOGRAPHY OF THE COMPOSER 2009/9/26
By Steven H. Propp - (Amazon.com)
形式:ペーパーバック
Sergei Prokofiev (1891-1953) is the subject of this excellent biography by a professor of literature; it is accordingly much more of a biography and less of a "musical analysis" than many such "biographies" of composers are---and in this case, I think the difference is a "plus."

Robinson offers many insightful views of Prokofiev: "His music might be filled with 'wrong notes,' but it was resolutely tonal all the same; he might fill sonatas with dissonances and shocking rhythms, but he still called them sonatas and wanted them to be considered as such. He stretched the limits of traditional musical forms with a mischievous glee, much as he tested the patience of his teachers." "This frenetic level of activity seems to have been an attempt to avoid a confrontation with silence or his subconscious; he was never a particularly reflective individual." He also notes that "Unlike so many Russian composers before him, Prokofiev never wrote a single explicitly religious setting---no requiems, vespers, choruses or pieces of the Russian Orthodox liturgy." Considering his works for children, Robinson comments, that "he never forgot what it meant to be a child, and how children think, is evident in the playful but never condescending music he wrote for them."

"Beginning in the fall of 1909, Prokofiev was on his own as a composer: ... this was probably to Prokofiev's advantage, for his professors objected to that which was most original about his music." However, he avoided "movements" or "styles" in music: "he avoided joining any circles or identifying himself with any movements." In 1914, "He was still a bad boy, but a brilliant and assured one."

His relationship with Stravinsky is chronicled in several parts of the book: "Prokofiev's lack of social diplomacy was only one of the factors that complicated the difficult and mercurial relationship between the two composers." "As for Stravinsky, Prokofiev could not--or did not want to---appreciate fully his talent and significance." "Prokofiev and Stravinsky continued to encounter each other socially and professionally, but their fates were diverging. Incomprehensible to Stravinsky was Prokofiev's intense desire to maintain contact with the Soviet musical world; he considered Prokofiev's grasp of politics underdeveloped and sadly naive." Furthermore, "Prokofiev did not regard Shostakovich's music with particular enthusiasm." By way of contrast, "Rachmaninoff and Prokofiev would develop a relationship of mutual respect, if not friendship."

In his autobiography, Prokofiev observed, "Moving to Paris does not mean becoming a Parisian." No matter how long he remained abroad, he always considered himself a Russian. And ultimately in 1935, he moved back to the Soviet Union for good (against his wife's wishes), and Robinson says that "Prokofiev's 'Russian-mindedness'--not money---was the most important motivating force behind his momentous move." He also ultimately left his wife for another woman (without trying to get his first wife out of the USSR first), although they never married.

This is a wonderful biography of Prokofiev, and is HIGHLY RECOMMENDED for fans of Prokofiev.
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