Prokofievs Tales of Old Grandmother Op. 31

University of Iowa
Iowa Research Online
Theses and Dissertations
Spring 2016
Prokofiev's Tales of old grandmother, Op. 31: a performance and

pedagogical guide
Wenjing Liu
University of Iowa
Follow this and additional works at: https://ir.uiowa.edu/etd
Part of the Music Commons
Copyright 2016 Wenjing Liu
This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/3132
Recommended Citation
Liu, Wenjing. "Prokofiev's Tales of old grandmother, Op. 31: a performance and pedagogical guide." DMA
(Doctor of Musical Arts) thesis, University of Iowa, 2016.
https://doi.org/10.17077/etd.7re3vla1
Follow this and additional works at: https://ir.uiowa.edu/etd

Part of the Music Commons
PROKOFIEV’S TALES OF OLD GRANDMOTHER, OP. 31:
A PERFORMANCE AND PEDAGOGICAL GUIDE
by
Wenjing Liu
An essay submitted in partial

fulfillment of the requirements for
the Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa
May 2016
Essay Supervisor: Professor Ksenia Nosikova

Copyright by
Wenjing Liu
2016
All Rights Reserved

Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
____________________________
D.M.A. ESSAY
_________________
This is to certify that the D.M.A. Essay of
Wenjing Liu
has been approved by the Examining Committee for

the essay requirement for the Doctor of Musical Arts
degree at the May 2016 graduation.
Essay Committee: ____________________________________________

Ksenia Nosikova, Essay Supervisor
____________________________________________
Alan Huckleberry
____________________________________________
Réne Lecuona
____________________________________________
Christine Getz
____________________________________________
Susan Sondrol Jones
ACKNOWLEDGEMENTS
I would like to express my gratitude to my essay advisor and mentor, Dr. Ksenia
Nosikova, for directing me not only in my studies but also in regard to my life, and for
sharing her wealth of information and knowledge with me. I greatly appreciate her attention
to detail during the writing process. During my doctoral studies, Dr. Nosikova expanded
my musical abilities and opened my mind not only as a pianist but also as a musician. I
will never forget the laughs and tears in her studio during our lessons and talks. I would
also like to thank the members of my essay committee, who have provided instruction
throughout my studies at Iowa.
I am grateful to my parents, Dongping Liu (刘东平) and Ping Wang (王萍), for
their unconditional love over the years and for all they have done for me in the course of
my life. They have supported me during my piano studies, schooling, and participation in
music festivals and competitions. I would also like to extend my appreciation to my
husband, John Hallberg, for generously spending time reading this essay and helping me
prepare for the defense despite his busy academic schedule.
Lastly, I wish to offer my thanks to all of my friends who helped relieve the pressure
and stress of finishing my doctorate, and all of my former piano teachers, particularly
Gellert Modos, who always believed in me, gave me confidence, and advised me when I
was lost.
Without any of you, I would not be the musician or person I am today.
ii
PUBLIC ABSTRACT
Tales of Old Grandmother, Op. 31, by Prokofiev is based on a fairy tale theme. It
is both a valuable pedagogical piece for young students and a valuable part of the
professional concert repertoire. However, this piece was under-appreciated by most pianists
and piano pedagogues for many years, despite praise from several well-known composers
and performances by many famous pianists and Prokofiev himself. The purpose of this
study is to promote Tales of Old Grandmother, so that it will be performed and taught more
often. The score presents complex harmonic language, unique, unforgettable lyricism, and
Prokofiev’s other typical compositional elements. At the same time, the simple musical
form, lack of technically challenging passages, and the fairy tale theme can easily catch
and hold a child’s interest. Therefore, Tales of Old Grandmother has both performance
value and also pedagogical value. This essay will discuss Prokofiev’s intense interest in
fairy tales and will compare Tales of Old Grandmother with Prokofiev’s advanced piano
works and his Music for Children, Op. 65. Lastly, an included performance guide suggests
different performance interpretations, practice strategies and several efficient teaching
methods regarding the study of Tales of Old Grandmother, Op. 31.
iii
TABLE OF CONTENTS
LIST OF TABLES ...............................................................................................................v
LIST OF FIGURES ........................................................................................................... vi
INTRODUCTION ...............................................................................................................1
CHAPTER I PROKOFIEV AND HIS FAIRY TALE PIECES ...................................5
Review of Literature Related to Tales of Old Grandmother,

Op. 31.................................................................................................5
Methodologies .................................................................................10
Prokofiev’s Fairy Tale Pieces ........................................................... 11
Performance Background of Tales of Old Grandmother, Op. 31 ....19
CHAPTER II COMPARISON OF TALES OF OLD GRANDMOTHER, OP. 31,

AND OTHER PROKOFIEV PIANO WORKS ......................................24
Tales of Old Grandmother, Op. 31 and Prokofiev’s Other

Advanced Piano Music ....................................................................26
Tales of Old Grandmother, Op. 31 and Prokofiev’s
Music for Children, Op. 65 ..............................................................47
CHAPTER III PERFORMANCE GUIDE FOR TALES OF OLD GRANDMOTHER,

OP. 31 .....................................................................................................53
Overall Structure of Tales of Old Grandmother, Op. 31 .................53

Tales of Old Grandmother, Op. 31: The Recordings of Prokofiev
and Other Pianists ............................................................................55
Performance and Pedagogical Analysis ...........................................58
3.1 Moderato ............................................................................58
3.2 Andantino ...........................................................................68
3.3 Andante assai .....................................................................75
3.4 Sostenuto ............................................................................82
CHAPTER IV CONCLUSION ......................................................................................91
APPENDIX COPYRIGHT OF MUSIC FOR CHILDREN, OP. 65 FROM

BOOEY & HAWKES ............................................................................97
BIBLIOGRAPHY ..............................................................................................................98
iv
LIST OF TABLES
Table
1. List of Prokofiev’s Fairy Tale Pieces .......................................................................18
2. Performance Tempo of Moderato of Tales of Old Grandmother.............................64
3. Performance Tempo of Andantino of Tales of Old Grandmother............................72
4. Performance Tempo of Andante assai of Tales of Old Grandmother ......................78
5. Performance Tempo of Sostenuto of Tales of Old Grandmother .............................87
v
LIST OF FIGURES
Figure
2.1 Prokofiev Piano Sonata No. 2, Op. 14, 4th movement, measures 177-179 .............27
2.2 Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 15-18 .............28
2.3 Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 1-6.......................28
2.4 Prokofiev Piano Sonata No. 2, Op. 14, 2nd movement, measures 95-98 ................30
2.5A Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 50-51 .............30
2.5B Prokofiev Piano Concerto No. 3, Op. 26, 2nd movement, measures 65-66 ............30
2.6 Prokofiev Diabolical Suggestions, Op. 4, No. 4 measures 56-57...........................31
2.7 Prokofiev Piano Sonata No. 3, Op. 28, measures 146-147 .....................................31
2.8 Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 229-230 .........31
2.9 Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 17-20...................32
2.10 Prokofiev Piano Concerto No. 3, Op. 26, 2nd movement, measures 105-107 ........33
2.11 Prokofiev Piano Sonata No. 2, Op. 14, 1st movement, measures 32-38 .................33
2.12 Prokofiev Piano Sonata No. 4, Op. 29, 2nd movement, measures 1-6 ....................34
2.14 Prokofiev Tales of Old Grandmother, Op. 31, No. 3, measures 1-4......................35
2.16 Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 52-53 ............36
2.17 Prokofiev Tales of Old Grandmother, Op. 31, No. 2, measures 11-12 ..................37
2.18 Prokofiev Tales of Old Grandmother, Op. 31, No. 4 measures 1-8.......................37
2.19 Prokofiev Tales of Old Grandmother, Op. 31, No. 3, measures 27-32..................38
2.20 Prokofiev Piano Sonata No. 2, Op. 14, 1st movement, measures 64-68 ................38
vi
2.21 Prokofiev Piano Sonata No. 2, Op. 14, 1th movement, measures 69-78 ................39
2.23 Prokofiev Piano Sonata No. 2, Op. 14, 2nd movement, measures 7-12 .................40
2.24 Prokofiev Vision Fugitives, Op. 22, 4th movement, measures 5-8 .........................41
2.25 Prokofiev Piano Concerto No. 3, Op. 26, 2nd movement, measures 187-189 .......41
2.29 Prokofiev Sarcasm, Op. 17, No. 3, measures 1-4 ..................................................44
2.30 Prokofiev Piano Sonata No. 2, Op. 14, 4th movement, measures 94-103 ..............44
2.34 Prokofiev Music for Children, Op. 65, No. 1, measures 1-3 .................................48
2.36A Prokofiev Music for Children, Op. 65, No. 1, measures 10-12.............................49
2.36B Prokofiev Music for Children, Op. 65, No. 1, measures 16-21.............................49
2.37A Prokofiev Tales of Old Grandmother, Op. 31, No. 2, measures 1-5 .....................50
2.37B Prokofiev Tales of Old Grandmother, Op. 31, No. 2, measures 17-19 .................50
2.38A Prokofiev Music for Children, Op. 65, No. 9, measures 28-32.............................51
2.38B Prokofiev Tales of Old Grandmother, Op. 31, No. 4, measures 45-46 .................51
3.1 Formal Structure of Moderato of Tales of Old Grandmother, Op. 31 ...................58
3.2 Layout of the binary form of the Moderato ...........................................................60
vii
3.3 Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 7-11 .....................60
3.6 “A-Okay” hand position .........................................................................................62
3.7 Proper hand position for the left hand chord in measure 35 ...................................63
3.8 Wrong hand position for the left hand chord in measure 35 ...................................63
3.9 Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 7-11 ....................65
3.10A Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 12-14 ..................66
3.10B Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 17-22 ..................66
3.10C Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 25-28 ..................66
3.10D Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 34-37 ..................66
3.11 Formal Structure of Andantino of Tales of Old Grandmother, Op. 31 ..................68
3.14 Prokofiev Tales of Old Grandmother, Op. 31, No. 2, measures 1-14....................70
3.15 Prokofiev Piano Sonata No. 2, Op. 14, 3rd movement, measures 4-9 ....................71
3.16A Prokofiev Tales of Old Grandmother, Op. 31, No.2 measures 9-10 .....................73
3.16B Prokofiev Tales of Old Grandmother, Op. 31, No.2 measures 11-12 ...................73
3.17 Formal Structure of Andante assai of Tales of Old Grandmother, Op. 31 ............75
3.20A Prokofiev Tales of Old Grandmother, Op. 31, No. 3, measures 1-4,
as published ............................................................................................................79
viii
3.20B Transcription of Prokofiev’s performance of Tales of Old Grandmother,
Op. 31, No. 3, measures 1-4...................................................................................79
3.21 Transcription of Prokofiev’s performance of Tales of Old Grandmother,

Op. 31, No. 3, measures 1-4....................................................................................80
3.22A Prokofiev Tales of Old Grandmother, Op. 31, No. 3, measures 5-8 ......................80
3.22B Prokofiev Tales of Old Grandmother, Op. 31, No. 3, measures 9-12 ....................80
3.23 Formal Structure of Sostenuto of Tales of Old Grandmother, Op. 31 ...................82
3.24A Prokofiev Tales of Old Grandmother, Op. 31, No. 4, measures 46-58 ..................83
3.24B Prokofiev Tales of Old Grandmother, Op. 31, No. 4, measures 24-28 ..................84
3.27 Prokofiev Music for Children, Op. 65, No. 4, measures 33-38 .............................86
ix
INTRODUCTION
Composing a piece of music for pedagogical purposes today often is an entirely
different endeavor from composing pieces intended for performance by professionals or
advanced students. However, there are numerous piano compositions that were composed
about children and for children by great composers from many periods in the history of
music. These pieces are usually suitable for teaching intermediate to advanced students.
Such works provide frequent opportunities for students to improve their technical ability
and develop their musical appreciation for these composers’ masterworks. More
importantly, these piano pieces have stood the test of time, serving not only as educational
pieces but also as music for the concert stage. Tales of Old Grandmother, Op. 31, by Sergei
Prokofiev, is a significant example of music encompassing both the educational and the
concert realm.
Tales of Old Grandmother, Op. 31, called Old Granny’s Tale or Old Grandmother’s
Tale in certain articles, will be referred to in this article as Tales of Old Grandmother, which
is a direct translation from “Skazki staroǐ babushki.” This piece, which consists of four
short miniatures, is appealing because of its expressive Russian folk-style melodies,
vigorous rhythm, and its unusual, rich harmony with unexpected modulations, all of which
evoke vivid images for the listener. Its style is closely connected to Prokofiev’s personality,
and as Mstislav Rostropovich, the Russian conductor and cellist, once stated: “Listening to
his music I am always reminded of his manner of speaking-witty, candid, at times brusque,
but often gentle…the clear-cut tempos and steel-like rhythms of his music were reflected
1
in the discipline and rhythm of his daily life.”1
Tales of Old Grandmother is an endearing representation of Prokofiev’s fascination
with Russian fairy tales. Dmitri Shostakovich, a twentieth century Russian composer and
pianist, reminisced that: “Prokofiev’s love for Russian fairy-tale, a world that had
enchanted him in his early youth, expressed itself in music of true lyrical beauty, such as
Old Granny’s Tales.”2 Prokofiev expanded the repertoire of works that dealt with fairy tales.
In the following chapters, I will refer to these compositions as “fairy tale music.”
Tales of Old Grandmother certainly deserves greater attention because of its
abundance of lyricism, for which Prokofiev barely got credit. Heinrich Neuhaus, the
famous Russian pianist and pedagogue, once stated: “He [Prokofiev] had, besides, a
remarkable gift for melody and harmony. Few modern composers can produce such an
unbroken, expressive, melodic line, full-blooded yet emotionally clear (suffice it to recall
his Tale of Old Grandmother, Op. 31).”3 Several other sources also mention the melodic
richness of the work. Ludvig Karklinŝ described it as a “lyrical jewel” in an article about
Prokofiev.4
Despite the evident strengths of Tales of Old Grandmother, contemporary scholars
have neglected it for many years. However, my research shows that Tales of Old
Grandmother was one of Prokofiev’s favorite pieces to perform in concerts. He performed
1
S. Shlifstein, S. Prokofiev: Autobiography, Articles, Reminiscences. (Moscow: Foreign
Languages Publishing House, 1961), 251.
2
Shlifstein, 194.
3
Ibid., 229.
4
Vladimir Blok, Sergei Prokofiev: Materials, Articles, Interviews. (Union of Soviet Socialist
Republics: Progress Publishers, 1976), 79.
2
the work in multiple countries, including the United States and the Soviet Union. Other
prominent pianists have also included this piece in their concert repertoire.
Besides serving as concert repertoire, Tales of Old Grandmother is optimal for
preparing intermediate to advanced students for Prokofiev’s more challenging
masterworks. While not as technically demanding as some of his other music, Tales of Old
Grandmother contains Prokofiev’s finest writing for piano. I maintain that the remarkable
balance between musical content and technical approachability in this piece will help
students develop their understanding of Prokofiev’s musical aesthetics. The goal of this
DMA essay is to explore the possible interpretations of Tales of Old Grandmother, Op. 31,
and to promote further appreciation of the piece by performers and pedagogues because of
its expressivity and pedagogical value.
This essay is organized into four chapters. Chapter One explores Prokofiev’s
fairy tale music and includes a review of literature related to Tales of Old Grandmother,
the methodologies used in this essay, and the performance history of Tales of Old
Grandmother. Chapter Two contains comparisons between Tales of Old Grandmother and
Prokofiev’s more advanced piano works and his Music for Children, Op. 65. Since Tales
of Old Grandmother can be used as an introduction to Prokofiev’s advanced piano works,
the compositional similarities in categories such as harmonic and melodic substitution,
parallelism, ostinato, chromaticism, oblique contrapuntal motion, octave replacement,
bitonality, and tempo markings will be reviewed. Chapter Three provides a detailed
performance and pedagogical guide from different angles such as formal analysis, technical
problems, and a comparison of selected recordings. Chapter Four offers a comprehensive
conclusion.
3
In closing, the purpose of this DMA essay is to explore the expressiveness of Tales
of Old Grandmother, Op. 31, through a study of Prokofiev’s writing style and how it
compares with Prokofiev’s advanced piano works and his Music for Children, Op. 65. It is
my aim that, in the near future, Tales of Old Grandmother. Op. 31, will be played in more
concerts and be taught to generations to come.
4
CHAPTER I: PROKOFIEV AND HIS FAIRY TALE PIECES
Review of Literature Related to Tales of Old Grandmother, Op. 31
This section reviews the literature that directly and indirectly discusses Prokofiev’s
Tales of Old Grandmother, Op. 31. Although there are no primary sources that focus solely
on Tales of Old Grandmother, many of the books, articles, and dissertations discussed
below provide worthwhile information about this work.
Sergei Prokofiev, written by Daniel Jaffé, offers a full biography of Prokofiev. Jaffé
provides a general overview of Prokofiev’s compositional history and life experience. For
example, the date of composition of Tales of Old Grandmother is included and the
circumstances of its commission were mentioned in one sentence.
S. Shlifstein’s Sergei Prokofiev: Autobiography, Articles, Reminiscences is a
collection containing Prokofiev’s autobiography, several articles and notes written by
Prokofiev, and recollections about him by famous composers and performers such as
Dmitri Shostakovich, Aram Khachaturyan, and Dmitry Kabalevsky. Numerous
reminiscences reference Prokofiev’s interest in fairy tale music and mention the Tale of Old
Grandmother because of its remarkable lyricism. However, this piece is not discussed in
detail in Shlifstein’s book.
Vladimir Blok’s Sergei Prokofiev: Materials, Articles, Interviews takes the same
approach as Shlifstein’s book and is a collection of primary source materials. Although a
few articles are shared in both Blok’s Sergei Prokofiev: Materials, Articles, Interviews and
Shlifstein’s Sergei Prokofiev: Autobiography, Articles, Reminiscences, Blok provides more
articles and interviews about Prokofiev. The first section of the book is a collection of
5
essays that composers from the former Soviet Union wrote about Prokofiev. The second
section contains a group of articles, interviews, and notes by Prokofiev, as well as stories
and studies by several scholars, editors, and composers, including Dmitri Shostakovich. A
few reminiscences by Myra Prokofiev, Emil Gilels, and Sviatoslav Richter are also
included. Especially interesting are their recollections of Prokofiev’s performance of Tales
of Old Grandmother, and the specific locations and dates for the performances are noted.
The article on Prokofiev’s Music for Children, written by Blok and translated by Olga
Shartse, also is valuable for this essay. Blok examines several children’s pieces by
Prokofiev, such as Children’s Music, Op. 65, Peter and the Wolf, and Three Children’s
Songs, and presents several quotes in which Prokofiev states his view towards music for
children.
In The Piano Works of Sergei Prokofiev, Stephen Fiess gives a stylistic comparison
of the piano works that Prokofiev composed during different periods of his life. It contains
highly valuable information, such as Prokofiev’s unique usage of harmony and melody as
well as other technical aspects of his music. One of the chapters, “A Pedagogical
Introduction to The Piano Works of Prokofiev,” mentions Tales of Old Grandmother. Fiess
divided this chapter into four sections: “Works Written for Pedagogical Use,” “Advanced-
Intermediate-Level Works,” “Advanced-Level or Concerto Works,” and “Transcriptions.”
Tales of Old Grandmother is listed under the category of “Advanced-Intermediate-Level
Work,” and its musical features are introduced. Although Fiess provides a few sentences
about each piece, he does not present a detailed formal analysis or address how to approach
the musical and technical challenges.
David Nice’s Prokofiev: From Russia to the West, as the title indicates, is a general
6
biography that covers Prokofiev’s life between 1891 and 1935 in two parts. In the
beginning of Part Two, Nice includes some epigraphs about Tales of Old Grandmother
which are not often found in other sources, such as, “picture yourself…sitting with your
grandmothers round the fire.”5 The second and fourth pieces from Op. 31, are mentioned
in a discussion of Prokofiev’s homesickness when he was composing it.
Sviatoslaw Richter: Pianist, written by Karl Aage Rasmussen, gives an overview
of Richter’s life as a pianist. Since Richter knew Prokofiev personally and played many of
his works, there is a large section that discusses Prokofiev as a pianist and a composer from
Richter’s viewpoint. There is no description of Op. 31; however, the information about
Richter’s impression of how Prokofiev approached his music is exceedingly helpful.
Kelly M. Freije’s dissertation “A Pedagogical Analysis of Prokofiev’s Musique D’
Enfants, Opus 65” gives an in-depth analysis of each piece in Music for Children from a
technical and musical perspective.6 I will refer to some of the information regarding the
pedagogical aspects in the second and third chapters of this essay.
Patricia Ruth Ashly’s dissertation on “Prokofiev’s Piano Music: Line, Chord, Key,”
introduces Prokofiev’s biography and his general style, and provides a theoretical analysis
of Prokofiev’s piano works that focuses on harmony, modes, counterpoint, and melody.
The first sonata (1909), Prokofiev’s earliest published piano work, through the ninth sonata
(1947) are discussed in chronological order rather than via a categorical layout. Tales of
Old Grandmother is mentioned in chapter XIV, where Ashly points out some significant
5
David Nice, Prokofiev: From Russia to the West 1891-1935. (New Haven, CT: Yale
University Press, 2003), 155.
6
Kelly Freije, “A Pedagogical Analysis of Prokofiev’s Musique D’Enfants, Opus 65.” DMA
diss., (Ball State University, 2011), 26.
7
harmonies in this composition, such as melodic diminished thirds and triads with added
sixths. She also outlines the general musical form of the work but gives no formal analysis.
Brian Robert Marks’s dissertation on “Sources of Stylistic Diversity in the Early
Piano Sets of Sergei Prokofiev” presents a comprehensive discussion on Prokofiev’s
unique harmonic and modal usage in his early piano works. Tales of Old Grandmother was
mentioned in both Chapter Two (The Evolution of Harmonic Languages), and Chapter
Three (The Specifics of Harmonic Language). After discussing the historical background
of the artistic development of Russia, and its influence on Prokofiev, Marks explains how
modality (a musical system based on the use of a mode or different modes)7 is created in
Tales of Old Grandmother; he mainly focuses on usage of chromaticism and its diatonic
context. In Chapter Three, Tales of Old Grandmother is examined closely in terms of
stylistic modes, harmonic language and overall formal structure. Only the first and second
movement of the work, however, were studied.
The following dissertations indirectly influenced this study: Jonathan Tauscheck’s
“A Performance Guide to Two Fairy Tales of Nikolai Medtner,” Yun-Young Hwang’s
dissertation “Prokofiev’s Piano Sonata No. 2, No. 5, and No. 8: Comparison and
Performance Strategies,” Nikola Marković’s dissertation “Freedom in Interpretation and
Piano Sonata No. 7 by Sergei Prokofiev,” and Jung Hee Park’s dissertation “A Performer’s
Perspective: A Performance History and Analysis of Sergei Prokofiev’s Ten Piano Pieces,
Op. 12.”
“A Performance Guide to Two Fairy Tales of Nikolai Medtner” by Jonathan
Tauscheck provides an overview of the general compositional style of Medtner’s fairy tales,
7
Don Michael Randel, The New Harvard Dictionary of Music. (Cambridge: Harvard
University Press, 1986), 499.
8
such as form, harmony, rhythm and meters. Furthermore, he focuses on stylistic analysis
of two fairy tale pieces: Op. 8, No. 2 and Op. 14, No. 2. The information that Tauscheck
presents is helpful because Medtner was a contemporary of Prokofiev and shared the same
interest in fairy tale music.
Yun-Young Hwang’s dissertation “Prokofiev’s Piano Sonata No. 2, No. 5, and No.
8: Comparison and Performance Strategies,” as the title indicates, outlines the connections
between Piano Sonata No. 2, No. 5, and No. 8, and discusses the performance challenges
in playing them. The way Hwang analyzes these pieces’ technical problems, melodic
features, and other compositional aspects, is a model for this current study. In addition to
comparing the three piano sonatas, she also suggests possible performance interpretations.
Nikola Marković’s dissertation “Freedom in Interpretation and Piano Sonata No. 7
by Sergei Prokofiev,” and Jung Hee Park’s dissertation “A Performers Perspective: A
Performance History and Analysis Sergei Prokofiev’s Ten Piano Pieces, Op. 12,” discuss
the various interpretations of the works, and compare different recordings. Their intentions
are similar to mine, although they focus on different pieces.
9
Methodologies
Several relevant materials on the topic of methodologies have been examined for
this study. There are three methods which will be used:
1) Historical methods: I will introduce the most significant aspects of Prokofiev’s
compositional style, which will be used as the foundational data for this performance guide
of Tales of Old Grandmother, Op. 31. Also, I will mention the historical background of
this piece and what Prokofiev and other composers and performers said about playing it.
Much of my analysis is based on primary sources, including Prokofiev’s autobiography,
his interviews, and reminiscences of well-known editors, composers, and performers.
Some secondary sources will also be cited.
2) Analytical methods: There will be two subcategories. The first subcategory is an
analysis of forms in detail, which will support the performance interpretation of the author.
The second subcategory is a comparative analysis of compositional elements in Tales of
Old Grandmother, such as melody, harmony, and texture that can also be found in both his
advanced piano pieces and his intermediate piano works. This method is based on The
Piano Works of Sergei Prokofiev by Stephen Fiess, a source that was mentioned in the
preceding section, Review of Literature Related to Tales of Old Grandmother, Op. 31.
3) Methods of analyzing performance: This method is based on the author’s own choice
of interpretation and personal performance experience, and includes a comparison of the
recordings of Prokofiev himself as well as other well-known pianists such as Boris Berman,
Matti Raekallio and Frederic Chiu.
10
Prokofiev’s Fairy Tale Pieces
Prokofiev’s love for Russian fairy-tales, a world that had enchanted him in his
early youth, expressed itself in music of true lyrical beauty (Old Granny’s
Tales and, in the latter years of his life, Tale of the Stone Flower)
Igor Stravinsky8
Prokofiev (1891-1953) is one of the most prolific Russian composers to contribute
pieces to the fairy tale repertoire, including piano miniatures, ballets, and opera. The
complete list of those pieces is given at the end of this section. To find inspiration for such
pieces, Prokofiev drew upon the fascinating literature of fairy tales. Max Lűthi mentioned
in his book The Fairytale as Art form and Portrait of Man: “Fairytales were -and partially
still are- at home among the people, earlier among grownups, today among children.”9
In Lűthi’s method, the fairy tale contains two points of view: one is “esthetics,”
which emphasizes the study of beauty, while the other is “anthropology,” which is the study
of man, including “heroism and justification.” 10 These two points of view are closely
connected to Prokofiev’s interests. Prokofiev had a passion for beauty, especially when
found in nature. Dmitry Kabalevsky remembers:
I had never realized before what a strong feeling he had for nature...
How he loved the forests and fields, how he delighted in the sunset
sky, in the fantastic shapes of clouds and in the music of the birds.
Coming across a mushroom he would not pick it before he had called
8
Shlifstein, 194.
9
Max Lűthi, The Fairytale as Art Form and Portrait of Man. (Bloomington: Indiana
University Press, 1984), x.
10
Ibid., ix.
11
me over to admire it and note how snugly it nestled in the moss.11
“Anthropology” also played a significant role in fairy tales. Prokofiev continuously
demonstrated a passion for real life and real human characters, even while detailing fairy
tales. He remarked, “I want to write about living people, not dolls,” 12 when he was
encouraged to write music for a puppet play. His second wife Myra Prokofiev, recalled,
“Real, live, flesh-and blood human beings-these were dear to his [Prokofiev’s] heart.”13
The human in a fairy tale also performs acts of heroism and justification. For example,
Prokofiev’s Cinderella is a story of how intelligence, courage, and graciousness can lead a
beautiful girl to success. Peter and the Wolf is about how a brave Peter catches the wolf. In
the Ugly Duckling, the main character is humanized. Thus, from these two aspects, it is not
a coincidence that he had a strong affection for fairy tales.
Furthermore, Prokofiev’s fairy tale music is closely allied with Russian folk tunes.
When he was a young boy in the village of Sontsovka, Prokofiev developed a passion for
nature by enjoying long walks, during which he heard many folk songs sung by local
peasants. In his memoirs, Reinhold Glière, a Russian composer and Prokofiev’s first
composition tutor, talked about how enhancing and influential those Ukrainian songs were
in developing Prokofiev’s sense of folk tune spirit:
In the evenings we would often hear the strains of lovely Ukrainian

melodies sung by the peasants coming home from the fields. I believe
that these early childhood impressions must have laid their imprint on
the soul of this boy [Prokofiev] who was so sensitive to beauty. There
is no doubt that they contributed to his artistic development and that these
childhood musical impressions gave the composer that deep feeling for
11
Shlifstein, 211.
12
Ibid., 181.
13
Ibid.
12
folk music so vividly manifested in many of his compositions.14
Prokofiev’s passion for the fairy tale helped him succeed early as a composer. In
December 1908, when he was a student at the Moscow Conservatory, Prokofiev premiered
his new, short piano pieces, which included Fairy Tale, Snow, Reminiscence, Elan, Entreaty,
Despair, and Suggestion Diabolique. This performance showed his talent to the public and
he received a favorable review from the press. The newspaper Slovo printed the following
remarks:
S. Prokofiev’s short piano pieces, performed by the composer himself from

manuscript scores, were most original…The composer’s tremendous
powers of fantasy and invention provide him with a superabundance of
creative material.15
It is clear from the review that Prokofiev’s early works were already exhibiting his unique
imaginative form of expression.
In 1914, at the age of 23, as a reward after his final exam at the conservatory,
Prokofiev was sent to London for further study. While traveling in Western Europe, he was
inspired by Sergei Diaghilev, a Russian theatrical producer, to write ballets. After
conferring with Diaghilev, Prokofiev decided to write a ballet that was based on either
Russian fairy tales or a prehistoric theme. He read and examined a collection of
Afanasyev’s16 Russian folk tales, and wrote the ballet Chout, Op. 21, also named Tale of
the Buffoon (Who Out-buffooned Seven Buffoons) in 1915. Diaghilev’s request to Prokofiev
14
Shlifstein, 148.
15
Sergei Prokofiev, Prokofiev by Prokofiev: A Composer’s Memoir, ed. David Arpel. (Garden
City, NY: Doubleday, 1979), 275.
16
Afanasyev, Alexander (1826-1871), Russian who published nearly 600 Russian Folktales
and Fairytales, it can be considered as the largest collection of fairytales in the world.
13
was “only please write music that will be truly Russian,” 17 which helped Prokofiev to
realize how much his childhood exposure to folk songs made this challenging task natural
and easy for him.
Little by little I settled down to composing the thematic material for The
Buffoon, trying to make it as truly Russian as possible. In my childhood in
Sontsovka I had often heard the village girls singing in chorus on Saturday
evenings or on Sundays…it is possible, of course, that subconsciously I
was affected by the village songs, for now the Russian national idiom
came quite easily to me.18
In the same year (and before writing Tale of the Buffoon), Prokofiev also composed
several short pieces including The Ugly Duckling, Op. 18, for voice and piano. This fairy
tale piece was suggested by Prokofiev’s first wife, Nina, and the story was based on Hans
Christian Andersen’s The Ugly Duckling. It was first performed on January 30, 1915, in
Petrograd, and sung by A.G Zherebtsova-Andreyeva, accompanied by Prokofiev.19
After Prokofiev settled in the United States in 1918, he started to focus on another
famous composition, the opera Love for Three Oranges, Op. 33. This opera was based on
an Italian play entitled L'amore delle tre melarance by Carlo Gozzi, and it enjoyed great
success in America, as well as in Europe and Russia. According to Prokofiev, this opera
appealed to him because the play has a “mixture of fairy-tale, humor and satire.”20 The
theatrical aspect of the fairy tale also interested him tremendously. He wrote in his
autobiography that “The three different planes in which the action developed were a
17
Shlifstein, 39.
18
Ibid., 40.
19
Ibid., 294.
20
Ibid., 53.
14
novelty in themselves: 1) the fairy-tale character, 2) the forces of the nether world, and 3)
the comic characters.”21
Prokofiev composed Tales of Old Grandmother, Op. 31, in 1918 – the same year in
which he wrote Love for Three Oranges. The details of Tales of Old Grandmother will be
presented in the following chapters. Prokofiev did not compose any other fairy tale music
until 16 years later, when he became a father of two boys. Music for Children, Op. 65, was
composed in the summer of 1935 in Polenovo where Prokofiev spent time with his children.
David Nice argues that Prokofiev’s experiences in Polenovo are clearly reflected in this
opus: “Bright reflections of a summer’s day at Polenovo help the music flow more easily:
fun and games with Sviatoslav, pensive Oleg watching his father at work, the moon rising
over the water-meadows of the Oka in the evening all find a limpid reflection here.”22 In
addition, Prokofiev’s love for children demonstrated itself in his numerous interaction with
other children. Dmitry Kabalevsky, one of the leading Russian composers who helped to
initiate the Union of Soviet composers in Moscow, wrote in his memories of Prokofiev:
As a rule Sergei Sergeyevich [Prokofiev] and I left the house together. We

had another reason for going to the village at the same time. There was a
children’s home there where the children of workers from one of the
Ivanovo mills spend the summer months…It was Prokofiev who had made
friends with the kiddies…As soon as they caught sight of him on the path a
chorus of lusty young voices would go up: “There’s our uncle!” and the
whole flock of kiddies, a good fifty of them, would come running to meet
him.23
It was not a coincidence that Prokofiev devoted his time to children’s music and
21
Shlifstein, 53.
22
Nice, 332.
23
Shlifstein, 210.
15
enhanced the fairy tale music repertoire. Children’s Music, Op. 65, was the first collection
Prokofiev wrote specifically for children. It includes twelve piano miniatures: Morning,
Promenade, Fairy Tale, Tarantella, Regrets, Waltz, Grasshoppers’ Parade, Rain and the
Rainbow, Tag, March, evening, and Moonlit Meadow. Some of the musical ideas are closely
connected with Prokofiev’s early piano music, especially the Fairy Tale. For example,
Vladimir Blok comments in his article Prokofiev’s Music for Children: “The melody brings
back to mind Prokofiev’s early piano pieces, such as Old Granny’s Tales, and Fugitive
Visions.”24
Another masterpiece for children based on a fairy tale is Peter and the Wolf, Op.
67, composed the year following Prokofiev’s trip to Polenovo. This piece is a great example
of Prokofiev's interest in children’s music and his unique orchestration. He once wrote:
There was a big demand for children’s music and in the spring of 1936,
I started a symphonic tale of my own. Every character has its own
motif played each time by the same instrument, for example, the duck
was played by the oboe, the grandfather, by the bassoon. Before each
performance the instruments were shown to the children and the themes
played for them; during the performance the children heard these themes
repeated several times and learned to recognize the timbres of the
different instruments. 25
The work highlights Prokofiev’s thematic development skills. Each of the themes heard
throughout represents a different character, and those themes are skillfully repeated and
therefore easily identifiable.
Prokofiev’s brilliant ballet, Cinderella, composed in 1940, was based on a famous
fairy tale by the Brothers Grimm. Prokofiev was excited to write a ballet on the tale. His
version of Cinderella is different from other retellings of the fairy tale, such as Rimsky-
24
Blok, 127.
25
Ibid., 132.
16
Korsakov’s The Snow Maiden, because, as he stated, “this fairy-tale serves merely as a
setting for the portrayal of flesh-and-blood human being with human passions and
failings.”26 Correspondingly, Prokofiev’s second wife, Myra, mentioned how he felt about
Rimsky-Korsakov’s music, such as Christmas Eve, The Tale: “it was the living breath of
nature expressed in the music that delighted him [Prokofiev]”27 Both the “flesh-and-blood
human being” and the “living breath of nature” are real in the world, and they deeply
affected Prokofiev’s creative abilities.
The last fairy tale piece by Prokofiev, and also his last composition, is the ballet
Tale of Stone Flower, Op. 118, composed from 1948 to 1950. It was based on a Russian
Ural folk tale, and the plot was suggested by Leonid Lavrovsky, the choreographer of the
first Russian production of Prokofiev’s Romeo and Juliet.28 This ballet greatly reflected
Prokofiev’s attention to melody and motivic development during his late years. The
Russian dancer, Galina Ulanova, mentioned: “I can do little more than comment on the
melodiousness and humanity of the music, and the magnificently developed themes of
some of the characters.” 29 In addition, Prokofiev drew some themes from his previous
compositions, including Waltz and Evening from Music for Children, which he used in Tale
of Stone Flower, Op. 118.30
26
Blok, 40.
27
Shlifstein, 187.
28
Daniel Jaffé, Sergei Prokofiev. (New York: Phaidon Press Inc., 1998), 205.
29
Blok, 236.
30
Ibid., 127.
17
Table 1 List of Prokofiev’s Fairy Tale Pieces
Fairy Tale from Four Pieces for Piano, Op. 3 (Solo 1907-1908
Piano)
The Ugly Duckling, Op. 18 (Voice and Piano) 1914
Tale of the Buffoon, Op. 21 (Ballet) 1915
Tales of Old Grandmother, for piano, Op. 31 (Solo 1918
Piano)
The Love for Three Oranges, Op. 33 (Opera) 1919
Fairy Tale from Music for Children, Op. 65 (Solo 1935
Piano)
Peter and the Wolf, Op. 67 (Orchestra) 1936
Cinderella, Op. 87 (Ballet) 1940
Tale of the Stone Flower, Op. 118 (Ballet) 1948-50
18
Performance Background of Tales of Old Grandmother, Op. 31
Who would have thought that these enchanting lyrical pieces, so full of the flavor
of old Russia, could have been written to order in the bustling American
metropolis?
Nestyev31
Prokofiev’s life can be divided into three periods. The first was the Russian Period
(1891-1917), followed by his Foreign Period (1918-1935), and finally his Soviet Period
(1936-1953).32 In his Foreign Period, Prokofiev spent most of his time in the United States
and France. Tales of Old Grandmother, Op. 31, was composed in the beginning of the
Foreign Period.
In 1918, Prokofiev left Russia for the United States. While in the U.S., he lived in
New York and Chicago, where he tried to establish his reputation as a composer. Although
he had a few small successes, his attempts at widespread recognition were full of
disappointments. “I had come here too soon,” he stated, “the child (America) was not old
enough to appreciate new music. Should I go home?”33 His performances in New York
received criticism as well, with the critics describing him as a pianist with “steel fingers,
steel wrists, steel biceps and triceps…steel muscles.” Some thought he was even “a
31
Israel Nestyev, Sergei Prokofiev: His Musical Life. (New York: Alfred A Knopf, 1946), 78.
32
Stephen Fiess, The Piano Works of Serge Prokofiev. (New Jersey and London: The
Scarecrow Press Inc., 1994), V.
33
Jaffé, 73.
19
boxer.”34
Shortly after moving to the United States, Prokofiev composed Tales of Old
Grandmother, Op. 31, and Four Pieces for Piano, Op. 32, as a result of a commission from
two publishing companies in New York. However, Prokofiev decided to withdraw from the
contract because he was unsatisfied with the terms they offered. These two pieces were
eventually published by Gutheil in 1922, according to S. Shlifstein.35
Prokofiev’s motivation for composing Tales of Old Grandmother, therefore, is
unclear. Was it because he wanted to expand his reputation as a composer, or because of
financial reasons? Whatever the causes were, there is a strong nostalgic feeling created by
the melancholy melodies in Tales of Old Grandmother. As David Nice mentioned in his
book: “No. 2 needs only a few bars to reveal a whiff of homesickness for the Russia left
behind.”36
Prokofiev premiered Tales of Old Grandmother, Op. 31, in New York in 1919. The
set was not a huge success in America. McAllister states that it is “delicate, lyrical, but
makes little impression on any of the potential American publishers.”37 Conversely, in the
Soviet Union, Tales of Old Grandmother remained popular and was programmed often
over many years. Several documents, such as programs and reviews regarding
performances of Tales of Old Grandmother, Op. 31, are listed below and show the
importance of this highly valued set of pieces that was dismissed by most American
34
Shlifstein, 52.
35
Ibid., 307.
36
Nice, 156.
37
Rita McAllister, “Prokofiev, Sergei.” in The New Grove Russian Masters 2. (New York:
W.W Norton and Co., 1986), 125.
20
audiences.
David Oistrakh, a renowned Soviet classical violinist, remembered at recital in
Odessa in 1926 by pianist Konstantin Igumnov on which Tales of Old Grandmother, Op.
31, was programmed: “the pianist K.N. Igumnov came to Odessa on a concert tour and
introduced the public to Prokofiev’s Fourth Sonata and the Old Granny’s Tale.”38 In 1927,
Prokofiev himself went to Odessa and gave two recitals in the Odessa opera house that
included his short piano works. Oistrakh could not recall the entire program, but he
remembered several miniature piano pieces, including Tales of Old Grandmother, Toccata,
and March from Three Oranges.39
Around the same time, Prokofiev gave his first concert in Riga. In addition to his
Third and Fifth sonatas, he introduced the Riga audiences to his numerous piano miniatures.
Among these was Tales of Old Grandmother. The program also contained other works such
as Four Pieces for Piano, Op. 32, the March and Scherzo from the opera Love for Three
Oranges, and Toccata, Op. 11. During the concert, simplicity and naturalness of the pieces,
as heard in Prokofiev’s interpretation, amazed audiences. A review of the concert, which
appeared in the newspaper Segodnya Vecherom recorded the reaction of audiences. In it,
Prokofiev was described as a “magnificent pianist with a subtle, refined interpretation: no
technical effects, not the slightest effort to highlight anything. Just let the work speak for
itself.”40
In 1927, Prokofiev gave a recital in the Grand Hall of the Moscow Conservatory,
38
Shlifstein, 239.
39
Ibid.
40
Blok, 97.
21
with the program consisting of Tales of Old Grandmother, as well as Fugitive Visions, Four
Pieces for Piano, Toccata, the March from the opera Love for Three Oranges, and Franz
Schubert waltzes arranged by Prokofiev for two pianos. Yakov Milstein, a pianist and
music editor, wrote in his reminiscences of Prokofiev: “In his playing Prokofiev developed
each idea with the maximum of expression. The laconism, austerity and integrity of his
performance were combined with freedom and boldness.41
In addition to solo recitals, Prokofiev also played shared recitals with other
composers. Prokofiev’s second wife Myra recalled that he often participated in public
concerts with other musicians and actors. In 1940, for example, Prokofiev shared concerts
with V. I. Kachalov and A. K. Tarasova, and performed his oft-performed pieces. The
program included Tales of Old Grandmother, Gavottes, Op. 12 and Op. 25, Prelude, Op.
12, Etude Op. 2, No. 4, and Fugitive Visions.42
Tales of Old Grandmother, was not only frequently played in concert, but also
reviewed and studied by conservatory students. Aram Khachaturyan, one of the leading
Soviet-Armenian composers and conductors, mentioned in his memoirs: “as a student of
the Moscow Conservatory, I studied Prokofiev’s music -his Classical Symphony, Old
Granny’s Tales, Fugitive Visions, and his piano concertos- with the liveliest interest.”43
What Khachaturyan found interesting and fascinating about Prokofiev’s music was “The
originality of the music, its dynamic power and bold fantasy which stimulated and
41
Blok, 210.
42
Ibid., 170.
43
Shlifstein, 196.
22
enthralled me. I was particularly struck by the wealth of original ideas in the melody…”44
Another Russian composer, Dmitry Kabalevsky, highly valued Tales of Old Grandmother.
He stated: “I wanted to play his [Prokofiev’s] music -particularly the Gavotte and the
Prelude from Op. 12, and the Granny’s Tales- long before I was musically mature enough
to tackle them.”45
Of all of the beautiful and powerful piano miniatures Prokofiev composed, Tales of
Old Grandmother, can be counted as one of composer’s and his audiences’ favorite pieces.
It was performed countless times in the West and in the Soviet Union during the composer’s
lifetime. One of the musical qualities that makes this piece stand out is the abundance of
extraordinary lyricism, a compositional quality that will be discussed in the following
chapter. Of the lyricism of his works, Prokofiev said:
This line [lyricism] was not noticed until much later. For a long time, I was
given no credit for any lyrical gift whatever, and for want of encouragement it
developed slowly. But as time went on, I gave more and more attention to
this aspect of my work.”46
Tales of Old Grandmother is the perfect example of Prokofiev’s great melodic gift. As
Heinrich Neuhaus, the famous Russian pianist and pedagogue, recalled, “he [Prokofiev]
had, besides, a remarkable gift for melody and harmony. Few modern composers can
produce such an unbroken, expressive, melodic line, full-blooded yet emotionally clear
(suffice it to recall his Tales of Old Grandmother, Op. 31).”47
44
Ibid.
45
Shlifstein, 201.
46
Ibid., 37.
47
Ibid., 229.
23
CHAPTER II: COMPARISON OF TALES OF OLD GRANDMOTHER AND
OTHER PROKOFIEV PIANO WORKS
Tale of Old Grandmother shares multiple features with Prokofiev’s more advanced
piano works. Prior to a discussion of the specific examples, I would like to mention some
important general aspects of Prokofiev’s compositional style. In his autobiography,
Prokofiev describes his own compositional style as consisting of five “lines.” However, he
mainly considers his composition style as “classical line,” “modern line,” “toccata line,”
and “lyrical line.” Later on, he mentioned the “scherzo” as his fifth “line.”
I should like to pause here to analyze the basic lines along which my work
had developed up to this point. The first was the classical line, which could
be traced back to my early childhood and the Beethoven sonatas I heard my
my mother play. This line takes sometimes a neo-classical form, sometimes
imitates the 18th century classics. The second line, the modern trend, begins
with that meeting with Taneyev when he reproached me for the “crudeness”
of my harmonies. At first this took the form of a search for my own harmonic
languages, developing later into a search for a language in which to express
powerful emotions…The third line is the toccata, or the “motor”, line
traceable perhaps to Schumann’s Toccata which made such a powerful
impression on me when I first heard it…The fourth line is lyrical: it appears
first as a thoughtful and meditative mood, not always associated with the
melody, or, at any rate, with the long melody.48
Prokofiev considered his compositional style as mainly influenced by those four
lines. However, there was another description, the fifth line, which he hesitated to accept.
I should like to limit myself to these four “lines”, and to regard the fifth,
“grotesque” line which some wish to ascribe to me, as simply a deviation
from the other lines. In any case I strenuously object to the very word
“grotesque” which has become hackneyed to the point of nausea…I would
prefer my music to be described as “Scherzo-ish” in quality, or else by three
words describing the various degree of the Scherzo-whimsicality, laughter,
48
Sergei Prokofiev, Soviet Diary, 1927, and Other Writings, trans. Oleg Prokofiev (Boston:
Northeastern University Press. 1991), 248-249.
24
mockery.49
As we can see, Prokofiev saw his music in a different light than did the critics who
described his music as “grotesque.” He believed his compositional style was not at all
dominated by percussive effects, as most audiences interpreted it, but rather the lyricism
and the melody.
Scholars point to Tales of Old Grandmother as evidence that Prokofiev had a great
gift for lyricism and melody. Nestyev mentions Tales of Old Grandmother as an example
of how Prokofiev’s music has pure lyricism and also claims his rich melodic gift is “most
originally blended with the influences of Western romantic art (Schumann) and with the
Russian traditions emanating primarily from Mussorgsky…or directly from the Russian
folk-song.”50
Overall, Prokofiev’s compositional concept of five “lines” provides him with a
unique method for conveying the musical idea that consists of both classical music features
and musical innovations. In other words, Prokofiev’s compositions are a combination of
simplicity and complexity. Nestyev supports his statement and adds: “the simplest and most
classical features in Prokofiev’s music are its forms, rhythm, and pianoforte texture. The
complex and unusual are to be found in the harmonic idiom, the polyphonic methods, and
sometimes the melody.”51
49
Prokofiev, 249.
50
Nestyev, 71.
51
Ibid., 60.
25
Tales of Old Grandmother, Op. 31 and Prokofiev’s Other Advanced Piano Music
The following paragraphs will focus on a comparison of Tales of Old Grandmother
to Prokofiev’s advanced piano works by reviewing their harmonic and melodic treatment
and tempo markings. Tales of Old Grandmother as mentioned above, was composed at the
beginning of Prokofiev’s years in the United States. Fiess suggests that, although Tales of
Old Grandmother was written outside of Russia, “stylistically (it has) more in common
with the works of Prokofiev’s Russian period.”52
Harmonic and Melodic Substitution
In her dissertation “Prokofiev’s Piano Music: Line, Chord, Key,” Patricia Ruth
Ashly categorizes Prokofiev’s harmonic and melodic usages as substitution, parallelism,
chromaticism, and the creation of new chords through added notes.53 Harmonic or melodic
substitution, i.e., when a certain chord or note is substituted by another chord or note, is
often used in Prokofiev’s piano music. The example Fiess provides is the fourth movement
of Prokofiev’s Piano Sonata No. 2, Op. 14.54
52
Fiess, 55.
53
Ibid., 15.
54
Ibid., 17.
26
177 178 179
C Chord F# Chord
Figure 2.1 Prokofiev Piano Sonata No. 2, Op. 14, 4th movement, measures 177-17955
The second beat chords of measure 177 and 178 are a tritone apart from the root of the
chords on the downbeats, which substitute for more traditional chords that are a fourth or
a fifth apart. In other words, Prokofiev uses an F# minor chord on the second beat of the
first two measures instead of a more traditional G chord.
Melodic substitution also is used frequently in Prokofiev’s music. In his Piano
Concerto No. 3, Op. 26, the piano part begins in C major, and then unpredictably changes
to Eb minor (Figure 2.2). This is a fine example of what Nestyev observes about
Prokofiev’s compositional style: “The familiar C major is apt to perform such unexpected
tricks, such sudden transitions to distant tonalities, such fresh chord combinations, as to
make it appear an entirely new key with unsuspected possibilities.”56 Heinrich Neuhaus
addresses the same point by stating that he believes that Prokofiev’s harmonic idiom is full
of “surprises,” “sharp dissonance,” and “unexpected modulations.”57
55
Sergei Prokofiev, “Piano Sonata No. 2, Op. 14,” S. Prokofiev: Collected Works, vol. 2:
(Moscow: Muzgiz, 1955), accessed November 19, 2011,
http://imslp.org/imglnks/usimg/4/44/IMSLP153464-PMLP03201-Prokofiev_-
_Piano_Sonata_No._2__op._14.pdf. All subsequent musical examples of this work are drawn
from this edition.
56
Nestyev, 61.
57
Shlifstein, 229.
27
15 16
C major
17 18
Eb minor
Figure 2.2 Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 15-1858
An example of harmonic and melodic substitution one can find in Tales of Old
Grandmother is below:
1 2 3 4 5 6
Figure 2.3 Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 1-659
58
Sergei Prokofiev, “Piano Concerto No.3, Op. 26,” S. Prokofiev: Piano Works in Five
volumes, vol. 5. (Moscow: Muzyka, 1986), accessed August 31, 2006,
http://javanese.imslp.info/files/imglnks/usimg/7/79/IMSLP00301-Prokofiev_-
_Piano_Concerto_no_3_op_26_-_Mov.1_-_2_Piano_s.pdf. All subsequent musical examples of
this work are drawn from this edition.
59
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31,” S. Prokofiev: Collected Works,
vol. 1. (Moscow: Muzgiz, 1955), accessed November 11, 2011,
http://conquest.imslp.info/files/imglnks/usimg/d/de/IMSLP152281-PMLP04510-Prokofiev_-
_Tales_Of_The_Old_Grandmother__op._31.pdf. All subsequent musical examples of this work
are drawn from this edition.
28
Tales of Old Grandmother begins in D natural minor. Prokofiev introduces
harmonic substitution in measure 5 through a change to D harmonic minor. The note E♮
that belongs to D harmonic minor is replaced by the note Eb, and the Eb is the flatted ii of
D minor. The purpose of this substitution is to achieve the “linear principal.”60 According
to Nestyev, the “linear principal” is a method in which unusual chords are used as a result
of voice leading, and Prokofiev frequently applies the “linear principal” in his compositions.
As the different layers of the voices in measure 5 show, the top voice remains as A-G-G
(the top Eb in the last chord is not considered, because it is just a repetition of the bottom
Eb). Similarly, the pitch sequence of the middle voices remains as F-Eb-Eb.
Parallelism
According to the New Harvard Dictionary of Music, parallelism is a motion in
which two parts move simultaneously, and “the interval between the two parts remains
constant, at least within the general type, e.g., third, sixth, etc.” 61 Nestyev states that
Prokofiev experimented with parallelism in his early pieces. 62 For example, in the first
movement of the Prokofiev’s Piano Sonata No. 2, he doubles the motive in parallel fourths
(Figure. 2.4).
60
Nestyev, 62.
61
Randel, 513.
62
Fiess, 19.
29
95 96 97 98
Figure 2.4 Prokofiev Piano Sonata No. 2, Op. 14, 1st movement, measures 95-98
Other parallel intervals used in Prokofiev’s piano music include octaves (Figure 2.5A), and
major and minor thirds (Figure 2.5B). Fiess also noticed the presence of parallel minor
ninths in Diabolical Suggestions, Op. 4, No. 4, as Figure 2.6 shows. Other triads used in
parallel motion are in the major and minor chords of the diatonic scale (Piano Sonata No.
3, Op. 28; see Figure 2.7 for this). Parallel triads in chromatic scales are also used in Piano
Concerto No. 3, 1st movement. (See Figure 2.8).
50 51
Figure 2.5A Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 50-51
65 66
Figure 2.5B Prokofiev Piano Concerto No. 3, Op. 26, 2nd movement, measures 65-6663
63
Sergei Prokofiev, “Piano Concerto No.3, Op. 26” S. Prokofiev: Piano Works in Five
volumes, vol. 5 (Moscow: Muzyka, 1986), accessed August 31, 2006,
http://javanese.imslp.info/files/imglnks/usimg/1/18/IMSLP00302-Prokofiev_-
_Piano_Concerto_no_3_op_26_-_Mov.2-3_-_2_Piano_s.pdf. All subsequent musical examples of
this work are drawn from this edition.
30
56 57
Figure 2.6 Prokofiev Diabolical Suggestions, Op. 4, No. 4, measures 56-5764
146 147
Figure 2.7 Prokofiev Piano Sonata No. 3, Op. 28, measures 146-14765
229 230
Figure 2.8 Prokofiev Piano Concerto No. 3, Op. 26, 1nd movement, measures 229-230
Tales of Old Grandmother certainly also includes the usage of parallelism. For
example, parallel chords in the first inversion from the C major diatonic scale, Prokofiev’s
favorite key, can be found in the first movement of this set (Figure 2.9).
64
Sergei Prokofiev, “Diabolical Suggestions, Op. 4,” S. Prokofiev: Collected Works, vol. 1.
http://conquest.imslp.info/files/imglnks/usimg/a/a0/IMSLP152198-PMLP03207-Prokofiev_-
_4_Pieces__op._4.pdf. All subsequent musical examples of this work are drawn from this edition.
65
Sergei Prokofiev, “Piano Sonata No. 2, Op. 28,” S. Prokofiev: Collected Works, vol. 2.
http://conquest.imslp.info/files/imglnks/usimg/e/e7/IMSLP153465-PMLP03202-Prokofiev_-
from this edition.
31
17 18 19 20
Ostinato
An ostinato, according to the New Harvard Dictionary of Music, is a short musical
pattern that is repeated persistently throughout a musical work. It emerged as a central
element of composition in the twentieth century, the period when melodic-rhythmic
ostinatos appear most often.66 Prokofiev was one of the composers who frequently used
ostinatos in his music. Nestyev states that “sustained ostinato figures, which lend
themselves to the most pungent combinations of developing melody with a constantly
repeated bass, are a favorite method of the composer [Prokofiev].”67 Fiess also comments
that, “Prokofiev helped to establish the importance of the ostinato as a textural device in
twentieth-century music.”68 For example, in variation IV of Prokofiev’s Piano Concerto
No. 3, 2nd movement, ostinato figurations appear as a prevailing element. The melody in
the right hand has an ostinato accompaniment (Figure 2.10). In addition to the harmonic
support from the ostinato, the texture created by the major second motive and perfect fourth
interval provides a mysterious atmosphere.
66
Randel, 601.
67
Nestyev, 62.
68
Fiess, 49.
32
105 106 107
A similar example is found in the transitional section between the two thematic groups of
the first movement of Prokofiev’s Second Piano Sonata (Figure 2.11). The ostinato in the
left hand serves to sustain the harmony and provides a sense of direction.
32 33 34 35 36 37 38
Prokofiev often uses eighth note ostinatos in the bass to sustain the harmony, while
the long melodic theme is carried by the right hand in his Piano Sonata No. 4 (Figure 2.12).
33
1 2 3
4 5 6
Figure 2.12 Prokofiev Piano Sonata No. 4, Op. 29, 2nd movement, measures 1-669
A similar thematic pattern with the same function of harmonic support (Figure 2.13) occurs
in Tales of Old Grandmother. The only difference is that the bass ostinato consists of
quarter notes instead of the eighth notes found in in the Piano Sonata No. 4 (Figure 2.12).
29 30 31 32 33
Figure 2.13 Prokofiev Tales of Old Grandmother, Op. 31, No.1, measures 29-33
Another example that illustrates the same harmonic function of the ostinato is the
beginning of third movement of Tales of Old Grandmother (Figure 2.14).
69
Sergei Prokofiev, “Piano Sonata No. 4, Op. 29,” S. Prokofiev: Collected Works, vol. 2.
http://javanese.imslp.info/files/imglnks/usimg/3/34/IMSLP153467-PMLP03203-Prokofiev_-
from this edition.
34
1 2 3 4
In addition to the examples above, Tales of Old Grandmother also contains other
ostinato features which not only support the harmonic function, but also serve to provide
melodic counterpoint to the melody in the right hand (Figure 2.15).
1 2 3 4 5
In short, the ostinato in Prokofiev’s music is not just a rhythmic pattern. Rather, he treats
the ostinato as supportive material, which serves not only as a harmonic bass, but also as a
melodic line that creates a sense of drive.
Chromaticism
In general, an abundant use of chromaticism is found in most of Prokofiev’s pieces.
Although Prokofiev argues that his appreciation for chromaticism was stimulated by the
Parisian’s sophisticated musical taste for “complex patterns” and “dissonances,” both of
which were popular during his time in France around 1915,70 chromaticism is also found
70
Shlifstein, 38.
35
in the pieces written before his trip to France. Prokofiev’s chromaticism typically stretches,
rather than breaks, the tonality. In her dissertation, Yun-Young Hwang quotes Malcolm
Brown’s “Prokofiev’s Eighth Sonata” to support this chromatic function in her dissertation,
which states: “[Prokofiev’s] chromaticism is antithetical to the chromaticism of the
Wagner-Mahler-Schoenberg tradition.”71 Indeed, Prokofiev did not utilize chromaticism as
a tool to dissolve tonality as Wagner, Mahler and Schoenberg did. He expanded the tonality
and also enhanced the polyphony by adding chromaticism.
In addition to chromatic scales that frequently are found in the top or bottom voice,
chromaticism is often inserted in the middle voice to create an impression of polyphony.
For example, in Prokofiev’s Piano Concerto No. 3, first movement (Figure 2.16), the alto
line is noticeable because it exploits the chromatic scale.
52 53
Figure 2.16 Prokofiev Piano Concerto No. 3, Op. 26, 1st movement, measures 52-53
Several examples that serve a similar function are found in Tales of Old Grandmother. As
Figure 2.17 below shows, the inner voice in the right hand following the half steps down
from D to B# in measures 11-12 of Tales of Old Grandmother, Op. 31, No. 2 to create
polyphony. Also, the chromatic scales in measures 5-7 create the different voicing layers
in the fourth movement of Tales of Old Grandmother (Figure 2.18).
71
Yun-Young Hwang, “Prokofiev Piano Sonata No. 2, No. 5, and No. 8: Comparison and
Performance Strategies.” Diss., (Ohio State University, 2011), 25.
36
11 12
1 2 3 4
5 6 7 8
Figure 2.18 Prokofiev Tales of Old Grandmother, Op. 31, No. 4 measures 1-8
Another example of chromatic counterpoint is found in the bass voice in Tales of Old
Grandmother, No. 3 (Figure 2.19). The harmonic progression creates a melodic
chromaticism in the long sustained lower notes of the left hand, moving from A# to C#.
37
27 28 29
30 31 32
Prokofiev often uses chromaticism not only to enhance the sense of polyphony and
expand the tonality, but to also create a rich melody. Fiess asserts that “in Prokofiev’s more
energetic movements, his melodies tend to have many leaps and frequently require crossing
of the hands,” however, “his slower, more serious melodies usually move primarily by step
or chromatically.”72 For example in Figure 2.20, the combination of step and half step that
Prokofiev produces results in a melody that weaves in and out of the diatonic scale.
64 65 66 67 68
Prokofiev frequently shifts the melody from one voice to another, using polyphony
and chromaticism to form multiple textures and weaken the sense of tonality. For example,
in the first movement of Piano Sonata No. 2 (mm. 72-84), melodies set in the middle and
72
Fiess, 30.
38
top voices combine dissonance and consonance, undermining the traditional tonality found
in the left hand arpeggios (Figure 2.21). Similarly, No. 3 of Tales of Old Grandmother
(Figure 2.22) also contains chromatic motion in the middle voice.
69 70 71 72 73
74 75 76 77 78
30 31
In short, chromaticism in Prokofiev’s music is not only a compositional technique that
serves to abandon the tonality, but also an addition that expands the tonality and enhances
the harmony by exploring polyphony.
39
Oblique Contrapuntal Motion
Prokofiev often employs new harmonies by moving an oblique chromatic line
against a pedal point. Fiess calls this writing “oblique chromatic motion.”73 However, I
found that this technique, which commonly occurs in Prokofiev’s piano works, is not only
limited to chromatic motion, but also includes diatonic motion. Therefore, I will refer to
the compositional method as oblique contrapuntal motion. In Piano Sonata No. 2, Op. 14
(Figure 2.23), for example, there are few progressions that involve oblique motion against
pedal points. The oblique motion in the first half of measure 10 is in the lower notes of the
right hand, while the top notes retain the D pedal point. Similarly, the oblique motion in
measure 11 occurs against a G pedal point in the top notes of the right hand.
7 8 9
10 11 12
Figure 2.23 Prokofiev Piano Sonata No. 2, Op. 14, 2nd movement, measures 7-12
Progressions in oblique motion are found in other works by Prokofiev. For example,
in the fourth movement of Vision Fugitives, Op. 22, as the Figure 2.24 shows, oblique
contrapuntal motion occurs when the upper notes of the left hand move up and down
73
Fiess, 17.
40
chromatically, while the bottom voices reiterate an F pedal point.
5 6 7 8
Figure 2.24 Prokofiev Vision Fugitives, Op. 22, 4th movement, measures 5-874
Another example of oblique motion can be found in the last variation of the Tema
from the second movement of Prokofiev Piano Concerto No. 3, Op. 26 (Figure 2.25).
187 188 189
Here, the oblique motion is in the top voice, while the lowest notes of the chords slowly
move through pedal points in the pattern of E-G-B-E.
Tales of Old Grandmother also includes the oblique contrapuntal motion, but in a
simplified version (Figure 2.26). The left hand in measures 13-16 is comprised of a D
(Tonic) pedal point and an A (Dominant) pedal point, with an oblique motion voicing.
74
Sergei Prokofiev, “Vision Fugitives, Op. 22,” S. Prokofiev: Collected Works, vol. 1.
http://conquest.imslp.info/files/imglnks/usimg/9/90/IMSLP152280-PMLP03211-Prokofiev_-
_Fugitive_Visions__op._22.pdf. All subsequent musical examples of this work are drawn from
this edition.
41
12 13 14 15 16
Figure 2.26 Prokofiev Tales of Old Grandmother, Op. 31, No. 1 measures 12-16
In short, Prokofiev frequently employs the use of oblique motion to create unusual
harmonies.
Octave Replacement
Prokofiev often caught the audience’s attention by using octave replacement, which
is the movement of a certain note in a main melody one or more octaves up or down.
Prokofiev’s Piano Concerto No. 3, Op. 26, includes several representative examples of
octave replacement. For instance, Prokofiev shifts the B one octave higher in the melody
of Variation IV in the second movement (Figure 2.27), which in return brings out the feeling
of sustaining and anchoring the “B” in different registers, while producing the dissonance
and tension in the music.
105 106
Tales of Old Grandmother also presents octave displacement. The left hand melody in the
last piece (Figure 2.28) alternates among the various octaves and moves either diatonically
or chromatically. The dissonance derives from the concept of shifting single note into a
42
different register.
26 27 28 29
Bitonality
According to the Randel’s New Harvard Music Dictionary, bitonality means “the
simultaneous use of two tonalities or keys.”75 Prokofiev often uses bitonality by combining
two musical lines in different keys within the same passage, thereby producing dissonant
harmonic sonorities. Pieces by composers such as Stravinsky, Bartok, and Ives frequently
contain bitonality, or even poly-tonality. The influence of Stravinsky on Prokofiev is
evident in the increased use of bitonality, which is one of the significant characteristics of
Prokofiev’s “second line: modern trend.” 76 Nestyev comments on Prokofiev’s usage of
bitonality in his book Sergei Prokofiev: His Musical Life, saying that Prokofiev is not afraid
of unusual chord combinations. Polytonality is one of the features.77
In Prokofiev’s Sarcasm No. 3, two key signatures are used simultaneously, with the
three sharps in the right hand clashing against the five flats in the left hand (Figure 2.29),
which builds the sonority of impact and contradiction.
75
Randel, 97.
76
Prokofiev, 248.
77
Nestyev, 61.
43
1 2 3 4
Figure 2.29 Prokofiev Sarcasm, Op. 17, No. 3, measures 1-478
The Piano Sonata No. 2, Op. 14 similarly contains striking examples of bitonality. In the
fourth movement, the right hand plays in D major, while there is a C major chord with an
augmented sixth in the left hand (Figure 2.30). I believe that this usage of bitonality creates
a chaotic and sarcastic image.
94 95 96 97 98
99 100 101 102 103
Figure 2.30 Prokofiev Piano Sonata No. 2, Op. 14, 4th movement, measures 94-103
In Tales of Old Grandmother, bitonality is heard in the last movement. Long
sustained whole notes in C# minor are found in the middle voice, clashing with the F#
minor chords in the top and bass accompaniment voices (Figure 2.31). Prokofiev uses this
78
Sergei Prokofiev, “Sarcasm, Op. 17,” S. Prokofiev: Collected Works, vol. 1. (Moscow:
Muzgiz, 1955), accessed November 11, 2011,
http://imslp.org/imglnks/usimg/4/47/IMSLP153354-PMLP03210-Prokofiev_-
_Sarcasms__op._17.pdf. All subsequent musical examples of this work are drawn from this
edition.
44
combination to produce an effect of conflict with a bit of humor.
46 47 48
49 50 51
The examples above demonstrate the unique way Prokofiev frequently creates
unusual harmonies. The usage of bitonality makes Prokofiev’s music sound more dissonant
and modern.
Tempo Markings
Prokofiev often ends a piece by suddenly changing the tempo to a much slower one.
This technique is found in the last measures of the second movement of Piano Concerto
No. 3 (Figure 2.32), as well as at the end of Tales of Old Grandmother, No. 1 (Figure 2.33).
45
210 211 212 213 214 205 206
47 48 49 50 51 52
Prokofiev’s common use of such tempo changes creates a sense of conclusive relief (see
Figure 3.32). In some instances, this relaxing of tempo also introduces the next passage.
For example, the ending of the first movement of Tales of Old Grandmother sets up the
mood of the following movement.
46
Tales of Old Grandmother, Op. 31 and Prokofiev’s Music for Children, Op. 65
The following passages focus on the comparison between Tales of Old
Grandmother and Music for Children. The purpose of this evaluation is to illustrate that
Tales of Old Grandmother is not only a gateway to Prokofiev’s more advanced piano works,
but also a great addition to students’ repertoire after they have learned Prokofiev’s Music
for Children.
Prokofiev wrote Music for Children, for pedagogical proposes. It is a twelve-piece
set, and each of the pieces has a separate title. The titles as a whole describe a day, starting
with Morning of the first piece to Promenade, Fairy Tale and Tarantella, then Regrets,
Waltz, Grasshoppers’ Parade, Rain and the Rainbow, Tag, and March. The suite ends with
the Evening and Moonlit Meadows as the last two pieces.
There are several compositional similarities between the Music for Children and
Tales of Old Grandmother. Even Blok states that “the melody style of Fairy Tale can be
traced back to Prokofiev’s earlier piano pieces, such as Tales of Old Grandmother.” 79
Music for Children follows a less complex overall formal structure: A B A’ form. It contains
clear sections; for example, the beginning of the A section returns at the end, which is
similar to the form of Tales of Old Grandmother.
In addition to the formal structure, Music for Children has a few technical features
that are useful for intermediate students in preparation for understanding Tales of Old
Grandmother. The voicing of certain chords and the sonic balancing of the left hand and
the right hand are the most significant elements in both Music for Children and Tales of
Old Grandmother. The technique of voicing and balancing trains students in fine finger
79
Blok, 127.
47
control.
Music for Children starts with a symphonic style passage (Figure 2.34). The tenor
and alto lines in measures 2-3 should be voiced slightly louder than the rest of the voices
in order to highlight the oblique motion within the C pedal point, as explained in the
previous passages. To produce the correct sonority, students must place their hands with
slightly greater force on the tenor and alto parts, to allow their fingers to play these two
lines with more emphasis.
1 2 3
Figure 2.34 Prokofiev Music for Children, Op. 65, No. 1, measures 1-380
© Copyright 1936 by Hawkes & Son (London) Ltd.
Once students have the precise finger control necessary for achieving polyphonic clarity,
including arm weight distribution, it will be easy for them to handle the same feature in
Tales of Old Grandmother and bring out the upper voices (Figure 2. 35).
7 8 9
In addition to the skill of voicing in one hand, distributing a well-balanced sound
80
Sergei Prokofiev, Musiques D’ Enfants, Op. 65. (London: Boosey & Hawkes, 1947), 2.
All subsequent musical examples of this work are drawn from this edition.
48
across both hands is also an essential element in Prokofiev’s music. Prokofiev frequently
allows each hand to carry the main theme, which should always project more, regardless
of the challenges in the accompaniment. Freije also comments on this in her dissertation:
“this technique of playing the same material in each hand is commonly found in
Prokofiev’s writing and is seen throughout this Op. 65 collection.”81 For example, in Figure
2.36A, the accompaniment is in the right hand in measures 10-12. Then, the similar
material is transferred to the left hand from measure 18 (Figure 2.36B).
10 11 12
Figure 2.36A Prokofiev Music for Children, Op. 65, No. 1, measures 10-12
16 17 18
19 20 21
Figure 2.36B Prokofiev Music for Children, Op. 65, No. 1, measures 16-21
81
Freije, 29.
49
This compositional trait can be also seen in Tales of Old Grandmother (Figure 2.37).
1 2 3 4 5
Figure 2.37A Prokofiev Tales of Old Grandmother, Op. 31, No. 2, measures 1-5
17 18 19
Figure 2.37B Prokofiev Tales of Old Grandmother, Op. 31, No. 2, measures 17-19
By learning how to balance the two hands from Op. 65, students will understand which
theme should be brought out more in Tales of Old Grandmother.
In both of these pieces, students find that it is a challenge to produce the proper
accents with the slur, which requires learning how to utilize the wrists to support hand
movement. For instance, when practicing the passage featured in Figure 2.38A, the wrists
must shift slightly to the left with one “down-up” motion. This fosters dramatic dynamic
changes from f to p, especially when the accents are not on the downbeats. Although the
accents fall on the downbeat, the same “down-up” wrist motion is still imperative for easily
bringing out the accent in Figure 2.38B.
50
28 29 30 31 32
Figure 2.38A Prokofiev Music for Children, Op. 65, No. 9, measures 28-32
45 46
Tales of Old Grandmother, shares technical similarities with Music for Children, and these
serve as evidence that Tales of Old Grandmother is pedagogically useful in helping
intermediate to advanced students to develop technical and musical fluency on the piano.
In conclusion, Tales of Old Grandmother contains many characteristics common to
Prokofiev’s compositions. These include harmonic and melodic substitution, parallelism,
ostinatos, chromaticism, oblique contrapuntal motion, octave replacement, and tempo
markings, but they are presented in a simpler manner. The high quality of Prokofiev’s
unique writing and his use of very satisfying musical effects make Tales of Old
Grandmother optimal for a concert performance. On the other hand, it prepares
intermediate students to play Prokofiev’s more difficult works by expanding both their
artistic and technical prowess.
In addition, Tales of Old Grandmother is an exemplary pedagogical sequel to Music
51
for Children. It covers certain technical and musical strategies that are similar to Music for
Children, such as voicing and balancing. Freije supports this suggestion in her dissertation:
“Both of these collections [Prokofiev’s Tales of an Old Grandmother, Op. 31, or his Four
Pieces, Op. 32] are slightly more difficult than the Op. 65 collection and serve as the next
possible teaching pieces of Prokofiev’s.”
52
CHAPTER III: PERFORMANCE GUIDE FOR TALES OF OLD
GRANDMOTHER, OP. 31
Some memories have been half-erased in her mind, but others will never disappear.
Epigraph from Tales of Old Grandmother, Op. 3182
The following chapter contains a detailed discussion of each movement of Tales of
Old Grandmother. The analysis summarizes the formal structure, discusses technical
problems, contains a comparison of several published recordings of Tales of Old
Grandmother by pianists Olef Marshev, Boris Berman, Matti Raekallio, Frederic Chiu, and
Prokofiev himself, and presents suggestions for interpretation and performance.
Overall Structure of Tales of Old Grandmother, Op. 31
Before analyzing the form of Tales of Old Grandmother, Op. 31, I will provide a
brief overview of the terminology for the formal structures that relate to this piece. As
mentioned in the previous chapter, all of the pieces in Tales of Old Grandmother are in a
rounded binary form. The formal structure of each piece in Tales of Old Grandmother can
be considered as a small ternary form as well. The theorist William Caplin observes that,
“one type of traditional binary, the ‘rounded’ binary, is better understood as a version of
the small ternary.”83 The small ternary form is one of the most important forms in all of
82
Nice, 155.
83
William Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music
53
classical instrumental music. Prokofiev once expressed his satisfaction with traditional
forms in the following statement:
In that field (instrument or symphonic music), I am well content with the forms
already perfected. I want nothing better, nothing more flexible or more
complete, than the sonata form, which contains everything necessary to my
structure purposes.84
The rounded binary, or small ternary, form is frequently indicated in letter notation
as A-B-A’, a prototype which the individual movements of Tales of Old Grandmother
follow exactly. In addition to using the traditional rounded binary form, Prokofiev also uses
periods and sentences in Tales of Old Grandmother. Caplin’s analysis of phrase structure
closely resembles Prokofiev’s style of phrasing. A period usually lasts eight measures, and
contains a four-measure antecedent and a four-measure consequent. Caplin states, “The
antecedent phrase begins with a two-measure basic idea, which is followed by a two-
measure contrasting idea leading to a weak cadence. The consequent phrase repeats the
antecedent.”85 A sentence is the same length as a period and is built out of an eight-measure
phrase. However, the difference between a sentence and a period is that a sentence includes
“three formal functions: presentation, continuation, and cadential.” 86 The presentation
contains a statement of basic ideas such as melody or motifs. A continuation develops or
repeats the same basic ideas for another two measures, and it leads into another four-
measure continuation-cadential phrase.
of Haydn, Mozart, and Beethoven. (Oxford: University Press, 1997), 87.

84
Fiess, 49.
85
Caplin, 49.
86
Ibid., 35.
54
Tales of Old Grandmother, Op. 31: The Recordings of Prokofiev and Other Pianists
In addition to being a creative composer, Prokofiev was also a talented pianist. Even
as a student, Prokofiev began appearing on the concert stage, primarily performing his own
works. While in the United States, he played frequently to promote his compositions.
Therefore, analyzing the performances of Prokofiev himself is beneficial for contemporary
pianists. Prokofiev’s recordings display a special personal style in the treatment of
contrasting characters. The most remarkable features are his stretched dotted rhythms,
flexibility of tempo, and clear dynamics, all of which contribute to a long-lasting, dramatic
effect. Studying the composer’s own recordings of this piece gives the most direct link to
Prokofiev’s musical intentions.
In addition to studying the recordings of the composer himself, familiarizing
oneself with the vast collection of other professional recordings will enhance the
interpretative process. Students often strive to play all the correct notes with the exact
rhythm and timing. However, on occasion, they forget that developing different
interpretations is a critical skill for mature pianists. While simply adopting or copying
others’ ideas will result in producing replicas, the critical evaluation of available recordings
will expand the performer’s stylistic understanding and ultimately produce a thoughtful,
individualized approach to the score. For this reason, I will explore and summarize
different performances of Tales of Old Grandmother, by comparing the recordings of
Prokofiev himself and other influential pianists. As the nineteenth-century musician, Pierre
Zimmerman, once wrote:
Merely to play correctly is to speak well in order to say nothing…

in piano music, the meaning not being fixed by words, the nuances,
the expression sometimes become arbitrary; two contrary versions
55
are able to be equally good. What is bad is the absence of intention,
for uniformity is frigidity, and with it no effect is possible; the music
becomes a monotonous warbling which is only able to produce boredom.87
Prokofiev’s own performance of one movement from Tales of Old Grandmother
was published in the recording “Prokofiev Plays Prokofiev” by Delta Music Company in
1995.88 Only the third movement is included in this collection, and the year that this piece
was recorded is unknown. However, another recording of the second movement, Andantino,
was recorded by Prokofiev in 1935 and can be found on YouTube.89
Tales of Old Grandmother, was also recorded by Oleg Marshev, Matti Raekallio,
Boris Berman, and Frederic Chiu (partial list). Comparison of these recordings helps
contemporary pianists to understand the different interpretations. The piece was also
arranged for orchestra by Alexander Radvelovitch and published by Sony Classical.90 In
addition, it was set for violin and piano by an anonymous arranger(s), but only the
Andantino and Andante were recorded. The arrangement can be heard on the Prokofiev
Edition, Vol. 4, Instrument and Chamber Music compact disc published by Warner
Classics.91 Here, I will focus on the various interpretations presented in the recordings of
87
Tabitha Boxerman, “Discovering Chopin in Notes” In Rebecca Pennys Piano Festival
Lecture Recital, Tampa, FL, 2015.
88
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31,” from Prokofiev Plays Prokofiev,
(Stereo ©1995, Stereo 14603), compact disc.
89
“Sergei Prokofiev (1891-1953) plays Prokofiev Op. 31-2 rec.” [1935], YouTube video,
1:23, posted by “edwinfischer 1886,” March 12, 2009,
https://www.youtube.com/watch?v=2zw8iWyv2I0.
90
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31,” (arr. A. Radvelovitch for orchestra),
from S. Prokofiev: Peter and the Wolf / C Saint-Saëns.: Carnival of the Animals, with St. Petersburg
Radio and Television Symphony conducted by Gorkovenko, (Sony Classical ©1994, Sony
074645723426), compact disc.
91
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31, (excerpts, arranged for violin and
piano),” from Prokofiev edition, vol. 4, (Warner Classics ©2003, 809274963765), compact disc.
56
Oleg Marshev, Matti Raekallio, Boris Berman, and Frederic Chiu, all of whom are widely
recognized Prokofiev specialists who have recorded works by Prokofiev on major record
labels.
Oleg Marshev, an Azerbaijan-born pianist, recorded a very large number of
Prokofiev’s piano compositions in a five-volume collection, and Tales of Old Grandmother
can be found in volume II. This recording was produced in Lodz Concert Hall in May 1992
and was published by Danacord Records in 1993. 92 Matti Raekallio, a Finnish pianist,
recorded Tales of Old Grandmother along with Romeo and Juliet: Ten Pieces for Piano,
Op. 75, Sarcasms, Op. 17, Etudes, Op. 2, as well as Toccato in D minor, Op. 11.93 Boris
Berman is a Prokofiev specialist who recorded Prokofiev’s complete piano music in a nine-
volume CD collection. This CD set, Prokofiev: Piano Music (Complete), was produced in
England on December 10-12, 1989, and February 2-3, 1990. Tales of Old Grandmother is
in the second volume. These recordings were later published by Chandos Records Ltd. in
1990. 94 Frederic Chiu also recorded Prokofiev’s complete piano music in 1996 at
Skywalker Sound studio in California, and the recordings were published by Harmonia
Mundi France in 1997. Tales of Old Grandmother, is in volume VII.95
92
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31,” from Prokofiev, S.: Piano Music,
Vol. 2, with Oleg Marshev, (piano), (Dana Cord ©1993, DACOCD392), compact disc.
93
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31,” from Prokofiev: 10 pieces from
Romeo and Juliet/Sarcasms/Old Grandmother’s Tale/4 Etudes/Toccata, with Matti Raekallio
(piano), Ondine ©1999, ODE898-2), compact disc.
94
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31,” from Prokofiev: Piano Music
(Complete), Vol. 2, with Boris Berman (piano), (Chandos ©1990, CHAN8881), compact disc.
95
Sergei Prokofiev, “Tales of Old Grandmother, Op. 31”, from Sergei Prokofiev: Piano Works,
Vol. VII, with Frederic Chiu (piano), (Harmonia Mundi USA, ©1996 HMU 907190), compact disc.
57
Performance and Pedagogical Analysis
3.1 Moderato
Formal Structure:
Figure 3.1 Formal Structure of Moderato of Tales of Old Grandmother, Op. 31
In the first movement, entitled Moderato, the A section begins with a four-bar
introduction. An eight-bar period, which can be called “a,” immediately follows in
measures 5-12. In the traditional classical model, the antecedent often ends on a half
cadence, and the consequent ends on a perfect authentic cadence. However, since Prokofiev
uses the “modern trend,”96 as he himself describes it in his autobiography, measures 5-12
have symmetrical phrasing and repetition, and constitute a period, even though the period
lacks a clear harmonic cadence.
After the period, two repeated sentences are stated in measures 13-28, which can
be called “b.” The first sentence in measures 13-20 is comprised of two repeated basic
96
Prokofiev, 249.
58
ideas and a four-measure continuation-cadential phrase. The B section is in a contrasting
texture. The right hand carries the primary diatonic melody with long phrasing, while the
chords in the left hand are smoothly connected by shared notes. This diatonic melody lasts
for eight bars of the B section (mm. 29-36), and then is transposed down a perfect fourth
into the alto voice, while a soprano line supplies counterpoint on the top. Therefore, the B
section is in a typical binary form, which I will label: “c, d.” Overall, the formal structure
of this piece is built from small, similar proportions, which means the whole piece is in a
binary form, with the A and B sections each containing two smaller segments, labeled as a-
b and c-d. See Figure 3.2:
A B A’
a b c d
Figure 3.2 Layout of the binary form of the Moderato
Technical Problems:
The formal structure of this piece is not complex. However, fine finger control,
careful use of pedal, and precise articulation are necessary. One of the difficulties in the
Moderato is the rolled chords. This is the only movement in Tales of Old Grandmother that
contains many rolled chords. These chords add more color and a different texture to the
music and causes the piece to sound mysterious. They are in different ranges, and some of
them alternate with legato passages (Figure 3.3) in which a rapid shift of tone quality
between the staccato and legato is needed.
59
7 8 9 10 11
In this passage, the smoothness of the rolled chords and the contrast between
staccato and legato can be difficult to handle, as in measures 9-10 (Figure 3.3). Students
must always anticipate the next chord and move both hands rapidly and accurately. A
different tone quality is desired for the slurs from the last beat of measures 9 to the
downbeat of measure 10. Freije suggests a way of practicing the movement of the hands
accurately. First, find the “landmark notes,” which are notes that are going to be played.
Second, move the hands to the “landmark notes” quickly, but without actually playing them.
Next play the notes once you establish the muscle memory.97 This pedagogical method is
an efficient way of practicing most big leaps in the piano repertoire.
After mastering precise hand movement, the performer should utilize a finger
legato for the top notes, E-F, in order to play the slur in the last beat of measure 9 to the
downbeat of measure 10. Since each performer’s hands are different in size and flexibility,
fingerings for this slur can vary. The fingering possibilities for E-F include: 3-4, 4-5, or 5-
3. No matter which fingering the performer chooses, the hand position for this slur is
different from that of the previous chords. To make the change in hand position easier,
students should twist their right wrist slightly to the left while the hands are moving. Arm
97
Freije, 26.
60
weight is required to produce a deeper sound and differentiate the tone quality from the
previous rolled chords. Moreover, the voicing of the top notes of the slur also need special
attention.
A smooth and seamless sound is also desirable. In order to create the even and light
sonorities, it is essential to keep the same hand position as much as possible. The rolled
chords should be slowly played with reduced finger movement, and the performer should
let the wrist lead the fingers from left to right naturally. The goal of such practicing is to
avoid tension that may build up when students use too much finger movement. Another
passage of challenging rolled chords is found in measures 13-16, where the left hand
executes several wide rolls written in oblique motion in the top voice (Figure 3.4).
12 13 14 15 16
The performer should play the rolled chords evenly, while still bringing out the top
notes B-A-G-A-B-C. I suggest using both thumbs alternately to play the A-B in the fourth
beat of measure 14. In other words, A is played by the left thumb, and the B in the bass clef
is played by the right thumb (Figure 3.4). This fingering allows students to produce
evenness of tone, because both thumbs can naturally deliver the same arm weight.
Many of Prokofiev’s chords span more than an octave, which makes it difficult to
play all of the notes without tension in the hands. For example, an additional difficulty for
this movement is that certain ninth chords in the left hand of the B section can be
problematic for small hands. (Figure 3.5)
61
34 35 36 37
One solution that can help solve this issue is to have students stretch their hand in such a
way that their index and thumb fingers are closer together, with fingers 3, 4, and 5 stretched
out. This stretch is similar to the “A-okay” hand symbol (Figure 3.6), or “The One-eared
Llama,” as Jocelyn Swigger called it in her presentation on The Chopin Etudes: Tips and
Tricks for Smaller Hands at the MTNA National Conference, 2014.98
Figure 3.6 “A-Okay” hand position
The “A-Okay” hand position certainly allows students to reach the chords in a
larger range, because the supination of the wrist helps students to maintain a relaxed wrist
position and brings in strong support from the knuckles of the hands, also commonly called
the “bridge.” (Figure 3.7); In Figure 3.8 (which illustrates the wrong hand position), the
wrist is tensed, while the hand is tightly stretched.
98
Jocelyn Swigger, “The Chopin Etudes: Tips and Tricks for Smaller Hands.” (paper
presented at the Music Teahers National Association National Conference, Chicago, Illinois, March
22-26, 2014).
62
Figure 3.7 Proper hand position for the left hand chord in measure 35
Figure 3.8 Wrong hand position for the left hand chord in measure 35
If the students still have trouble playing all of the notes at the same time (especially in
measure 35), chords can be rolled quickly while the hand still keeps the “A-Okay” hand
position.. It is suggested that when rolling the chords, students keep the left hand at the
edge of the keys and twist the wrist from the left to the right slightly and quickly.
A Comparison of Recordings by Prokofiev and Other Pianists:
A comparison of Prokofiev’s recordings to those of other professional pianists’
reveals both differences and similarities in tempo, pedal, rhythm, rubato, and phrasing.
Throughout the whole piece, different pianists choose slightly different tempo changes
throughout. See Table 2 below:
63
Table 2 Performance Tempo of Moderato of Tales of Old Grandmother
mm.1-4 mm.5-28 mm.29-44 mm.45-50 mm.51-52
Prokofiev Not Not Not Not Not

Available Available Available Available Available
Marshev 83-85 80 83-85 73
=79-80
Raekallio 81-82 79 81-82 53

=81-82
Berman 105 95-99 103-105 48-50

=97
Chiu 114 110 100 87

=106
There is only one indication of tempo change, Meno mosso, in the first movement;
however, pianists apply flexibility of tempi throughout the whole piece, as can be seen in
the table above. Because of the four-bar phrases of this movement, pianists like to use
rubato between each section. Therefore, it is difficult to determine the exact tempo
markings of each recording. The markings in the table are approximate tempi. For example,
Marshev, Berman, and Chiu play the first four measures of the A section differently from
one another. A slightly slower tempo is played in the introduction, and then each pianist
takes a faster tempo in the A section. Raekallio’s interpretation is more straightforward in
this section, as he keeps a strict control of the tempo. In the B section, Marshev, Raekallio,
Berman, and Chiu slow down moderately and return to the same tempo in the final theme
(A’). Unlike the other pianists, Berman, in the last two measures of A’, slows the tempo
dramatically from the quarter note equalling 103-105 beats per minute to the quarter note
equalling 48-53 beats per minute.
64
Although the first movement is clearly marked with staccatti and slurs, pianists still
interpret them differently depending on personal preference. For instance, Marshev’s and
Raekallio’s pedalling is generally longer than Berman’s and Chiu’s, even though the
quarter notes and staccato quarter notes can hardly be differentiated. By using a slower
tempo, all the aforementioned pianists convey a calm and mysterious mood. Berman plays
the rests and staccato clearly, with complete control of the pedal.
Rhythmically, this movement is fairly straightforward, except for one grace note
that is typically played differently in measure 11 (Figure 3.9).
7 8 9 10 11
Marshev and Raekallio place this grace note on the down beat, while Berman and Chiu
play the same grace note before the down beat.
Since four-measure phrasing is the dominant structure in this movement, all of the
pianists take more time before beginning each new phrase or new section except in
measures with rubato markings, such as measures 12, 20, and 28 in the A section, and
measure 36 in B section (Figure 3.10).
65
(rit.......................... a tempo)
12 13 14
(rit................. a tempo)
17 18 19 20 21 22
(rit................. a tempo)
25 26 27 28
Figure 3.10C Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 25-28
(rit.................................. a tempo)
34 35 36 37
Figure 3.10D Prokofiev Tales of Old Grandmother, Op. 31, No. 1, measures 34-37
66
The Performer’s Perspective:
Rolled chords, quick changes between staccato and legato, and unusual harmonies
fill the first movement with different characters and emotions. Techniques such as wrist
relaxation, correct hand positions, and pedal control, which are valuable for both
intermediate and advanced students, are required in order to reach the composer’s musical
intention for this movement.
The interpretation of this movement is also slightly varied among the five above-
mentioned pianists. However, the composer’s compositional ideas, such as formal structure
and musical markings, must be considered. As the formal analysis shows, the first four
measures are an introduction to the entire piece. Therefore, it is necessary to use different
pedaling to draw a distinction between the introduction and the remainder of the piece.
Moreover, the texture is changed by the rolled chords after the first four measures. The
elements suggest that the introduction can be played without pedal, and the pedal can be
added on the rolled chords in the following measures. The B section is where the long
lyrical melody is presented, along with the quarter notes ostinato in the left hand as an
accompaniment. This section can be seen as an expression of Prokofiev’s longing for home,
as noted in Berman’s recording:
The Old Grandmother’s Tales are a reminder that Prokofiev could

occasionally fall prey to the same Slavic nostalgia as Rachmaninov
and Medtner...it seems not too fanciful to hear straightforward
homesickness in these pieces. The prevailing rocking motion of
the accompaniments invites us to listen with the same sense of wonder
as that of a wide-eyed child on its grandmother’s knee.99
99
David Fanning, Liner Notes, Prokofiev (1891-1953), Vol. 2 of the Complete Piano Music,
Boris Berman (piano), CHAN8881, 1990, compact disc.
67
It is important to keep a singing line in the upper voice and a connected and steady
bass underneath, allowing for simple, natural, and flowing expression. A slower tempo can
be utilized in this section, but it must not be too exaggerated. As discussed above, rubato
is frequently used by the various pianists at the end of each section. It clearly aids the
transition into a new section. However, the author believes there should be variety in the
rubato used for linking different sections, which prevents the music from sounding too
sectional.
3.2 Andantino
Formal Structure:
Figure 3.11 Formal Structure of Andantino of Tales of Old Grandmother, Op. 31
The Andantino is the shortest piece in the set and is not formally complex, since it
only includes two identical periods and one sentence. The A section begins with an eight-
bar period that contains a four-bar antecedent (mm. 1-4) and a four-bar consequent phrase
(mm. 5-8). The B section is an eight-bar sentence with two repeated ideas (mm. 9-12) and
a four-bar continuation (mm. 13-16). In measure 17, the A’ section returns with the main
theme in the left hand.
68
Technical Problems:
An ostinato pattern consisting of eighth notes sounds throughout the entire
movement. It appears in the bass in mm. 1-4 and then moves to the alto part from m. 5 to
the end of the movement. An evenness in shifting the ostinato from the right hand to the
left hand is desirable. Students must be careful to produce a smooth line, avoiding the
“bumpy sound” potentially caused by the hands crossing (Figure 3.12). In measures 1-4,
the thumb of the left hand should play the notes softly. After measure 4, the thumb in the
right hand must be used with more force because it plays the notes that fall on the first,
second, third, and fourth beats. To avoid “mis-placed accents,” students must use similar
arm weight in both the left hand and the right hand. While the right hand thumb should be
brought out, the left hand thumb must remain subdued. During practice, students should
pay close attention to establishing smoothness between the right and left hands.
1 2 3 4 5
Another technical difficulty in this movement is achieving good balance, including
the balance between the left and right hand and between two voices in the same hand. The
challenge of balancing both hands can be found at the beginning and the end of this
movement. For example, the left hand should be softest in the beginning (Figure 3.12),
because the right hand carries the main theme. Prokofiev’s common compositional
technique of shifting materials from one hand to the other is seen again in measure 17.
There, the opening right hand melody is transferred to the left hand, and it too requires
69
clear voicing. In order to achieve this, the melody in the left hand should always be
produced with more arm weight (Figure 3.13). In this case, students should move their
body weight more to the left, utilizing this weight to allow the fingers to sink into the keys
and produce a stronger tone.
17 18 19
Establishing well-balanced voices in one hand is frequently required in Prokofiev’s
piano compositions (Figure 3.14).
1 2 3 4 5
6 7 8 9 10
11 12 13 14
70
The passage above is very effective for introducing students to music that produces
multiple layers of sound within one hand (mm. 5-14). When practicing this section,
students can play the different lines separately with the correct fingering and sing along
with it, which will help their ears distinguish the sounds of each line. Then, after becoming
acquainted with the melodies, hand positions, and fingerings, the students may practice the
lines together. In order to create various tone qualities between the more important soprano
voice and the supportive alto lines of the right hand (as in mm. 13-14), students should
place more weight on the right side of the hand. This creates a hand position leaning
towards the fourth and fifth fingers, which are placed more firmly into the keys, allowing
the thumb and the second finger to remain in a relaxed position. I also suggest that students
place their right hand on their left arm, mimicking playing the right hand line, in order to
feel the different finger weight through direct touch. This practicing technique of
controlling different finger weights is used in Prokofiev’s more advanced works as well,
e.g., the third movement of his Piano Sonata No. 2, Op. 14 (Figure 3.15).
4 5 6
7 8 9
Figure 3.15 Prokofiev Piano Sonata No. 2, Op. 14, 3rd movement, measures 4-9
71
Table 3 Performance Tempo of Antantino of Tales of Old Grandmother
mm. 1-8 mm. 9-16 mm. 17-24
Prokofiev 71 71-73
=71-75
Marshev 87-88 88
=88
Raekallio 78 92
=92
Berman 80-81 81
=81
Chiu 61 61
=61
Prokofiev employs rubato playing frequently in this movement. As Table 2 above
shows, Marshev’s, Berman’s, and Chiu’s tempi are relatively straight forward throughout
the whole movement. Chiu shows a narrow range of tempo fluctuation and plays this
movement much more slowly than the others. His tempo is even slower than the indicated
Andantino of this movement, and plays in the tempo range of Adagio. Raekallio chooses
the fastest tempo from the beginning until the B section, where he changes to a slower
tempo.
The pedaling of all the pianists, including Prokofiev is generally very clear, clean,
and light throughout the whole movement. They typically change the pedal when there are
changes in harmony.
Rhythmically, the above pianists follow the score strictly, since the eighth-note
ostinato is continuous throughout the piece except for the occasional rubato section. All of
the pianists play a rubato in the B section, regardless of whether they prefer a slower tempo
72
or the same tempo compared with other sections. They often take more time to place the
downbeat on measures 9, 10, and 12. It is possible that they need this time to control the
more complex and dense textures as well as the widely spaced chords in this section (Figure
3.16).
In measure 10, Prokofiev delays the downbeat F# by placing it on the top of the
roll, creating a natural rubato, which helps the player reach the top of the large leap. He
does the same in measure 12 (Figure 3.16).
9 10
11 12
73
Overall, this is not a technically demanding movement due to the Andantino tempo.
However, excellent finger control is needed for a well-balanced sound between both hands
in this piece. Therefore, this movement is full of learning opportunities for intermediate
students.
This movement opens with a dolce tone and calm atmosphere, at a tempo of
approximately 75-78 beats per minute. With this tempo, the music is able to flow and does
not sound too fast, but more importantly, follows the composer’s wishes regarding tempo.
The goal here is to keep the A section calm and simple, saving the excitement for the B
section.
In addition, it is always interesting to explore changes in tone color, dynamics, and
tempo when playing passages that are similar. For example, measures 10 and 12 of the B
section (Figure 3.16), feature the same A-F motif except for an added G. Clearly the G
serves as a leading tone to the A in the second appearance of A-F motif. Also, crescendo
and decrescendo markings make the note A more important than others. I suggest that the
performer use a slight rubato in measure 12, interpret the melody G-A-F melodically, and
take time to place the A. Moreover, compared with measure 9, the left hand in measure 11
contains flowing eighth notes with an eighth-note on the beginning of the downbeat. I
suggest that the performer take more time on the eighth rest to bring out the anticipated
entrance of the bass line.
74
3.3 Andante assai
Formal Analysis:
Figure 3.17 Formal Structure of Andante assai of Tales of Old Grandmother, Op. 31
Andante assai is in a rounded binary form: A B A’. Prokofiev breaks the eight-
phrase structure in the B section of this movement. An unexpected four-measure
fragmentation and diminution follows the previous period in measures 26-29 (Figure 3.17),
created by the sixteenth-note-fragments alternating between the soprano and alto part. The
same period (mm. 18-25) returns in measures 30-33, but in a different key. However, the
consequent of the period is omitted since the fragmentation immediately follows after
measures 30-33.
Technical Problems:
The beginning of the B section (Figure 3.18) contains a chromatically oscillating
melody in the right hand, which sound against slurs with large leaps in the left hand. It is
difficult to bring out the right hand and keep the melody balanced with the left hand
accompaniment. Students will subconsciously pay more attention to the left hand, since the
distance of the slurs played on the keyboard is relatively wider. In this situation, students
75
must keep the same hand position when the left hand moves up and down for the
accompaniment, practicing one slur at a time and repeatedly until it is mastered. Freije
suggests a way of practicing these jumps: the entire hand should move quickly to the
correct notes without actually playing them. After the students gain the muscle memory of
this hand movement, it is then safe to play the notes. When students move the hand to the
next slur, the arm motion should be maintained as an “under-arching” circle,100 keeping the
hand close to the keyboard. Freije also mentioned that it is common for students to have a
slight hesitation before each move in register, but that hesitation will be easily and quickly
eliminated after the skill of moving between registers is mastered.101
18 19 20
Another challenging technical aspect of the third movement of Tales of Old
Grandmother is in playing the wide, spread-apart melodies at the same time with one hand
(measures 26-29). Here, pianists must hold the half notes with the fifth finger, while also
playing a moveable, legato melody in the same hand (Figure 3.19). These measures are
especially difficult for students with small hands, and require a careful consideration of
fingering choice. I recommend holding the half note A# with the right fifth finger, while
100
Described by the Professor of Piano of The University of Iowa, Dr. Ksenia Nosikova,
“Under-arching” circle is a clock-wise circular motion made with the left arm, which helps
performers’ arm motion close to the keyboard.
101
Freije, 26.
76
playing the bottom sixteenth notes with fingering 1-1-1-2 in measure 26, and fingering 1-
1-2-1-2(1) for a similar part in measure 28. These fingerings allow students with small
hands to maintain the connection of the notes in the alto part, even while continuing to hold
the top notes. While playing these sixteenth notes in the right hand, it is essential to slide
the thumb to the next note on the keyboard. More importantly, the execution of legato
requires the students to carefully listen to each melodic note so that each subsequent note
is smoothly connected rather than played too loudly or softly, which would otherwise
disturb the motion of the melodic line.
24 25 26
1 1 1 2
27 28 29
1 1 2 1 2-1
77
Table 4 Performance Tempo of Andante assai of Tales of Old Grandmother
mm. 1-17 mm. 18-44 mm. 45-52
Prokofiev 55-61 44-48

=48
Marshev 52-53 51
=51
Raekallio 60-61 60-61

=60-61
Berman 50 50
=50
Chiu 57-58 56
=56-57
Prokofiev shows flexibility of tempo in playing this movement, as Table 4 indicates.
He changes tempo frequently throughout the movement, similar to the way in which he
plays the second movement, and even between beats in the same measure on certain
occasions. The tempi given in the table are approximations, since it is hard to determine
the exact metronome marking Prokofiev uses. Overall, Prokofiev speeds up during this
section of sixteenth notes, such as in measures 18 to 44, to sustain forward motion. When
the main theme returns in measure 45, he slows down to create a mood similar to that of
the previous theme. Like Prokofiev, both Marshev and Chiu take a slightly faster tempo in
the middle section. In contrast, Raekallio and Berman choose to use the same tempo
throughout the whole piece.
Rhythmically, Prokofiev’s playing is rather flexible. For example, the quintuplet in
measure 2 sounds like a combination of two sixteenth notes plus a triplet. This
78
interpretation emphasizes the first note of the quintuplet (Figure 3.20). In comparison,
Marshev, Raekallio, Berman, and Chiu’s rhythms are quite precise.
1 2 3 4
Figure 3.20A Prokofiev Tales of Old Grandmother, Op. 31, No. 3, measures 1-4, as
published
1 2 3 4
Figure 3.20B Transcription of Prokofiev’s performance of Tales of Old Grandmother, Op.

31, No. 3, measures 1-4
Prokofiev’s rubato often appears after faster passages and at the transitions between
a new phrase and a previous phrase. In addition, he frequently uses subito tempo changes
to express the contrasting elements. Berman and Chiu scarcely use rubato in their
performances of this movement. Marshev and Raekallio take more time between the ending
of a phrase and the beginning of a new one in order to express different emotions. However,
the range of their rubato is narrower than that of Prokofiev.
Prokofiev’s pedaling is very dry overall, but occasionally unclear. For instance, in
the beginning of this movement, he holds the damper pedal until the second note of the
ostinato group (Figure 3.21). The other pianists’ pedaling is relatively clean and clear.
79
1 2 3 4
Figure 3.21 Transcription of Prokofiev’s performance of Tales of Old Grandmother, Op.

31, No. 3, measures 1-4
The phrasing and articulation of Prokofiev’s performance is distinct from that of
the others. He frequently emphasizes the first note of a dotted rhythm (Figure 3.22), which
helps listeners recognize similar motifs.
5 6 7 8
9 10 11 12
In addition, he often draws attention to the chromatic inner lines rather than the top melody
(Figure 3.23B, m. 11). His emphasis on the long inner voice line contrasts with the short
dotted thirty-second note motifs in the upper voice. The way Prokofiev brings out the inner
voice is unique. In the second beat of measure 11, he plays the C# in the middle voice first,
80
and then the top B is played quickly after, rather than simultaneously as is done by the
other pianists. This way of playing the inner voice is also utilized by Prokofiev in similar
situations throughout Tales of Old Grandmother. Compared to Prokofiev, the phrasings and
articulations of Marshev, Raekallio, Berman, and Chiu sound more conventional. They
convey the impression of strict rhythmic regularity, dynamic diversity, and well-balanced
melodic and accompaniment textures.
Because of the multiple rhythmic patterns, including dotted thirty-second notes, this
movement can be a valuable tool for teaching young students good rhythmic habits.
Musically, it is clear from this analysis that Prokofiev approaches his piece in a slightly
different manner than the above-mentioned pianists. Prokofiev choses to use more rubato
than the others and frequently delays certain notes or phrase. Marshev, Raekallio, Berman
and Chiu follow a strict tempo and rhythm throughout the whole piece.
As a performer, I suggest that the tempo for this movement be approximately
quarter note equals 57 beats per minute, which is similar to Chiu and Raekallio’s tempi.
The performer can easily establish a march-like character in this tempo. In addition,
projecting the alto voices is essential throughout the movement. As the composer,
Prokofiev further emphasizes this musical element by paying more attention to them in his
playing. From his recordings, I have found that there are two ways to dramatize certain
notes or passages. One is through the use of contrasting dynamics, and the other is by
playing notes before or after the beat. While many modern pianists choose to focus on
accuracy, I believe exploring different interpretations expands a pianist’s musical and
artistic abilities.
81
3.4 Sostenuto
Formal Analysis:
Figure 3.23 Formal Structure of Sostenuto of Tales of Old Grandmother, Op. 31
The Sostenuto is in rounded binary form, and each section of the binary form in this
movement, like those of the previous movements, contains a smaller binary form. However,
in this movement, Prokofiev abandons the usual eight-measure phrase structure from the A
section that he reuses in other movements of Tales of Old Grandmother. The B section,
which begins in measure 22, is in a contrasting mood. It further is the longest middle section
in the whole set, lasting 37 measures. Although the meter changes from 4/4 in the A section
to 12/8 in the B section, the tarantella rhythmic pattern in the right hand of the B section is
borrowed from the last two measures of the A section in the treble clef (Figure 3.24A). This
rhythmic motive is seen throughout the entire B section. The entire B section can be divided
into two slightly different sections: measures 22-46 (which features the tarantella rhythmic
pattern and the long melodic phrase in the left hand) and mm. 47-58, where the same
rhythmic pattern is now in both hands, while the developed long melodic phrases are in the
middle voice. This section, one can argue, is a variation of the main theme of the B section,
82
because the melody in this passage is the same as it is in the left hand in measures 24-28,
except for the changed D# in measure 26, but now in a rhythmically augmented form. As
Figure 3.24A and Figure 3.24B demonstrate, the main theme in figure A and figure B
contains similar intervals irrespective of octave placement. Therefore, it is reasonable to
call measures 47-58 a variation of measures 22-46.
46 47 48
Perfect 4th Minor 3rd Minor 3rd

49 50 51
Minor 3rd Minor 2nd Minor 2nd Minor 2nd
52 53 54
Major 2nd
55 56 57 58
83
24 25 26 27 28
Perfect 4th Minor 3rd Minor 3rd Minor 2nd Minor 2nd Minor 2nd Minor 2nd Major 2nd
Technical Problems:
This movement begins with a cantabile melody supported with chords and
chromatic scale accompaniment. Holding a chord while another melody is played by the
same hand is difficult for some students, because the range of the chords is fairly wide.
However, it is still possible to play what Prokofiev desires (Figure 3.25).
1 2 3 4
5 6 7 8
9 10 11 12
84
The recordings of Marshev, Raekallio, Berman, and Chiu reveal that the pianists may
utilize the sostenuto pedal during measures 2-6, since clarity of the right hand is still
affected when the G major chord in measure 2 is held for fourteen beats. This passage
provides a perfect way to introduce the function of the sostenuto pedal102 to students who
are unfamiliar with this pedal. Students may use the pedal to play the G major chord in the
left hand on the second beat of measure 2 and then hold it down until the end of the measure
5. This allows the G major chord to be held while the chromatic scale in measures 4-6 can
be presented clearly.
We see another example of playing a chord and a chromatic scale with one hand in
measures 7-8. However, applying the sostenuto pedal does not work here because the D
minor chord must be held longer than the A minor interval in the right hand in measure 7.
In this case, I suggest that students use the right hand to play A and C, plus the D and F
from the bass. The lower A of the D minor seventh on the first beat of measure 7 can be
played by the thumb of the left hand (Figure 3.25). Then, the rest of the fingers of the left
hand can play the descending scale (D-C-B-B-flat-A). The fingerings used vary depending
on the size and flexibility of an individual’s hand. Another option is to let the right hand
play the chromatic scale in measure 7, as indicated by the “m.d.” marking in the score. It
is wise to use sostenuto pedal here to catch the first chord in measure 7. The hand cross
here can be tricky for intermediate students, so the upper body must lean to the left, where
the chromatic scale is, in order to lead the hand to move accurately and quickly.
102
The sostenuto pedal is also called middle pedal and it was the last pedal to be added to the
modern piano. The sostenuto pedal was inspired by the French. It is used for sustaining certain
notes, while other notes remain unaffected. Although the sostenuto pedal was first built in the piano
by French piano builder, it made little impressions on any other piano builders. In 1876, Steinway
company started to include sostenuto pedal on all of their grands and uprights.
85
The B section wonderfully contrasts with the A section. It mainly contains broken
triads and five-finger patterns (Figure 3.26), and can be a difficult passage for
memorization and performing due to the complex harmonic changes every two or three
measures. However, memorizing the harmonic pattern in this passage will aid students in
learning this piece. In the pattern, one note ascends while the rest of them are retained as
common tones throughout measures 27-31. For example, the C♮ is raised a half-step from
the B in measure 27, while the remaining notes, E and G, remain the same as the ones in
the previous measure. The same pattern also occurs in the following measures. A similar
passage can be found in Prokofiev’s Music for Children, Op. 65, “Tarantella” (Figure 3.27).
26 27 28 29
30 31 32 33
33 34 35 36 37 38
Figure 3.27 Prokofiev Music for Children, Op. 65, No. 4, measures 33-38
86
In both cases, students should practice the first eight notes of the right hand in one
measure as one chord and the second measure as another chord (Figure 3.26). Freije calls
this way of practicing “the blocking method.”103 This method allows students to understand
and clearly hear how the chords change in each measure. It also provides an easier way for
students to play both hands together.
Table 5 Performance Tempo of Sostenuto of Tales of Old Grandmother
mm. 1-21 mm. 22-58 mm. 59-65
Prokofiev Not Available Not Available Not Available
Marshev 140 56-60

=80-58
Raekallio 137 83
=79-85
Berman 123 60
=64-75
Chiu 108-103 79
=88
Prokofiev did not provide clear tempo markings in this movement, except for the
pochissimo più animato, that is marked at the beginning of the B section, and molto andante,
which is marked at the beginning of A’ section. Therefore, every pianist may interpret the
tempi differently. However, as Table 5 shows, all the pianists who have recorded this work
start the movement with an andante tempo and eventually reach a faster tempo in the B
section. Later in the B section, the main theme returns in a slightly slower tempo than in
103
Freije, 39.
87
the A section. The tempo range in Marshev’s performance of the A section is much wider
than the other pianists’ interpretations, while Chiu shows precise control of tempo
throughout the whole movement.
Rhythmically, all of the pianists follow the score strictly. However, they utilize
rubato throughout the movement, particularly in the A section (Figure 3.28, M indicates
Marshev). Marshev incorporates rubato at multiple points in the piece, especially in the
first section. He plays the chords in the first two measures majestically and in a faster tempo
and then slows down as soon as the right hand cantabile appears. Marshev’s interpretations
of the cantabile melody in measures 2-6 and measures 13-16 are extremely free. He
chooses to use more rubato throughout measures 7-11, even though there is an a tempo
marked in measure 7. He speeds up the tempo in measures 12-13 to that used in measures
1-2. Raekallio and Berman speed up their tempi again in measures 7-11, where a tempo is
marked. At the ending of the A section (mm. 18-21), all of the pianists use rubato and slow
down, even through Prokofiev did not mark any tempo changes. The lengthy ritardando
and grand pause at the close of the first section, allow the pianists to set up a different
tempo for the second section.
Overall, the pedaling in the aforementioned recordings is quite clear and clean.
Since there are numerous chromatic scales and dissonant intervals in this movement, finger
legato is needed instead of the damper pedal. Additionally, the sostenuto pedal can be
utilized in the first section, as illustrated previously.
88
1 2 3 4
5 6 7 8
9 10 11 12
13 14 15 16 17
18 19 20 21
89
This fourth movement is pedagogically valuable, because it introduces the use of
the sostenuto pedal. Moreover, mastering both precise finger control and pedal control is
worthwhile for young students.
Musically, the greatest difference among the recordings discussed is tempo. The
differences of tempo may come from the different interpretations of the stylistic and
expressive markings Prokofiev choses for this movement. I believe that as long as
performers play this movement in the sostenuto style, they can choose their desired tempo.
However, sostenuto occasionally implies a slow tempo. All of the aforementioned pianists
begin the piece with a tempo ranging from 70-85 beats per minute per quarter note and
then change to a faster tempo with an agitated feeling in the B section because of the
pochissimo più animato marking. I suggest this movement not be played too slowly
because the A’ section, which Prokofiev marked molto andante, should be slightly slower
than the A section. Additionally, since the opening theme should be played with a heavy
touch and without the damper pedal, finger legato is extremely necessary in this movement.
Using finger legato is also an excellent way to teach students to develop the habit of
listening carefully to the sound of each note in order to make them absolutely connected.
This movement is filled with repetitive phrases. In my opinion, performers need to plan
dynamics accordingly, allowing for a gradual increase in dynamics from beginning to end.
Also, students should consider these small sections in the context of the longer phrases;
otherwise, the melody may lose its musical intensity and natural flow.
90
CHAPTER IV: CONCLUSION
Russians have always been fond of fairy tales. By setting fairy tales to music,
Russian composers, such as Rimsky-Korsakov and Medtner, developed their musical
idioms as a way of representing fairy tale characters and themes. Prokofiev appreciated
fairy tale music by fellow composers, but also created his own fairy tale musical language.
In Boris Berman’s Prokofiev’s Piano Sonatas, he explains that “Prokofiev adopted the
fairy-tale imagery of his older contemporaries and developed his own idioms, which are
found in many of his piano works, such as…Tales of an Old Grandmother.”104
This essay explored the lyrical quality in Prokofiev’s music, which has not been
commonly recognized by the public. Prokofiev’s music was known for its percussiveness.
However, his inner affinity towards his music has been unfortunately ignored and forgotten.
His marvelous gift of writing melodies has sometimes been overshadowed by the
“mechanical” sound that was misunderstood by many. For instance, during Prokofiev’s
years in the United States, numerous critics commented on his music as a “volcanic
eruption at the keyboard,” and “Russian chaos in music.”105 Some of the critiques lacked
any real understanding of the music. For example: “When a dinosaur’s daughter was
graduating from the conservatory of her time, she had Prokofiev’s music in her
repertoire.”106 Reviews such as this clearly do not show a proper, accurate interpretation of
Prokofiev’s music. Prokofiev had a remarkable gift for melody and harmony. Heinrich
104
Boris Berman. Prokofiev’s Piano Sonatas: A Guide for the Listener and the Performer.
(New Haven and London: Yale University Press, 2008), 4.
105
Berman, 38.
106
Ibid.
91
Neuhaus believes that “few modern composers can produce such an unbroken, expressive,
melodic line.”107 Prokofiev once mentioned his feelings towards melody: “Not cheap little
tunes which sound nice when you first hear them but which you soon get tired of, but
melodies that have their roots in classical music and in folksongs.”108
Tales of Old Grandmother, Op. 31, recognized as a “lyrical jewel,”109 is a great
example of Prokofiev’s gift for melody. It remained popular during Prokofiev’s time in the
Soviet Union, though this work is seldom played and taught in the United States. Through
my study, I hope to inspire more appreciation and performances of this wonderful set.
Tales of Old Grandmother has high performance value, because the set of four short
piano pieces is characteristic of Prokofiev’s harmonic and melodic writing, which creates
the various characters, different atmospheres, and a unique quality of sound. At the same
time, this work is also highly valuable pedagogically. For example, Prokofiev employs a
rounded binary form in each movement, a great way to introduce young students to simple
musical forms. The texture of this cycle presents clear and uncomplicated polyphonic
writing, combined with his creative, tender melodic lines. Since many musical elements
are shared between Tales of Old Grandmother and Prokofiev’s more advanced piano works,
such as harmonic and melodic substitution, parallelism, ostinato, chromaticism, oblique
contrapuntal motion, octave replacement, bitonality, and tempo marking, students can use
Tales of Old Grandmother as a gateway piece to more advanced literature by Prokofiev.
Tales of Old Grandmother also shares notable similarities with Prokofiev’s
107
Shlifstein, 229.
108
Ibid., 117.
109
Blok, 79.
92
pedagogical piece, Music for Children, Op. 65. Both prepare students to master Prokofiev’s
more challenging pieces by requiring them to gain proficiency in basic piano techniques
frequently found in his demanding repertoire. These techniques include voicing certain
melodic lines, playing notes or chords in large leaps accurately, and incorporating the
pedals precisely. Additionally, this study explored the pedagogical importance of each
movement in Tales of Old Grandmother and demonstrated an effective way for practicing
certain technical parts for intermediate students, especially those with small hands. This
essay will effectively prepare teachers to instruct students on Tales of Old Grandmother, a
significant composition that provides intermediate to advanced students an understanding
of Prokofiev’s more challenging masterworks as well as more advanced piano repertoire
in general.
In addition to discussing the pedagogical demands and benefits of Tales of Old
Grandmother, I also presented a comprehensive performance analysis and study guide in
order to elicit the public’s acknowledgment of this work. Although remaining popular
during Prokofiev’s time in the Soviet Union, Tales of Old Grandmother is seldom played
or taught in the United States. In my study, I compared various recordings by Marshev,
Raekallio, Berman, and Chiu of Tales of Old Grandmother, and also discussed
performances by Prokofiev himself. This discourse will inspire pianists to create their own
interpretations, while learning from the performances of preeminent pianists.
The same musical expressions by performers do not need to be applied to every
piece of music at all times. However, the possibility of exploring various interpretations of
the piece is enabled by a wide variety of options, personal preferences, and current musical
environments and societal demands. Committing to these details will enrich the
93
experiences of performers and audience members alike. This appreciation will produce and
sustain interest in Prokofiev’s Tales of Old Grandmother, Op. 31, fostering new generations
of pianists who love this work.
94
APPENDIX
COPYRIGHT OF MUSIC FOR CHILDREN, OP. 65 FROM BOOEY & HAWKES
November 5, 2015
Wenjing Liu 191

Kennebec Ave.
Apt. 204
Long Beach, CA 90803
U.S.A.
RE: Music for Children, Op. 65, by Sergei Prokofiev
Dear Wenjing Liu:
We hereby grant you gratis permission to include excerpts from the above referenced work in your
dissertation for the University of Iowa, School of Music.
We do require that you include the following copyright notice immediately following the excerpts:
Permission is also granted for you to deposit one copy of your paper with ProQuest. Should you wish
to place your paper elsewhere, beyond that which is required for the degree, you will have to contact us
in advance as a royalty may be payable.
With kind regards,
BOOSEY & HAWKES, INC.
Samuel Boase-Miller
Assistant, Copyright & Licensing
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Telephone (212) 358 5300 Fax (212) 489 6637 www.boosey.com

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95
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99

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Prokofiev's Tales of old grandmother, Op. 31: a performance and

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Copyright 2016 Wenjing Liu

This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/3132

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An essay submitted in partial

Essay Supervisor: Professor Ksenia Nosikova

All Rights Reserved

This is to certify that the D.M.A. Essay of

has been approved by the Examining Committee for

Essay Committee: ____________________________________________

throughout my studies at Iowa.

music festivals and competitions. I would also like to extend my appreciation to my

prepare for the defense despite his busy academic schedule.

Without any of you, I would not be the musician or person I am today.

different performance interpretations, practice strategies and several efficient teaching

methods regarding the study of Tales of Old Grandmother, Op. 31.

LIST OF TABLES ...............................................................................................................v

LIST OF FIGURES ........................................................................................................... vi

CHAPTER I PROKOFIEV AND HIS FAIRY TALE PIECES ...................................5

Review of Literature Related to Tales of Old Grandmother,

CHAPTER II COMPARISON OF TALES OF OLD GRANDMOTHER, OP. 31,

Tales of Old Grandmother, Op. 31 and Prokofiev’s Other

CHAPTER III PERFORMANCE GUIDE FOR TALES OF OLD GRANDMOTHER,

Overall Structure of Tales of Old Grandmother, Op. 31 .................53

3.2 Andantino ...........................................................................68

3.3 Andante assai .....................................................................75

3.4 Sostenuto ............................................................................82

CHAPTER IV CONCLUSION ......................................................................................91

APPENDIX COPYRIGHT OF MUSIC FOR CHILDREN, OP. 65 FROM

1. List of Prokofiev’s Fairy Tale Pieces .......................................................................18

2. Performance Tempo of Moderato of Tales of Old Grandmother.............................64

3. Performance Tempo of Andantino of Tales of Old Grandmother............................72

4. Performance Tempo of Andante assai of Tales of Old Grandmother ......................78

5. Performance Tempo of Sostenuto of Tales of Old Grandmother .............................87

2.6 Prokofiev Diabolical Suggestions, Op. 4, No. 4 measures 56-57...........................31

2.29 Prokofiev Sarcasm, Op. 17, No. 3, measures 1-4 ..................................................44

3.1 Formal Structure of Moderato of Tales of Old Grandmother, Op. 31 ...................58

3.2 Layout of the binary form of the Moderato ...........................................................60

3.6 “A-Okay” hand position .........................................................................................62

3.11 Formal Structure of Andantino of Tales of Old Grandmother, Op. 31 ..................68

3.21 Transcription of Prokofiev’s performance of Tales of Old Grandmother,

3.23 Formal Structure of Sostenuto of Tales of Old Grandmother, Op. 31 ...................82

Composing a piece of music for pedagogical purposes today often is an entirely

different endeavor from composing pieces intended for performance by professionals or

short miniatures, is appealing because of its expressive Russian folk-style melodies,

Tales of Old Grandmother is an endearing representation of Prokofiev’s fascination

Tales of Old Grandmother certainly deserves greater attention because of its

Despite the evident strengths of Tales of Old Grandmother, contemporary scholars

Grandmother was one of Prokofiev’s favorite pieces to perform in concerts. He performed

Besides serving as concert repertoire, Tales of Old Grandmother is optimal for

preparing intermediate to advanced students for Prokofiev’s more challenging

its expressivity and pedagogical value.

of Old Grandmother can be used as an introduction to Prokofiev’s advanced piano works,

the compositional similarities in categories such as harmonic and melodic substitution,

parallelism, ostinato, chromaticism, oblique contrapuntal motion, octave replacement,

problems, and a comparison of selected recordings. Chapter Four offers a comprehensive

concerts and be taught to generations to come.

Review of Literature Related to Tales of Old Grandmother, Op. 31