Prokofiev, a compulsive diarist, gifted and idiosyncratic writer, possessed an incorrigibly sardonic curiosity about individuals and events. When he left Russia following the 1917 Revolution, his diaries were recovered from the family flat in Petrograd, and Prokofiev smuggled them out of the country after his first return to the Soviet Union in 1927. The later diaries, written in the West, were brought back by legal decree after the composer's death, to be kept in a special, closed section of the Russian State Archive. Eventually Prokofiev's son Svyatoslav was allowed to copy the voluminous contents; when he and his son Serge Jr moved to Paris they undertook the gigantic task of reproducing the partially encoded manuscript in an intelligible form. Volume I covers the bulk of Prokofiev's years at the St Petersburg Conservatoire, ending with his triumphant graduation. Simultaneously attached to and exasperated by the traditions exemplified at this time by such famous men as Rimsky-Korsakov, Glazunov, Lyadov and Tcherepnin, the relentlessly brash young genius relishes the power of his talent to irritate, challenge and finally overcome the establishment, alongside unusually candid revelations of the all-too-normal preoccupations of a young man flexing his muscles in society. Taken as a whole, the diaries represent an inexhaustibly rich portrait of one of the most vibrant periods in the whole of Western art, peopled by virtually every musician and artist of note. They constitute both an indispensable and an entertaining source of reference for all scholars and lovers of Prokofiev's music.

The third and final volume of Prokofiev's Diaries covers the years 1924 to 1933 when he was living in Paris. Intimate accounts of the successes and disappointments of a great creative artist at the heart of the European arts world between the two world wars jostle with witty and trenchant commentaries on the personalities who made up this world. The Diaries document the complex emotional inner world of a Russian exile uncomfortably aware of the nature of life in Stalin's Russia yet increasingly persuaded that his creative gifts would never achieve full maturity separated from the culture, people and land of his birthplace. Since even Prokofiev knew that the USSR was hardly the place to commit inner reflections to paper, the Diaries come to an end after June 1933 although it would be another three years before he, together with his wife and children, finally exchanged the free if materially uncertain life of a cosmopolitan Parisian celebrity for Soviet citizenship and the credo of Socialist Realism within which the regime struggled to strait-jacket its artists. Volume Three continues the kaleidoscopic impressions and the stylish language - Prokofiev was almost as gifted and idiosyncratic a writer as a composer - of its predecessors.

THERE IS NO better way to introduce children to classical music than with Prokofiev's musical fairy tale of the little boy (played by all the strings of the orchestra) who, with the help of a bird (played by the flute), outsmarted the big, bad wolf (played by the French horns). And now with this book and CD package, children can look and listen all at the same time. A new retelling by Janet Schulman follows the basic story, but with a kinder ending for both the big bad wolf and the argumentative duck. Peter Malone's paintings have the luminous quality of old Russian masters. The CD, with music performed by the Cincinnati Pops and word-for-word narration by Peter A. Thomas, was made exclusively for this book and CD package.

(Schirmer Performance Editions). Favorites of piano teachers, these short pieces show lyricism and harmonic surprise for which Prokofiev's larger works are known. Intermediate to Late Intermediate Level.

The second volume of Sergey Prokofiev's recently uncovered Diaries covers the years 1915 to 1922. It describes in detail the genesis and the problematic path to performance of major works in his canon, and the life-changing experiences of living in war-torn and revolutionary Russia, and deciding to leave for the mythic America he had long dreamed of visiting. The Diaries chart the author's swings of fortune, the loneliness of the emigre, his encounters with a luminous range of personalities from music, theatre, art and literature, and the search for love and friendship, all cast in the burnished prose of a born master, not just of music, but of words.

With its loving portrayal of aging, caring for the elderly, and the keen nature of kids' sensibilities, this is a must-purchase for all libraries serving children. --School Library Journal, Starred Review A quiet story and pleasant music combine for a calming, peaceful, and even uplifting performance. --Kirkus Reviews Did you hear the story about Max, the boy who kidnapped his grandfather from a nursing home? You didn't see it on the news? Well, let me tell you about it. Max lives in a small town, much smaller than yours. His grandpa is losing his memory, but still remembers quite a bit. You can imagine how they hurried, Max and his grandpa, followed by old Miss Schneider, who insisted on coming along. Why were they in a hurry? Because everyone was after them. Max had skipped school to rescue his grandpa, and they were just starting out on what promised to be one of the best days of their entire lives. A touching story about dementia and the special relationship between grandparents and grandchildren, with full-color illustrations and a read-along CD audiobook featuring twelve classical pieces for children by Georges Bizet and Sergei Prokofiev.

Peter knows he shouldn't go out of the house alone: his grandfather has told him of the dangers. But children are curious, and don't always do what they are told. Along with his friends the duck, the bird and the cat, Peter ventures out into the snow and encounters a terrifying wolf. He'll need all his courage and brains to make it back in one piece. With haunting illustrations and an explanation of its musical origins, this story will captivate its readers. TreeTops Greatest Stories offers children some of the worlds best-loved tales in a collection of timeless classics. Top children's authors and talented illustrators work together to bring to life our literary heritage for a new generation, engaging and delighting children. The books are carefully levelled, making it easy to match every child to the right book. Each book contains inside cover notes to help children explore the content, supporting their reading development. Teaching notes on Oxford Owl offer cross-curricular links and activities to support guided reading, writing, speaking and listening.

San Francisco Ballet perform this production of Prokofiev's ballet based on Shakespeare's tragedy. Recorded in May 2015 and choreographed by Helgi Tomasson, the lead roles are performed by Maria Kochetkova and Davit Karapetyan.

Claudio Abbado conducts the Berliner Philharmoniker in their annual Europa Konzert, recorded at the Mariinsky Theatre in St. Petersburg in 1996. The concert features works by Prokofiev, Rachmaninov, Beethoven and Tchaikovsky with performances from bass-baritone Anatoly Kocherga and violinist Kolja Blacher.

Live performance from classical pianist James Rhodes, recorded at London's Arts Theatre. The concert features works by, among others, Rachmaninov, Liszt, Prokofiev, Gluck and Chopin.

Valery Gergiev leads the Wiener Philharmoniker in this Russian-themed opening night of the 2012 Salzburg Festival. Alongside performances of Stravinsky's 'Symphony of Psalms' and Prokofiev's Fifth Symphony, Russian tenor Sergei Semishkur gives a passionate interpretation of Mussorgsky's 'Songs and Dances of Death'.

Royal Opera House production of Kenneth MacMillan's interpretation of the Prokofiev ballet based on Shakespeare's tragic tale of doomed love. Barry Wordsworth conducts the Royal Opera House Orchestra; Lauren Cuthberson and Federico Bonelli dance the title roles.