CALIFORNIA STATE UNIVERSITY, NORTHRIDGE REHEARSING AND PERFORMING FOUR PIECES FROM SERGEI PROKOFIEV S ROMEO AND JULIET, SUITES 1&2, OP. 64 A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Conducting By Talynn Kuyumjian December 2016
The graduate project of Talynn Kuyumjian is approved: Dr. Diane Roscetti Date Dr. Lorenz Gamma Date Dr. John Roscigno, chair Date California State University, Northridge ii
TABLE OF CONTENTS Signature Page ii Abstract...iv Introduction.1 Historical Background.2 Selection of Movements and Score Study...5 The Rehearsal Process.8 The Montagues and Capulets..8 Juliet, The Young Girl...10 Romeo and Juliet 11 Death of Tybalt..17 Performance...21 Bibliography..22 Appendix A: Musical Examples 23 Appendix B: Concert Program..26 iii
ABSTRACT REHEARSING AND PERFORMING FOUR PIECES FROM SERGEI PROKOFIEV S ROMEO AND JULIET, SUITES 1&2, OP. 64 By Talynn Kuyumjian Master of Music in Music, Conducting This paper will describe the final project completed by the author for the partial fulfillment of the degree of Master of Music in Orchestral Conducting. The orchestra that played under the author s baton was the CSUN Youth Philharmonic Orchestra a highlevel youth orchestra consisting of musicians ranging from ages ten to eighteen with supervision from Dr. John Roscigno, professor of Orchestral Studies at CSUN. The performance took place on Sunday, March 6, 2016, at the Plaza del Sol Performance Hall on the school campus. The purpose of this project was to rehearse the orchestra and prepare them to perform a piece from the classical repertoire live in concert, with a length of approximately twenty to twenty-five minutes. Possible pieces were discussed, and eventually, it was decided that they would play four movements from Sergei Prokofiev s Romeo and Juliet Ballet score. After long hours of score study, it became obvious that the rehearsal process would be arduous and challenging; not only is the music technically difficult to play, but iv
Prokofiev writes in the extreme ranges of each instrument, making intonation one of the major issues to deal with in rehearsal. After a brief introduction, the paper is divided into four parts historical background, selection of movements, rehearsal process, and performance. Each section will give an insight into this monumental orchestral work, and the main body of the paper will discuss the details of anticipated issues with the orchestra and how they were dealt with in rehearsal. The concert program also included a violin concerto by Bruch and a symphony by Beethoven. It was a demanding concert, but the brilliant and talented young musicians of this orchestra pulled through and gave a spectacular performance. v
Introduction This graduate project included a series of rehearsals and a final performance by Talynn Kuyumjian for her orchestral project in partial fulfillment for her Masters of Music degree in Orchestral Conducting under the direction of Dr. John Roscigno at California State University, Northridge. About a year before starting on the project, possible pieces to conduct were discussed. My favorite composers are mostly Russian; so I ultimately decided on a work by Sergei Prokofiev. I presented a performance of four movements from Sergei Prokofiev s Romeo and Juliet Ballet, performed by the CSUN Youth Philharmonic Orchestra, a group of talented young musicians ranging from ages eleven to eighteen, for their second concert of the season on the sixth of March, two thousand and sixteen at the Plaza del Sol Performance Hall. This concert also included the first movement of the Violin Concerto in G Minor by Max Bruch and Ludwig van Beethoven s Symphony No. 5. It was apparent from the beginning that this was going to be an arduous and challenging, but also an exciting program for the musicians. This paper will discuss the process of studying and preparing Prokofiev s impressive score for rehearsal, focusing on areas like tempo, articulation, balance, and intonation. Because this is music composed for ballet, it was important for me to fully understand the emotions of each of the movements and which scenes of the ballet they relate to, then explain to the orchestra how to convey those emotions to the audience. After providing a brief historical background, the methods of preparation and final results will be discussed in this paper in three parts: selection of movements and score study, the rehearsal process, and the final performance. 1
Historical Background Before working on the music for Romeo and Juliet, Sergei Prokofiev had voluntarily exiled himself from Soviet Russia, living in Paris and the United States. In Paris, he worked with the renowned Sergei Diaghilev of the Ballets Russes. They met in 1914, and had they never met, Prokofiev might not have written any ballet music at all; he grew up in an environment where symphonies and operas were much more respectable, and ballet was seen only as a frivolous form of applied art. 1 In turn, Diaghilev tried to convince him otherwise, that opera is a dying art and contemporary taste demands ballet and pantomime. 2 Only after seeing how enthusiastically European audiences and critics responded to Ballet Russes productions did he begin to seriously consider writing ballet music himself. Diaghilev produced a few of his short ballets, like Le Pas D Acier (1925) and The Prodigal Son (1929), and this did a great deal to enhance Prokofiev s reputation in Europe. It was Diaghilev s death in 1929 and the collapse of the Ballet Russes that initiated Prokofiev s return to Russia, where he believed he would be successful composing more ballet music. Romeo and Juliet was his initial attempt at a full-length ballet and the first time he had written music on such a profound and human theme. 3 He had recently also scored for film and theater music, which helped him to illustrate visual images more effectively 1 Harlow Robinson, trans., Selected Letters of Sergei Prokofiev (Boston: Northeastern University Press, 1998), 61. 2 Victor Seroff, Sergei Prokofiev: A Soviet Tragedy (New York: Funk & Wagnalls, 1968), 80. 3 Israel Nestyev, Sergei Prokofiev: His Musical Life, trans. Rose Prokofieva (New York: Alfred A. Knopf, 1946), 146. 2
and physically as in the fight scenes. 4 It has a large instrumentation that is fairly standard (piccolo, 2 flutes, 2 oboes, English horn, bassoon, 4 horns, cornet, 2 trumpets, 3 trombones, tuba, timpani, strings), with a great variety of percussion instruments (triangle, tambourine, xylophone, glockenspiel, snare drum, cymbal, bass drum). A saxophone and celesta were also included, which were unusual instruments to have in the orchestra during the time. The history of this music is somewhat of a rocky and complex one, suffering a number of setbacks that have never been fully explained. 5 Sergei Prokofiev first completed the music for the Romeo and Juliet ballet in 1935 for the Kirov Ballet (now the Mariinsky Ballet) based in the city of Leningrad (St. Petersburg) working with theater critic Adrian Piotrovsky and the company s artistic director, Sergei Radlov, known for his productions of Shakespearean works. Originally, Prokofiev had composed a happy ending for William Shakespeare s characters, but production of it never started because a jovial ending of the story of the two lovers could have sparked unnecessary controversy within a tyrannical government. He changed the story to the original ending and signed a contract with the Bolshoi Ballet in Moscow (because of political turmoil, the location had to be changed). After consulting over the music, the company decided that it was too difficult to dance to, and they broke the contract. After these rejections, Prokofiev extracted parts from the full ballet and put together two orchestral suites, which were premiered before the ballet was ever staged. Their first premiere was in Chicago in January 1937, where Prokofiev himself conducted 4 Harlow Robinson, Sergei Prokofiev: A Biography (New York: Viking, 1987), 304. 5 Karen Bennett, Prokofiev s Romeo and Juliet and Socialist Realism: A Case Study in Inter- Semiotic Translation, Shakespeare and European Politics (2008): 2. 3
the Chicago Symphony Orchestra to critical acclaim; the premiere was followed closely by performances in Paris and Moscow. Following this success, the ballet was finally premiered on stage, not in the Soviet Union, but in Brno, Czechoslovakia (Czech Republic) in 1938, after the Leningrad Ballet School had dishonored its agreement to premiere it in 1937. It finally made its debut in Moscow with the Kirov Ballet in January of 1940 under artistic director Leonid Lavrovsky. But it ultimately achieved success after it was staged with the Bolshoi Ballet in 1946, which is when Prokofiev decided to put together a third orchestral suite. Today, Prokofiev s Romeo and Juliet is considered one of the greatest, if not the best (in my opinion), full-length ballets, along with Pyotr Ilyich Tchaikovsky s Swan Lake, The Nutcracker, and others. It is completely distinct from the ballets he wrote in Paris, capturing the psychological complexities 6 of each hero, with clear cut musical character portraits and realistic theatrical depiction of scenes. 7 The ballet is one of his most popular works and has become a staple in the orchestral repertoire through the numerous performances of his orchestral suites. 6 Nestyev, Prokofiev, 147. 7 Nestyev, Prokofiev, 147. 4
Selection of Movements and Score Study One of the important components in determining which movements and in what order they would be played was how to most effectively tell the story of Romeo and Juliet within those few movements. Pieces from Suites 1 and 2 were chosen particularly because they are more popular than the pieces in Suite 3. One of the movements that I decided to include was the Montagues and Capulets, the first piece from Suite 2. This movement, also known as Dance of the Knights, impeccably establishes the violent hostility 8 between the two haughty families, and therefore was chosen as the introductory piece. It opens with dissonant horn and trombone octaves that crescendo from mezzo forte to an explosive fortissimo chord (a B- flat chord on top of an F chord with an added E) with timpani, snare drum, and bass drum rolls, winds and brass all in their extreme ranges. This chord is suddenly cut off and a pianissimo B minor chord emerges, then moves to D and resolves on G minor by the strings. These opening chords immediately set the tension of the piece impending doom and sadness. After another set of similar chords, the well-known main theme begins, with its dotted rhythm. The piece is in ternary form, with the flute taking on a sweeter variation of the main theme in the contrasting middle section. The next piece on the program was Romeo and Juliet, the sixth movement from Suite 1. This is one of the central themes in the entire ballet, tinged with a gentle, restrained sadness, with quiet, hidden emotions, transparent and silvery tones 8 Robinson, Prokofiev: Biography, 303. 5
dominating, 9 and lays the foundation of love between Romeo and Juliet. Even though it starts off in the key of C, it shifts around to different tonal centers and key signatures throughout the entire piece. This helps suggest the imminent sadness that will occur between the two lovers. Tremolo violin and viola chords, doubled with the harp and low flute and clarinet notes, give it a delicate, shimmery opening and this occurs often throughout the movement with the first violins, low strings, and brass instruments playing the melodies. For the final movement, I elected to have a thrilling rather than calm ending. The Death of Tybalt, movement 7 from Suite 1, was chosen as the closing piece for the performance, as it closes with the full orchestra striking fortissimo chords with their instruments. This movement is very exciting and fast paced, and tempos are set starting at precipitato, shifting to presto, and ending with adagio drammatico in the dramatic key of C minor. This scene depicts the fight between Romeo and Juliet s cousin, the proud and vindictive 10 Tybalt. They are fighting with swords, kicking each other and falling down, so the music is extremely agitated and aggressive, ending with powerful chords. I decided there should be at least one more movement to make it a complete piece for performance. The options were Juliet, The Young Girl from Suite 2, or Masks from Suite 1. With consultation from my professor, I decided to go with Juliet, The Young Girl, the second movement from Suite 2. This movement is very lively and pleasant, depicting the light-hearted, joyful Juliet flittering around her room with the vivacity of a 9 Nestyev, Prokofiev, 147. 10 Nestyev, Prokofiev, 148. 6
young animal. 11 It takes a lot of tempo changes, alternating vivace and espressivo, with tranquil passages including clarinet and flute solos. This was chosen instead of Masks, since it was evident that it would be very challenging to conduct, as well as play for the young musicians. 11 Karen Bennet, Star-Cross d Lovers: Shakespeare and Prokofiev s Pas De Deux in Romeo and Juliet, The Cambridge Quarterly Vol. 32 No. 4 (2003): 317. 7
The Rehearsal Process This section will cover all the problem spots and how they were rehearsed, going through the pieces in order. It was clear from the start that with a highly chromatic piece like this, and with many instruments playing in their extreme ranges, intonation was likely to be of the highest concern. Many tempo changes occur throughout these pieces; it was critical for me to point out these areas to the group and ask them to circle the changes on their sheet music and to look up each time they saw a tempo change come up so they play exactly with me. Due to the technicality level of the young musicians, there were sections I knew I would have to rehearse slowly as the indicated tempos are to play very quickly. Dotted and offbeat rhythms had to be given special attention, since dotted rhythms are often rushed, and the players are usually late on their offbeat entrances. These are common problems that can occur with a youth orchestra that I would have to anticipate and be prepared for before rehearsals begin, whereas with professionals, a conductor would not run into as many obstacles. Montagues and Capulets The beginning of Montagues and Capulets opens with very loud chords in the winds and brass, followed by very soft string chords. The four horns enter first in octaves, so during rehearsal, they were asked to hold each of the notes and tune carefully. As the trombones and trumpets enter, the chord all together becomes more dissonant, so they were asked to hold out each of their notes to get used to the dissonance and not be afraid to play out. The string chords needed to be tuned as well. The tempo is very slow here 8
(q=50) and different string instruments change notes at different times, so the cues had to be given very clearly to each individual section. Example 1. Montagues and Capulets four bars before Rehearsal 2, strings Starting in the Allegro pesante, I really wanted weight and heaviness, so I asked the horns and tuba to play full-length quarter notes, and also the violas and basses to use their entire bows on every single quarter note. Something that I did not anticipate was the tendency of rushing of the melody in the violins. I had to make sure that they were playing the dotted rhythm correctly, as they were starting the rhythm correctly but gradually moving to a triplet pattern. This was crucial since the horns and trombones had upcoming eighth note melodies and by rushing, the sound would not be as heavy as desired. Therefore, it was important for me to also look weighty in order to keep a slow, marching pace. In the slow, moderato tranquillo section at rehearsal 7, I had to ensure the flute melody was heard clearly. The flute solo is marked piano, but I asked her to play a full mezzo forte, asked everyone else to play very softly, and requested that the violas listen to the flute and move their glissandi exactly with flute melody (see Appendix A, Example A1 for full score). 9
Out of all the movements, this one was the least challenging to conduct and for the students to play. Juliet, The Young Girl Because this movement is very fast, I chose to have the students play it at a slower tempo, roughly at q=112, for the first few rehearsals. I wanted this movement to sound very light and bright, so I asked the violins to play their staccato notes in the beginning very short and bouncy, and for the rest of the string instruments to really play out their pizzicato notes. The wind instruments were asked to hit their staccato notes percussively in order to help give it a bright and articulate sound. One challenge in this particular movement was the observation of all the tempo changes. As mentioned before, this piece alternates between fast and moderate tempo sections, with a slow middle section. I had all the musicians circle the tempo markings on their scores and asked them to make sure to look up at the conductor whenever they saw a tempo change coming up in order for the orchestra to achieve precision. There were almost no problems in the fast, vivace sections. The slower sections brought on a lot of balance issues. For example, at rehearsal 57, I had to ask all the string players to play absolutely pianissimo so that the wind solos could seep through to the audience. Although the clarinet and flute solos in these sections were marked piano, I asked them to play their passages forte. 10
Example 2. Juliet, The Young Girl Rehearsal 57 This movement was mostly conducted in four, but I decided to conduct subdivided four in the last four measures; the rhythm really slows down here, so by subdividing, I was able to show the solo harp and saxophone passages how to clearly play their sixteenth notes. Romeo and Juliet It was expected that balance and intonation issues were going to be the central concerns in this movement. Sections where the entire orchestra plays together had to be tuned; viola and cello players really needed to focus on their parts, as they had melodies that went into the treble clef range, and many of the students had never played notes in that range before. Rehearsals with string players only came in very handy for practicing these parts. The first section that I really focused on was at rehearsal 52, where an almost contrapuntal melody begins with a solo first violin, second violin, and viola. The viola 11
begins its melody on an A-flat, and the soloist had difficulty finding this pitch. I had her sustain her note with the first violin, an A-flat one octave higher, so they could tune. I then told the soloist to start softly by listening to the pitch of the first violin so that she would be able to come in on the right pitch. I had the violins and violas play this passage quite a few times for the accuracy of intonation. Example 3. Romeo and Juliet Rehearsal 52, strings The next section that I focused on rehearsing with the strings was at rehearsal 53. Here, the tempo suddenly shifts from q=46 to q=120, and the strings have to play sul ponticello. The time signature here constantly shifts from 2/4 to 3/4, so I explained to the players that they have to be alert and keep counting. There is also a two measure poco ritardando that switches back to a tempo, where I had to remind the players many times to look up at me so that they would all stay together during the change of tempo. As you see in the example, the poco ritardando is above a group of 16 th and 32 nd notes. I asked the first violins to apply a lot of bow pressure into those first three 16 th notes and not play them in haste. 12
Example 4. Romeo and Juliet Rehearsal 53 After this segment, at rehearsal 54, the tempo slows down to an andante (q=84). All four horns enter with a chromatic harmonic progression, changing chords from C, to B, to B-flat. As can be seen in the next example, they are on beats 2, 3, and 4, so I had all of them hold each of the chords, for a few seconds. This way, they listened to each other and were able to tune their notes accordingly. Example 5. Romeo and Juliet Rehearsal 54, French horns 13
The cellos then come in with the main melodic theme of the piece. Here is where the cello notes go up to the treble clef. Many of the musicians nearly panicked when they saw this and their sound did not resonate enough. It was important for them to play out here as they have the main melody. In order to obtain a full, rich sound out of them, I told the cellists to relax, use their full bows and not be afraid to vibrate. This really helped with getting a warm, sonorous texture out of them. Example 6. Romeo and Juliet 4 th -7 th bars of Rehearsal 54, low strings Around rehearsal 56 is where the entire orchestra plays together for the first time in this movement. This part was completely out of tune after listening to a rehearsal recording. In order to repair this, I had the members of the orchestra sustain the notes they had in the beginning. It starts off on a C chord. I asked all members who have a C (the root) to play first, then all who have a G (the fifth), and finally all who have an E (the third). I have learned this method of tuning from Dr. Roscigno, and it has proved very effective, as it allows the third to be adjusted in accordance to the perfect fifth. I also had the orchestra tune the A-flat chord that occurs a few measures after. It was also important in this part for the orchestra to play in time; after listening through a run-through of the movement, I could not tell if the orchestra was playing together, so I had to take it apart. I first rehearsed the violins, who have tremolo eighth notes, asking them to play softly in order to give this part a shimmery sound. Then I 14
asked the woodwinds to join in with their dotted figures. I wanted to ensure they were all moving at the same time because their rhythms are in unison. Finally, I asked the violas and cellos to join in; they all have triplets. Because there is so much going on, it was crucial for all the sections of the orchestra to stay exactly with my beat (see Appendix A, Example A2 for full score). Since this movement is highly romantic, I aimed to be very expressive and take my time conducting the melodic lines in certain places. One of those parts occurs when the violins and violas play one of the themes in their extreme ranges (see following example). I asked the musicians to write down look up on their parts here, telling them that I will be holding the tempo back on the third beat and greatly expanding the time. This required me to close both my arms and open them with a lot of resistance. Example 7. Romeo and Juliet 2 nd -5 th bars of Rehearsal 58, strings Rehearsal 60 was a section that I was not expecting to have a lot of issues with, but the balance was completely off here. It was another part that I had to divide into sections in rehearsal to work out the sound. The first violins have the melody here, while 15
the basses hold an E-flat pedal, the flute and clarinet play arpeggiated chords, and the violas and cellos provide harmonic structure. When I listened to professional recordings of this movement, it almost sounds as if the violas and cellos were not even playing, whereas in my rehearsal, those instruments were very loud and almost distracting. I asked them to play extremely soft using the tip of their bows, almost at zero volume. Even though the first violins have a piano marked here in their part, I told them they could play mezzo piano in order to bring out the melody. The flute and clarinet players were asked to play at a mezzo piano volume as well and play their 16 th notes smoothly and with fluidity. This solved the balance issue in rehearsal. Example 8. Romeo and Juliet Rehearsal 60 Other intonation issues in this piece occurred when the first violins went extremely high above the staff. Having them play their passages slowly and listening to each other really helped get their notes in tune. 16
Many times throughout this movement, brass instruments such as the horns, trumpets, and trombones have the melody lines. During rehearsal, many of them were shy to play their parts with confidence. I had them circle their dynamic markings wherever they have the melodic line marked forte and molto espressivo. Asking them to play full, round notes helped them give a sonorous sound to the melodies. As expected, this movement took the longest time in rehearsals mostly because of balance and intonation problems. Death of Tybalt This movement, although very challenging to play for musicians to play, was fairly simple to conduct. The tempo stays q=160 for the entire first half, changes to q=168 in the middle, and q=48 for the ending section. The challenging aspect for me in this movement was the cueing of instruments, especially for the winds, brass, and percussion, who all enter at different times with short melodic figures. I wanted this movement to be played very aggressively by all the instrumentalists, as it is the musical accompaniment to a very exciting and intense sword fight between Romeo and Tybalt. After explaining to the musicians what happens in the scene, I asked them to pretend that their best friend had just been murdered in front of their eyes and that their only mission now was to kill their friend s murderer. Their parts are all marked with directions like fortissimo, con brio, and furioso. Hence, it would be suitable for them to play angrily. Asking the orchestra to play as percussively as possible on all accented notes, even to sometimes be obnoxiously forceful on some parts, also aided in keeping up the energy of the piece. Because the piece s tempo is extremely fast, I had the musicians play at slower tempos 17
for the first few rehearsals in order for them to clearly learn their parts. Following those sessions, I started to increase the tempo each time. I expected the violas would have trouble with their entrance; requesting them not to rush into their opening sixteenth notes and rather to wait the entire length of an eighth note assisted them in being in time with the cellos and basses. Example 9. Death of Tybalt 1 st -4 th bars, violas and cellos One place where I anticipated a rhythmic problem starts around rehearsal 64, where the horns start playing on off-beats. I had them follow my baton s click and to listen to the tuba and timpani, who play on the beats. I also had them sustain each of the chords, as they move up and down chromatically. This happens a couple more times throughout the first half, and having the orchestra sustain each of the different chords consequently improved the intonation. Example 10. Death of Tybalt Rehearsal 64, horns, low brass, and timpani 18
Rehearsal 69 was another area of expected rhythmic problems with the violins. They enter with quick, little bursts of two thirty second notes-eighth note figures in unison, but start to play off of each other after a measure. The second violins kept playing the first violin rhythm. I had to explain this rhythm to them, as they clearly did not know that this was the case. I had them practice it slowly, and then little by little, increased the tempo. It took a few rehearsals to get this rhythm correct, but they finally were able to execute it. It was extremely important for me to cue the second violins where they break off from the rhythm of the first violins; this way, the violinists felt safer about the section. Example 11. Death of Tybalt Rehearsal 69, violins For the last adagio drammatico section, I decided to conduct at a tempo of q=60 instead of the marked slower q=48; since we were only performing the music (there were no dancers on stage), I felt this necessary in order not to drag out the movement and to keep the dramatic mood alive. I changed my beat pattern to a subdivided three here in order to get a march-like effect from the orchestra, and then went into a legato three pattern for the entrance of the horns and trumpets while still clicking each beat. This helped keep everyone playing marcato style while the horns and trumpets played their melody smoothly. Once again, the orchestra ran into a balance issue in this section. At the 19
entrance of the horn melody, I asked everyone to lower their dynamics from a fortissimo to a forte in order for the melody to come through to the audience. The horns and trumpets were asked to play using all their breath, as their parts here are marked fortissimo, espressivo e drammatico (see Appendix A, Example A3 for full score). 20
Performance By the day of the performance, I had decided to memorize all four movements. As the conductor, I feel more comfortable not having to turn pages; also, I get to really show character and emotion with my body when I am not distracted from looking at the score. I learned all the areas where tempos and meters change, and more importantly, memorized all the crucial cues. It was clear that the musicians were a little nervous about performing the piece, but also excited and filled with adrenaline. This caused the orchestra to rush the theme of Montagues and Capulets, but they were more relaxed for Juliet, The Young Girl and Romeo and Juliet. For Death of Tybalt, I had to make sure I was extremely precise with my clicks and cueing in order for the musicians to stay together, since this was the most technically challenging movement out of the four. The performance overall was very successful, and I was extremely proud of these young musicians who pulled through and played one of the most difficult pieces of music in orchestral repertoire. It had been a dream of mine to conduct the music of Sergei Prokofiev, and I am very thankful and honored that Dr. Roscigno gave me the opportunity to work with these talented musicians. 21
Bibliography Bennett, Karen. Prokofiev s Romeo and Juliet and Socialist Realism: A Case Study in Inter-Semiotc Translation. Shakespeare and European Politics (2008): 1-12. Bennett, Karen. Star-Cross d Lovers: Shakespeare and Prokofiev s Pas De Deux in Romeo and Juliet. The Cambridge Quarterly Vol. 32 No. 4 (2003): 311-347. Nestyev, Israel. Sergei Prokofiev: His Musical Life. Translated by Rose Prokofieva. New York: Alfred A. Knopf, 1946. Prokofiev, Sergei. Romeo and Juliet, 1 st Suite (Conductor s Score). New York: Edwin F. Kalmus, 1970. Prokofiev, Sergei. Romeo and Juliet, 2 nd Suite (Conductor s Score). New York: Edwin F. Kalmus, 1970. Robinson, Harlow, trans. Selected Letters of Sergei Prokofiev. Boston: Northeastern University Press, 1998. Robinson, Harlow. Sergei Prokofiev: A Biography. New York: Viking, 1987. Seroff, Victor. Sergei Prokofiev: A Soviet Tragedy. New York: Funk & Wagnalls, 1968. 22
Appendix A: Musical Examples Example A1. Montagues and Capulets Rehearsal 7 23
Example A2. Romeo and Juliet Rehearsal 56 24
Example A3. Death of Tybalt Rehearsal 81 25
Appendix B: Concert Program 26
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