Sergei Prokofiev - Op.29 Piano Sonata No.4 in C minor (1908/17) (Score, Analysis)

Соната № 4 для фп. (из старых тетрадей) [c-moll] (Sonata No.4 for Piano (from an old notebook) (C minor)
Sergei Sergeyevich Prokofiev (Сергей Сергеевич Прокофьев/Sergey Sergeyevich Prokofiev) (1891-1953) was a Russian/Soviet composer, pianist, and conductor. His works range from piano sonatas to operas, and he is regarded as one of the most important composers of the 20th century.
Like the second sonata and second piano concerto, the fourth piano sonata is dedicated to Maximilian Schmidthof, a friend of Prokofiev who committed suicide. Like the third sonata, it carries the subtitle of “From an Old Notebook”, and makes use of a juvenile sonata. The premiere was on 17 April 1918 by the composer in St. Petersburg and was published by A. Gutheil in 1918.
(0:00) Mov.1 Allegro molto sostenuto - The first movement is one of the darkest moments from Prokofiev’s piano sonatas. The first theme in C minor is quite contemplative
(0:35) This transition is a bit more lyrical and playful. Also, it sounds quite similar to Medtner’s Sonata-Skazka. Coincidence? (Prokofiev played some of Medtner’s pieces in concerts, so it is possible that he knew the piece). However, it could also be related to the T1.
(0:59) T1 makes appearance
(1:10) T2, more lyrical
(2:00) Transition
(2:11) Development, first with change of tonality to F or Bb minor.
(2:41) Theme on left hand, with T2 on top
(3:07) Climax. Notice the T1 on left hand, intermixed with the transition theme.
(3:32) T2 is on one hand, and T1 is on other hand, but this pattern swaps frequently, with modulations happening all over the place at the same time.
(3:51) March-like rhythm setting up for the recapitulation…
(4:03) Recapitulation, T1
(4:37) Transition
(5:00) T2, suggesting a quiet conclusion to C major…
(5:41) but not yet. The coda with chromatisms appear, ending the piece in a brooding manner.
(6:11) Mov.2 Andante assai - The second movement was later orchestrated. It continues the brooding mood of the first movement. It is in a variation form.
(7:19) Var.1, with arpeggios and later, polyrhythms.
(8:12) Var.2, with inverted theme on right hand
(8:44) A tragic fragment - used as a transition
(9:02) An interlude of a calm mood.
(10:55) Var.3, similar to Var.1. However, we have the inversion of theme on right hand
(11:20) Tragic transition
(11:50) Var.4, where the introductory ostinato, theme, and interlude theme intermingle. The top line is the interlude theme, and the left hand is the main theme.
(12:41) A very quiet ending, in a mood that could be called “disappearing”.
(13:24) Mov.3 Allegro con brio, ma non leggiere - The third movement is rather surprising, as the pessimism of the previous movement is dissipated suddenly. It is in a rondo form. The first theme is quite ironic.
(14:04) B - even more playful, but with more chromaticism
(14:32) A
(14:50) C - The 2/4 ostinato of the 2nd movement makes an appearance, but not so brooding.
(15:42) A - but with some modifications
(16:25) B - but again, with many modifications. We can get the glimpse of the original figurations in the dotted rhythms
(16:49) A - These scales set up for the final appearance of…
(16:59) The A theme, which ends the piece in a bright finish.
Source: English/Russian Wikipedia, original research
Recording by Boris Berman
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[@Barichter74318]

I really like the contrast between the second and the last movement, great analysis!

[@yekware]

love it

[@ZewenShifu]

based