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Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22
Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22
Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22
Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22
Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22
Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22
Prokofiev, Sergei. (1891-1953). Inscribed copy of "Visions fugitives," Op. 22. Leipzig et al.: A. Gutheil (S. et N. Koussewitzky) / Breitkopf & Härtel. [1920s?]. Nouvelle édition revue par l'auteur.

Signed copy of the cycle of 20 short pieces for piano by the eminent Russian composer and pianist.  Upright folio. Bilingual title (Russian/French); 2 - 33 pp.   [PN] A. 10314. G..  Inscription in French to right head of title, "À Mme Régina Barbès / en la remerciant avec M. Barbès / pour le charmant accueil à Alger / Serge Prokofieff / 1935 / Visions éxécutées le 17 décembre 1935: 3, 11, 16, 9". Scattered foxing throughout, else fine. 


Presentation copies from the composer are unusual and this is an especially intriguing copy of one of the composer's most important works, inscribed to influential music lovers in Algiers, then under French rule, where Prokofiev performed on December 17, 1935. Prokofiev's appearance in Algiers was part of a three-week recital tour of North Africa with Robert Soetens (1897 -1997), French violinist, remembered particularly for premiering Prokofiev's Violin Concerto No. 2 just 2 weeks earlier, on December 1, 1935.

Prokofiev started experimenting with a number of short piano works in 1915, completed them in 1917, and gave them their first public performance on 15 April 1918 in Petrograd/St. Petersburg. At a private performance some months before, the Russian poet Konstantin Balmont was so inspired that he composed a sonnet on the spot and this poem inspired Prokofiev to use one of the lines of the poem, which he called ‘a magnificent improvisation,’ as the title for this piece, Mimolyotnosti.  Balmont’s poem, ‘I do not know wisdom,’ uses the word ‘mimolyotnosti’ as the centre of two important lines. The word, which means ‘transiences’ in English, was used in its French translation, ‘visions fugitives’ and that same translation has been applied to the title of Prokofiev’s work.

I do not know wisdom — leave that to others —
I only turn transiences/fugitive visions [mimolyotnosti] into verse.
In each fugitive vision I see worlds….

Balmont had been a source for some early songs by Prokofiev, starting with ‘The White Swan’ and ‘The Wave,’ dating from 1909. Balmont’s texts were also set by Tcherepnin, Myaskovsky, and Stravinsky, among others. The fugitive visions seem to be based around a fugitive tonality – Prokofiev is experimenting with modernism in these works and, at the same time, experimenting with much older forms.

The cycle Visions fugitives was first published by Gutheil in Moscow in the same year.  The present copy post-dates the emigration of the publisher, but the confusing facts of publication, naming three publishers but crediting only one of them (Breitkopf & Härtel) with a place, do not allow for an exact date at this time. A copy at the Bibliothèque national de France in Paris, tentatively dated 1922, seems to be more or less identical.

Prokofiev, Sergei. (1891-1953) Inscribed copy of "Visions fugitives," Op. 22

Schubertiade Music and Arts
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Prokofiev, Sergei. (1891-1953). Inscribed copy of "Visions fugitives," Op. 22. Leipzig et al.: A. Gutheil (S. et N. Koussewitzky) / Breitkopf & Härtel. [1920s?]. Nouvelle édition revue par l'auteur.

Signed copy of the cycle of 20 short pieces for piano by the eminent Russian composer and pianist.  Upright folio. Bilingual title (Russian/French); 2 - 33 pp.   [PN] A. 10314. G..  Inscription in French to right head of title, "À Mme Régina Barbès / en la remerciant avec M. Barbès / pour le charmant accueil à Alger / Serge Prokofieff / 1935 / Visions éxécutées le 17 décembre 1935: 3, 11, 16, 9". Scattered foxing throughout, else fine. 


Presentation copies from the composer are unusual and this is an especially intriguing copy of one of the composer's most important works, inscribed to influential music lovers in Algiers, then under French rule, where Prokofiev performed on December 17, 1935. Prokofiev's appearance in Algiers was part of a three-week recital tour of North Africa with Robert Soetens (1897 -1997), French violinist, remembered particularly for premiering Prokofiev's Violin Concerto No. 2 just 2 weeks earlier, on December 1, 1935.

Prokofiev started experimenting with a number of short piano works in 1915, completed them in 1917, and gave them their first public performance on 15 April 1918 in Petrograd/St. Petersburg. At a private performance some months before, the Russian poet Konstantin Balmont was so inspired that he composed a sonnet on the spot and this poem inspired Prokofiev to use one of the lines of the poem, which he called ‘a magnificent improvisation,’ as the title for this piece, Mimolyotnosti.  Balmont’s poem, ‘I do not know wisdom,’ uses the word ‘mimolyotnosti’ as the centre of two important lines. The word, which means ‘transiences’ in English, was used in its French translation, ‘visions fugitives’ and that same translation has been applied to the title of Prokofiev’s work.

I do not know wisdom — leave that to others —
I only turn transiences/fugitive visions [mimolyotnosti] into verse.
In each fugitive vision I see worlds….

Balmont had been a source for some early songs by Prokofiev, starting with ‘The White Swan’ and ‘The Wave,’ dating from 1909. Balmont’s texts were also set by Tcherepnin, Myaskovsky, and Stravinsky, among others. The fugitive visions seem to be based around a fugitive tonality – Prokofiev is experimenting with modernism in these works and, at the same time, experimenting with much older forms.

The cycle Visions fugitives was first published by Gutheil in Moscow in the same year.  The present copy post-dates the emigration of the publisher, but the confusing facts of publication, naming three publishers but crediting only one of them (Breitkopf & Härtel) with a place, do not allow for an exact date at this time. A copy at the Bibliothèque national de France in Paris, tentatively dated 1922, seems to be more or less identical.

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