“Prokofiev had a lifelong love of the sonata form. Ever since learning the basic rules during his childhood years, he strove to master them; … In 1941, describing his Sonatinas op. 54 (1931), he remarked, “I liked the idea of writing a simple work in such a superior form as sonata.” One can learn a lot about the composer’s growth by tracing his progress from the early sonatas, which cautiously dare to bend the textbook rules, to the masterful treatment of the form in his late works.”

— Boris Berman

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Preface

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Boris Berman 16

Russian/American musician 1948

Charles Rosen (1927–2012) American pianist and writer on music

Part I. Introduction. 2. Theories of Form
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

“Prokofiev’s playing of lyrical music is especially noteworthy. His phrasing can be exquisitely beautiful in its dynamic molding (second theme of the Andante assaifrom Sonata No. 4; the middle section of Vision fugitive, op. 22, no. 11), and his polyphonic voicing can be clear and expressive”

Boris Berman (1948) Russian/American musician

Sonatina pastorale, op. 59, no. 3
Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

“Beethoven’s sonatas, whether show so much variety that one has to ask oneself the fundamental question of what the much vilified word ‘sonata means. Perhaps Beethoven applied the word to entities that are not even sonatas in the strict sense of the term. One has to perceive new law in the highly dramatic musical form. Often in the sonata, feeling eludes form. In Beethoven, that is not the case, for here the two go hand in hand; feeling makes form aware of a hole in the ground and vice versa.”

Elfriede Jelinek book The Piano Teacher

P 151
The Piano Teacher (1988)

“Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, … They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Preface

“As far as Bach is concerned, I never came close to liking him [-] My favourite composer is Scriabin -[and] his Fifth sonata, in my mind, the greatest piece of music ever written.”

Henry Miller (1891–1980) American novelist

Reflections (1981)

“I became aware that in Hank's recorded songs were the archetype rules of poetic songwriting. The architectural forms are like marble pillars and they had to be there. Even his words - all of the syllables are divided up so they make perfect mathematical sense. You can learn a lot about the structure of songwriting by listening to his records.”

Hank Williams (1923–1953) American country music singer

Bob Dylan, Chronicles: Volume One (2004)
About

“The scientist addresses an infinitesimal audience of fellow composers. His message is not devoid of universality but it's universality is disembodied and anonymous. While the artist's communication is linked forever with it's original form, that of the scientist is modified, amplified, fused with the ideas and results of others, and melts into the stream of knowledge and ideas which forms our culture. The scientist has in common with the artist only this: that he can find no better retreat from the world than his work and also no stronger link with his world than his work.”

Max Delbrück (1906–1981) biophysicist

Nobel Prize acceptance speech (1969) http://www.nobelprize.org/nobel_prizes/medicine/laureates/1969/delbruck-lecture.html

“It requires twenty years for a man to rise from the vegetable state in which he is within his mother's womb, and from the pure animal state which is the lot of his early childhood, to the state when the maturity of reason begins to appear. It has required thirty centuries to learn a little about his structure. It would need eternity to learn something about his soul. It takes an instant to kill him.”

Voltaire (1694–1778) French writer, historian, and philosopher

Il faut vingt ans pour mener l’homme de l’état de plante où il est dans le ventre de sa mère, et de l’état de pur animal, qui est le partage de sa première enfance, jusqu’à celui où la maturité de la raison commence à poindre. Il a fallu trente siècles pour connaître un peu sa structure. Il faudrait l’éternité pour connaître quelque chose de son âme. Il ne faut qu’un instant pour le tuer.
"Man: General Reflection on Man" (1771)
Citas, Questions sur l'Encyclopédie (1770–1774)

“The piano plays a central role in Prokofiev’s oeuvre. Not only are his works for piano solo or piano with orchestra numerous, but they also rank among his more important compositions. The piano was the first instrument Prokofiev heard and the only one he mastered.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

“Schnabel said that Beethoven's late piano sonatas are music better than could be played. Larkin's best poems are poetry better than can be said, but sayability they sumptuously offer. Larkin demands to be read aloud. His big, intricately formed stanzas, often bridging from one to the next, defeat the single breath but always invite it. As you read, the ideal human voice speaks in your head. It isn't his: as his gramophone records prove, he sounded like someone who expects to be interrupted. It isn't yours, either. It's ours.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Philip Larkin: Somewhere becoming rain'
Essays and reviews, The Dreaming Swimmer (1993)

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