Reminiscences (Remembrance) - (Part 1 of Four Pieces For Piano, Op. 4) 9 1/4 x 12 inches, 3 pages - 1925

"Reminiscences (Remembrance) by Prokofiev - (Part 1 of Four Pieces For Piano, Op. 4)" - Sheet Music copyright by Anton J. Benjamin, Hamburg  1925 #: A. J. B. 8314 9 1/4 x 12 inches, 3 pages Composer Prokofiev, Sergey Opus/Catalogue Number Op.4 Sections 4 pieces: Reminiscences (Remembrance) Élan (Soaring) Desespoir (In Despair) Suggestion diabolique (Devilish Inspiration) Year/Date of Composition 1908, revised 1910–12 First Performance 1908-12-31 in St. Petersburg: Sergey Prokofiev (piano) First Publication 1913 - Moscow: P. Jurgenson. Piece Style Early 20th century Instrumentation Piano Prokofiev was not only interested in making a name for himself as a composer in the earliest years of his career, but he also wanted to impress audiences with his considerable keyboard skills. Thus, it is not surprising that his first four opus numbers were attached to difficult solo piano works. Actually, this Op. 4 set dates to 1908 and was written shortly after the Op. 1 First Sonata, making it among the earliest works whose publication was sanctioned by Prokofiev. No. 1, "Reminiscences," is a melancholy piece of some appeal, marked Tranquilo. While this contains echoes of Scriabin, the ensuing "Elan" (Molto Allegro) is pure Prokofiev -- early, sassy Prokofiev. "Despair" is the longest piece here and perhaps the greatest in depth. Marked Andante con agitazione e dolore, its gloom reminds one of a thick fog of depression in a pre-Prozac world. Without doubt, one of his most famous piano compositions is No. 4 here, the "Suggestion diabolique," a wild, spooky display piece that, in performance, manages to please both eye and ear. Marked Prestissimo fantastico, its theme is short, sneaking about mostly in a downward patter and threatening mayhem as it grows louder and more frenzied. The writing is brilliant throughout and nowhere more spectacular than at the climax where the left hand takes up the theme while the right splashes notes in every direction. Two glissandos clear the air for the subdued close. In sum, these four pieces are generally of high quality and are among the composer's more inventive early piano works.