Yesterday was the 71st anniversary of that day, 5 March. That’s when Sergei Prokofiev, one of the 20th century’s major composers and arguably Russia’s best ever, died a broken man.
He was only 61, but I did tell you he was broken. The inhuman pressure of life in Stalin’s Russia was too much for him to bear, and his heart gave way.
Hardly a day had gone by that Prokofiev hadn’t been publicly hectored and demonised by nonentities, calling him whatever they were paid to call great men in those days. He’d try to buy a moment’s peace by writing propagandist Soviet works, such as a fawning cantata to celebrate Stalin’s 60th birthday or one to commemorate the 20th anniversary of the revolution, but to no avail.
His genius shone through anyway, for genius remains free and irrepressible even with a yoke around his neck. Stalin’s bullies sensed that and went after Prokofiev like a pack of wolves pouncing on a wounded bear.
Prokofiev’s first wife Carolina (known as Lina) wasn’t a genius, but she was guilty of another irredeemable sin: she was Spanish, meaning foreign. And not just foreign, but one from a “capitalist”, at that time also “fascist”, country. She simply had to be charged with espionage and sentenced to 20 years of hard labour.
One might say that Prokofiev brought it all onto himself. After the revolution, he wisely left Russia, but unwisely returned in 1932. Anyone who has read the three volumes of his Diaries knows why.
Prokofiev and his contemporaneous West weren’t a good fit. On the one hand, he had to supplement his composing income by playing piano recitals, a career for which he was less equipped than his contemporary Rachmaninov, a lesser composer but one of the greatest piano virtuosos of his or any other time.
Prokofiev resented having to go on concert tours – like all geniuses, he knew his true worth. And there was another problem that made him disillusioned in the West: he knew his true worth, but the West didn’t, not quite. Prokofiev’s were essentially classicist sensibilities, but the West was demanding a different, atonal, modernist kind of music, best exemplified by Schoenberg, Webern, Berg and – most painful to Prokofiev – Stravinsky, a fellow Russian émigré.
Stravinsky was another magnificent Russian export, and he was deservedly hogging the limelight. Yet Prokofiev, another genius, was denied his fair share of it, one he knew he merited. His pride was wounded, and there were those serpentine NKVD seducers begging him to return and promising him all the glory and riches of the world.
In the end, Prokofiev’s hubris got the better of him and return he did, to the living hell known as Stalin’s USSR. To be fair, at first the Soviets were as good as their word. Prokofiev was feted and lionised, he was encouraged to compose more and more works, and he no longer had to play recitals to survive.
But then the hounding started, shrill (and ignorant) accusations of formalism, demands for propagandist music, sleepless nights spent expecting that proverbial midnight knock on the door, illness. What the post-mortem diagnosed as cerebral haemorrhage finished the job.
Yet not a single Soviet newspaper ran an obituary for one of the few true giants associated with Stalin’s realm. And even the leading Soviet musical periodical only reported Prokofiev’s death in a couple of brief paragraphs.
Just think about it: the Soviet Union was home to only two sublime composers (Shostakovich was the other one), one of them died – and that tragic event barely merited the briefest of mentions on page 116 even in a musical periodical.
There was a good explanation for it: the first 115 pages were devoted to another death, that of Stalin, who died on the same day. Or, to be more exact, Stalin probably died a few days earlier, but his death was only reported to hoi polloi on 5 March. The diagnosis was the same, cerebral haemorrhage, but the circumstances of Stalin’s death were mysterious enough to give rise to rumours of assassination.
The country ignored the passing of one of its greatest gifts to world culture, but threw a fit of hysterical sorrow after one of the most evil men in history croaked. Crowds wept in the streets of Moscow, a human throng tried to crush its way into the Hall of Columns, where those malodorous remains lay in state.
Hundreds of people were trampled to death or had their heads smashed when the crowd threw them against the police vans. Even in his death, Stalin didn’t lose his endless capacity for mass murder.
I don’t know how many of today’s Russians lead a life in which Prokofiev has pride of place. Quite a few, would be my guess, certainly in Moscow. Yet even they have to live a life charted by Stalin and shoved down their throats by his worshippers and heirs.
There was something eerily symbolic in those two men dying on the same day. Stalin won the battle for public adoration then, and he is still winning it 71 years later. But life everlasting has a different pecking order – and assigns different quarters to geniuses like Prokofiev and ghouls like Stalin.
Sergei Prokofiev, RIP.