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On 4 September 1917, while he was finishing the orchestration of the Classical Symphony, Sergei Prokofiev began composing a now forgotten score : Seven, they are seven, an incantation for dramatic tenor, choir and orchestra. Prokofiev carefully analysed the poem by Konstantin Balmont, pointing out its salient aspects and designing the shape of its different parts. The composer was then able to sketch fragments of melodies and orchestral passages. The poem, thereby placed in the centre of the creating process, has an unclear history dating from Mesopotamian High Antiquity, and deliberately played down by Balmont. It is thus a very narrow track that one has to follow in order to get the cuneiform Accadian inscription deciphered by Balmont, the evocative power of which was widely exploited by Prokofiev.

Le compositeur face au texte

N° 4 j

Nicolas Moron

Université de Tours

Les origines akkadiennes de Sept, ils sont sept de Serge Prokofiev

Gérard Loubinoux
Gérard Loubinoux - Le texteface au compositeur

Pascal Balin
Pascal Balin - Les sources antiques des Horaces et des Curiaces

Cécile Champonnois
Cécile Champonnois - Les Horaces et les Curiaces

Laurine Quetin
Laurine Quetin - Les Horaces d'Antinio Salieri

Préface

Tarcisio Balbo
Tarcisio Balbo - La cosrtuzione dell'intreccio nel dramma permusica del Settecento

Pierre Degott
Pierre Degott - Création, re-création et/ou récréation

Julian Rushton
Julian Rushton - Berlioz, Irlande, and English

Arnold Jacobshagen
Arnold Jacobshagen - Leoncavallo, Wagner und der Historismus

Nicolas Moron
Nicolas Moron - Les origines akkadiennes de Sept, ils sont sept

Denis Vermaelen
Denis Vermaelen - Le rossignol et la mort

Albert Gier
Albert Gier - Der Komponist als Arrangeur

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