Sergei Prokofiev is one of my favorite composers, and I have performed several of his sonatas with hopes to play more in the future. When I discovered that Boris Berman, whose Prokofiev recordings I admire, had written a book about the great Russian composer's piano sonatas, I couldn't wait to read it. I ended up being disappointed in the result, however.



Going into this book, I was hoping for something along the lines of Messiaen, by Peter Hill (another fine pianist) and Nigel Simeone, which delved into the letters and musical sketches of another of my favorite composers to give a deep portrait of his life and works. Berman does draw on certain Russian sources that are basically inaccessible to western readers, but too often in a superficial way only (e.g. "Givi Ordzhonikidze observed another trait of the Ninth Sonata: the important role played by the imagery of children," p 194--here Berman merely quotes another author's opinion without comment, rather than drawing on some primary source). There was some extremely valuable information that I hadn't seen elsewhere, however, such as the comparison of Prokofiev's manuscript for the Ninth Sonata with the published version, which has several mistakes. I wish Berman had been able to consult more manuscripts, sketches, and the like, as this would have made for a more enlightening book.



After two chapters discussing Prokofiev's life as a composer and pianist, respectively, Berman considers each sonata individually. Each of these chapters has two main sections: "Listening Closely" and "Master Class." In the former, Berman gives a chronological account of what happens in each movement. When writing verbal descriptions of music, it is hard to discuss specific details without being deadly boring. Too often Berman writes sentences like the following: "The second theme takes shape gradually; first a long D-sharp appears, preceded by two grace notes (m. 37, 01:08); in the following bar the D-sharp changes to a D; in the succeeding bar the D, now an octave higher, is preceded by three grace notes" (p 86, in the chapter on the Fourth Sonata). In the parlance of sports announcers, I would have appreciated more color commentary and less play-by-play. Berman could have conveyed the same information much more effectively with a simple illustration from Prokofiev's score. There are some musical examples in the book, but Berman could have used many more. Without them, readers are forced to consult their own score (to which they must supply their own measure numbers to follow Berman's descriptions, a minor nuisance in itself) or listen along to Berman's own recordings, for which he has supplied timings as in the sentence I quoted above.



In the second section of each sonata chapter, Berman gives us a virtual "Master Class," with himself as teacher and the reader as student performer. Here he provides the sort of practical suggestions that can come only from having studied and performed these works in depth. I didn't always agree with his conclusions, but I think these sections showed his gifts as a teacher and musician more than the preceding "Listening Closely" sections.



I think this book will prove most useful to pianists who are trying to learn one of Prokofiev's sonatas, rather than the general reader. I hope to learn the Eighth Sonata at some point soon, and I will certainly consult this book as I am preparing it for performance. But in the meantime, I will hold out hope for a better book on the same subject.