![Prokofieff [Prokofiev], Serge. (1891-1953) [Lhevinne, Josef. (1874 - 1944)] Six Pièces pour piano. INSCRIBED TO JOSEF LHEVINNE.](http://www.schubertiademusic.com/cdn/shop/files/Prokofiev_Lhevinne_9982a.jpg?v=1722187823)
![Prokofieff [Prokofiev], Serge. (1891-1953) [Lhevinne, Josef. (1874 - 1944)] Six Pièces pour piano. INSCRIBED TO JOSEF LHEVINNE.](http://www.schubertiademusic.com/cdn/shop/files/Prokofiev_Lhevinne_9982b.jpg?v=1722187823)
Prokofieff [Prokofiev], Serge. (1891-1953) [Lhevinne, Josef. (1874 - 1944)]. Six Pièces pour piano. INSCRIBED TO JOSEF LHEVINNE.. Berlin, Moscou etc.: Édition russe de musique. 1931. First edition. Complete set of the separately issued parts for each of the Opus 52 "Six Pièces pour piano," numbered 1-6 as Intermezzo, Rondo, Etude, Scherzino, Andante, and Scherzo. No price indications (indicating first issues), mostly disbound (the signature page in a protective plastic sheet), lacking outer wrappers for 2,3, and 5, all but one stamped "Hommage de L'Editeur" at the head of the title page, and the Intermezzo inscribed in blue ink at the top "To Josef Lhevinne / with kind regards. / Serge Prokofieff / 1932."
The first three of these pieces are drawn from Prokofiev's 1928 ballet The Prodigal Son, Op. 46, the fourth from The Songs Without Words, Op. 35 (1920), the next from the String Quartet No. 1, Op. 50 (1930), and the last from the Sinfonietta, Op. 5/48 (1909; rev. 1929). "He decided his publishers should send these pieces out to the leading pianists of the day...émigré interpreters in the West: his friend Alexander Borovsky, who was still championing him in Berlin, Artur Rubinstein, Nikolay Orlov and Vladimir Horowitz, who merited the most difficult numbers." (David Nice, "Prokofiev: From Russia to the West, 1891 - 1935," p. 290-291)
The Russian-born Lhevinne was one of the greatest pianists of the Golden Age of piano, celebrated for his astounding technique, style and ease of playing. Married to pianist/teacher Rosina Lhevinne, the couple were famed teachers in New York City where they had their own music school and taught at Juilliard. In the words of Harold Schonberg: "His tone was like the morning stars singing together, his technique was flawless even if measured against the fingers of Hofmann and Rachmaninoff, and his musicianship was sensitive."
An important association copy of these gorgeous works. We do not know whether Lhevinne was ever approached about receiving a formal dedication of one of the pieces - Prokofiev originally had proposed a completely different group of pianists than the ones he ended up with - but in any event, he must have appreciated this inscribed set.
The first three of these pieces are drawn from Prokofiev's 1928 ballet The Prodigal Son, Op. 46, the fourth from The Songs Without Words, Op. 35 (1920), the next from the String Quartet No. 1, Op. 50 (1930), and the last from the Sinfonietta, Op. 5/48 (1909; rev. 1929). "He decided his publishers should send these pieces out to the leading pianists of the day...émigré interpreters in the West: his friend Alexander Borovsky, who was still championing him in Berlin, Artur Rubinstein, Nikolay Orlov and Vladimir Horowitz, who merited the most difficult numbers." (David Nice, "Prokofiev: From Russia to the West, 1891 - 1935," p. 290-291)
The Russian-born Lhevinne was one of the greatest pianists of the Golden Age of piano, celebrated for his astounding technique, style and ease of playing. Married to pianist/teacher Rosina Lhevinne, the couple were famed teachers in New York City where they had their own music school and taught at Juilliard. In the words of Harold Schonberg: "His tone was like the morning stars singing together, his technique was flawless even if measured against the fingers of Hofmann and Rachmaninoff, and his musicianship was sensitive."
An important association copy of these gorgeous works. We do not know whether Lhevinne was ever approached about receiving a formal dedication of one of the pieces - Prokofiev originally had proposed a completely different group of pianists than the ones he ended up with - but in any event, he must have appreciated this inscribed set.
Prokofieff [Prokofiev], Serge. (1891-1953) [Lhevinne, Josef. (1874 - 1944)]. Six Pièces pour piano. INSCRIBED TO JOSEF LHEVINNE.. Berlin, Moscou etc.: Édition russe de musique. 1931. First edition. Complete set of the separately issued parts for each of the Opus 52 "Six Pièces pour piano," numbered 1-6 as Intermezzo, Rondo, Etude, Scherzino, Andante, and Scherzo. No price indications (indicating first issues), mostly disbound (the signature page in a protective plastic sheet), lacking outer wrappers for 2,3, and 5, all but one stamped "Hommage de L'Editeur" at the head of the title page, and the Intermezzo inscribed in blue ink at the top "To Josef Lhevinne / with kind regards. / Serge Prokofieff / 1932."
The first three of these pieces are drawn from Prokofiev's 1928 ballet The Prodigal Son, Op. 46, the fourth from The Songs Without Words, Op. 35 (1920), the next from the String Quartet No. 1, Op. 50 (1930), and the last from the Sinfonietta, Op. 5/48 (1909; rev. 1929). "He decided his publishers should send these pieces out to the leading pianists of the day...émigré interpreters in the West: his friend Alexander Borovsky, who was still championing him in Berlin, Artur Rubinstein, Nikolay Orlov and Vladimir Horowitz, who merited the most difficult numbers." (David Nice, "Prokofiev: From Russia to the West, 1891 - 1935," p. 290-291)
The Russian-born Lhevinne was one of the greatest pianists of the Golden Age of piano, celebrated for his astounding technique, style and ease of playing. Married to pianist/teacher Rosina Lhevinne, the couple were famed teachers in New York City where they had their own music school and taught at Juilliard. In the words of Harold Schonberg: "His tone was like the morning stars singing together, his technique was flawless even if measured against the fingers of Hofmann and Rachmaninoff, and his musicianship was sensitive."
An important association copy of these gorgeous works. We do not know whether Lhevinne was ever approached about receiving a formal dedication of one of the pieces - Prokofiev originally had proposed a completely different group of pianists than the ones he ended up with - but in any event, he must have appreciated this inscribed set.
The first three of these pieces are drawn from Prokofiev's 1928 ballet The Prodigal Son, Op. 46, the fourth from The Songs Without Words, Op. 35 (1920), the next from the String Quartet No. 1, Op. 50 (1930), and the last from the Sinfonietta, Op. 5/48 (1909; rev. 1929). "He decided his publishers should send these pieces out to the leading pianists of the day...émigré interpreters in the West: his friend Alexander Borovsky, who was still championing him in Berlin, Artur Rubinstein, Nikolay Orlov and Vladimir Horowitz, who merited the most difficult numbers." (David Nice, "Prokofiev: From Russia to the West, 1891 - 1935," p. 290-291)
The Russian-born Lhevinne was one of the greatest pianists of the Golden Age of piano, celebrated for his astounding technique, style and ease of playing. Married to pianist/teacher Rosina Lhevinne, the couple were famed teachers in New York City where they had their own music school and taught at Juilliard. In the words of Harold Schonberg: "His tone was like the morning stars singing together, his technique was flawless even if measured against the fingers of Hofmann and Rachmaninoff, and his musicianship was sensitive."
An important association copy of these gorgeous works. We do not know whether Lhevinne was ever approached about receiving a formal dedication of one of the pieces - Prokofiev originally had proposed a completely different group of pianists than the ones he ended up with - but in any event, he must have appreciated this inscribed set.