ature work by Sergey Prokofiev, a modern Russian composer born in 1891. A student of Russian composers, namely, Reinhold Glire (1875-1956) and Nikolay Rimsky-Korsakov (1844-1908), Prokofiev wrote many concertos and ballets. Some of these were considered too radical, and because so, were censored by the socialist government that he lived in. Prokofiev’s Symphony Number 6 in E-flat minor was the third and final work of the night. Prokofiev’s specific Symphony Number 6 in E-flat minor is concluded by many critics as a “wartime work.” This title describing the tension, turbulence and sorrow of World War II. In fact, Prokofiev even admitted to one of his biographers, “Now (1947) we are rejoicing in our great victory, but each of us has wounds that cannot be healed. One has lost those dear to him, another has lost his health. This must not be forgotten!”The beginning of Symphony Number 6 in E-flat minor started with a drum roll, and due to the excellent acoustical construction of the Seattle Opera House the sound was almost that of an distant airplane crossing the building. The definite feeling of clarity and individuality among the instruments was most prevalent during this time. The stringed instruments such as the violin, viola, and cello chiefly led this clarity and individuality. The beginning also led very quickly into the middle and the tone became very festive, fast, and almost dance-like. Very noticeable at this time were the wind-type instruments that were clear and definitive. The mood was very fast paced led by what I believe was either a clarinet or a flute. The ending of Prokofiev’s Symphony Number 6 in E-flat minor, and also which was ultimately the end of the performance, was very polar in volume and clarity. There were approximately three times where the music was started very softly and clear. The ending was then very increased in volume and played with a more variet...
