View source for Overture on Hebrew Themes

{{Short description|Chamber work by Sergei Prokofiev}}
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[[Sergei Prokofiev]] wrote the '''Overture on Hebrew Themes''', Op. 34, in 1919 while he was in the United States. It is scored for the rare combination of [[clarinet]], [[string quartet]] and [[piano]]. Fifteen years later the composer prepared a version for chamber orchestra, his “Op. 34 bis” or Op. 34a, retaining a separate part for piano but featuring solo cello as much as solo clarinet.{{Citation needed lead|date=July 2020}}

Until recently the chamber orchestra version had been the better known, being easily programmable by orchestras, while the original version (for six instruments) requires out-of-the-way planning on the part of a string quartet.{{Contradict-inline|date=July 2020|reason=the body of the article says the opposite, and is supported by a reliable source}} But two recordings have drawn attention to the original: [[Michel Portal]] clarinet, [[Parrenin Quartet]], [[Michel Béroff]] piano (1974); and [[Giora Feidman]] clarinet, [[Juilliard String Quartet]], [[Yefim Bronfman]] piano (1994).{{Full citation needed|date=July 2020}}

==Background==
Prokofiev arrived in New York in September 1918. Early in 1919, he was commissioned by a Russian sextet called the [[Zimro Ensemble]], which had just arrived in America from the Far East on a world tour sponsored by the Russian Zionist Organization. The members played the instruments in this work's instrumentation, and were led by their clarinetist [[Simeon Bellison]], who was trained in Moscow and had been principal clarinettist of the [[Mariinsky Theatre]] from 1915. (Bellison would soon become principal clarinet with the [[New York Philharmonic|New York Philharmonic Symphony Orchestra]].) They gave Prokofiev a notebook of Jewish folksongs, though the melodies Prokofiev chose have never been traced to any authentic sources. It has been suggested that Bellison had actually composed them himself in the Jewish style {{harv|Nice|2003|loc=161}}. The other members of the ensemble were Jacob Mestechkin, first violin, G. Besrody, second violin, K. Moldavan, viola, [[Joseph Cherniavsky]], cello, and Leo Berdichevsky, piano {{harv|Levin|2006|loc=77}}, although one source names the second violinist as Michael Rosenker, who was 19 years old at the time {{harv|Heiles|2007|loc=286}}.

It received its premiere at the Bohemian Club in New York, on 2 February 1920, with Prokofiev as guest pianist. Before they disbanded in 1922, the Zimro Ensemble performed it again at least twice at Carnegie Hall—with their own pianist, Berdichevsky, in 1921, and possibly with guest pianist Lara Cherniavsky in December 1920 {{harv|Levin|2006|loc=84}}. Prokofiev regarded the work as conceived essentially for a sextet, and long resisted suggestions of arranging it for other forces. In September 1930, he remarked, "I don’t understand what sort of obtuse people could have found it necessary to reorchestrate it" but, nevertheless, he was persuaded to make a version for [[chamber orchestra]] in 1934, published as Op. 34a {{harv|Prokofiev|1998|loc=168}}. The orchestrated version is performed less often, because it lacks the earthiness and uncanny timbral balance of the original {{harv|Keller|2011|loc=367}}.

Prokofiev did not regard the work very highly. When a Scots critic, Andrew Fraser, published an article in 1929 describing the Overture as "a beautiful and pathetic work", the composer wrote in response, "its technique is conventional, its form is bad (4 + 4 + 4 + 4)". When his friend [[Nikolai Myaskovsky]] praised the second theme, Prokofiev retorted, with reference to the work's [[Coda (music)|coda]], "from the musical point of view, the only worthwhile part, if you please, is the final section, and that, I think, is probably the result of my sweetness and diatonicism" {{harv|Nice|2003|loc=163}}.

==Analysis==

Its structure follows the form of a fairly conventional [[sonata form]]. It is in the key of [[C minor]]. The [[clarinet]] and the [[cello]] are prominent, introducing the first and second themes respectively. However, all instruments are balanced well, and each instrument plays both themes, often in imitation. Zimro's pianist, Leo Berdichevsky, was a graduate of the Petrograd and Berlin conservatories {{harv|Levin|2006|loc=77}}.

The first theme, ''Un poco allegro'', has a jumpy and festive rhythm, unmistakably evoking ''[[klezmer]]'' music by alternating low and high registers and using "hairpin" dynamics. The second theme, ''[[Più mosso]]'', is a nostalgic [[cantabile]] theme introduced in the cello and then passed to the first violin {{harv|Nice|2003|loc=161}}.

==References==
* {{wikicite|ref={{harvid|Heiles|2007}}|reference=Heiles, Anne Mischakoff. 2007. ''America’s Concertmasters''. Detroit Monographs in Musicology 51. Harmonie Park Press. {{ISBN|9780899901398}}.}}
* {{wikicite|ref={{harvid|Keller|2011}}|reference=Keller, James M. 2011. ''Chamber Music: A Listener's Guide''. Oxford and New York: Oxford University Press}} {{ISBN|978-0-19-538253-2}}.
* {{wikicite|ref={{harvid|Levin|2006}}|reference=Levin, Neil W. 2006. "The Russians Are Coming!—The Russians Have Stayed! A Little Known Episode in the History of the New Jewish National Music School: The Tour of the Palestine Chamber Music Ensemble 'Zimro'". In ''Jèudische Kunstmusik im 20. Jahrhundert: Quellenlge, Entsehungsgeschichte, Stilanalysen'', edited by [[Jascha Nemtsov]], 73–90. Jüdische Musik 3. Wiesbaden: Otto Harrassowitz Verlag. {{ISBN|978-3-447-05293-1}}.}}
* {{wikicite|ref={{harvid|Nice|2003}}|reference=Nice, David. 2003. ''Prokofiev: From Russia to the West, 1891–1935''. New Haven and London: Yale University Press. {{ISBN|978-0-300-09914-0}}.}}
* {{wikicite|ref={{harvid|Prokofiev|1998}}|reference=Prokofiev, Sergei. 1998. ''Selected Letters of Sergei Prokofiev'', edited and translated by Harlow Loomis Robinson. Boston: Northeastern University Press. {{ISBN|9781555533472}}.}}

==Further reading==
* {{wikicite|ref={{harvid|Kravec|2006}}|reference=Kravec, Nelli Âkovlevna (Кравец, Нелли Яковлевна). 2006. Музыкальная деятельность камерного ансамбля 'Зимро' и Увертюра на еврейские темы С. Прокофьева [Musical Activities of the Chamber Ensemble Zimro and ''Uvertûra na evrejskie temy'' (Overture on Hebrew Themes) by Prokofiev]. In Из истории еврейской музыки в России. Выпуск 2: Материалы международной научной конференции 'Еврейская профессиональная музыка в России: Становление и развитие', Санкт-Петербург, 1–2 декабря 2003 года. [On the History of Jewish Music in Russia. II: Proceedings of the International Scientific Conference Jewish Professional Music in Russia: Its Formation and Development, St. Petersburg, 1–2 December 2003], edited by Galina Viktorovna Kopytova and Aleksandr Stanislavovič Frenkel', 265–82.  Russian Federation: Evrejskij Obŝinnyj Centr. (Еврейский Общинный Центр).}}

==External links==
*{{IMSLP2|work=Overture_on_Hebrew_Themes%2C_Op.34_%28Prokofiev%2C_Sergei%29|cname=Overture on Hebrew Themes}}
*{{cite web|url=http://www.hyperion-records.co.uk/notes/55032-B.pdf|title=Liner notes to Prokofiev: String Quartets, Hyperion CD CDH55032|last=Palmer|first=Christopher|year=1992|publisher=Hyperion Records}}
*{{cite web|url=http://www.fuguemasters.com/prokofiev.html#Hebrew_Themes|title=Program notes|last=Way|first=Joseph|year=1997|publisher=Sierra Chamber Society|url-status=dead|archiveurl=https://web.archive.org/web/20150924015909/http://www.fuguemasters.com/prokofiev.html#Hebrew_Themes|archivedate=2015-09-24}}
*[https://www.youtube.com/watch?v=aBaXeAHuVTg Video - Prokofiev Overture on Hebrew Themes - Complete (10:28).]
{{Sergei Prokofiev}}
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[[Category:Chamber music by Sergei Prokofiev]]
[[Category:20th-century classical music]]
[[Category:Concert overtures]]
[[Category:1919 compositions]]
[[Category:Compositions in C minor]]
[[Category:Compositions for piano sextet]]
[[Category:Compositions for clarinet]]