Sergei Prokofiev’s “Peter and the Wolf” is more than just a piece of music; it’s a landmark composition that has resonated through generations. Even if this were Prokofiev’s only work, its impact would be substantial. Created in 1936, its primary goal was to introduce children to the different instruments of an orchestra and to demonstrate how music can tell a story. While the narrative itself, penned by Prokofiev, contains moments that aren’t entirely lighthearted – notably the wolf’s unfortunate consumption of a duck – the sheer inventiveness and captivating nature of the music make the experience ultimately uplifting. Even Suzie Templeton’s animated rendition of “Peter & the Wolf,” featured on GREAT PERFORMANCES, which delves into darker and moodier tones, ultimately finds a glimmer of hope, symbolized by moonlight. The brilliance of the score lies in its ingenious pairing of characters with specific instruments, enabling listeners of all ages to effortlessly visualize the unfolding scenes. The original, concise text effectively serves its purpose, but it’s conceivable that Prokofiev himself would have been captivated by Templeton’s expansive interpretation. Her version, rich in visual storytelling and action, eliminates spoken words entirely, while maintaining profound respect for the music.
The Genesis of a Symphonic Tale
In 1935, a prolific year for Prokofiev that also saw him composing his ballet masterpiece “Romeo and Juliet,” he also explored creating shorter pieces intended for children, a genre experiencing a surge in popularity. Serendipitously, during this period, Prokofiev attended performances at the Moscow Children’s Musical Theater with his children. The theater’s director extended an invitation for him to compose something specifically for their young audience, an offer Prokofiev readily accepted. As he noted in his diary, “In the spring of 1936, I started a symphonic tale for children titled ‘Peter and the Wolf,’ Op. 67, to a text of my own.” Initially, Prokofiev rejected a text provided by a poet recommended by the theater director, deeming it too cliché. He envisioned a piece where “Every character in the story had its own motif played each time by the same instrument.” Prior to each performance, the instruments were showcased to the children, and their respective themes were played. “During the performance, the children heard the themes repeated several times and learned to recognize the timbres of the different instruments. The text was read during the pauses in the music, which was disproportionately longer than the text — for me, the story was important only as a means of inducing the children to listen to the music.”
Prokofiev’s dedication to this educational concept is evident in his rapid work pace. He completed the composition in a mere week and orchestrated it in another. Demonstrating his commitment, he agreed to accept whatever fee the theater could afford, prioritizing the project’s accessibility over personal gain.
Unfolding the Narrative: Characters and Instruments
The storyline of “Peter and the Wolf” is elegantly simple. Peter, the protagonist, is represented by the strings, immediately setting a youthful and adventurous tone. As Peter explores his surroundings, we encounter a duck (oboe), characterized by the instrument’s somewhat comical and waddling sound, and a bird (flute), light and airy, reflecting the bird’s flight. A stealthy cat (clarinet) enters the scene, its reedy and agile melody hinting at its predatory nature as it attempts to pursue the bird.
Peter’s grandfather (bassoon), portrayed by the bassoon’s grumpy and low register, cautions Peter against venturing into areas where a wolf might appear, urging him to return home. From the safety of his home, Peter witnesses the arrival of the wolf (French horns), whose menacing and powerful sound immediately establishes its dangerous presence. The wolf, in a dramatic moment, swallows the duck whole and then menaces the bird and cat.
Driven by bravery, Peter devises a plan to capture the wolf. With the assistance of the bird and a rope, he successfully outsmarts the animal. Hunters (represented by the dramatic percussion of timpani and bass drum) arrive, intending to kill the wolf, but Peter, displaying compassion, persuades them to take the wolf to a zoo instead. The story concludes with a triumphant procession, during which the duck can still be heard quacking from inside the wolf’s belly, a humorous and slightly dark reminder of the wolf’s hasty meal.
More Than Just a Children’s Tale? Themes and Interpretations
As Harlow Robinson notes in his 1987 biography of Prokofiev, the narrative of “Peter and the Wolf” subtly imparts a valuable lesson. “If the story has a moral, it seems to be this: don’t be afraid to challenge established beliefs (Grandfather’s caution) or to take risks.” Peter’s courage, independence, and cleverness are central to his success. “It is Peter’s independence, shrewdness and courage that save the day; if he hadn’t disobeyed his grandfather by climbing over the wall, the wolf would never have been caught. Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders.”
However, it is equally valid to appreciate the piece purely as entertainment and a delightful introduction to orchestral music, devoid of any deeper, hidden meaning. Its accessibility and engaging nature ensure its appeal on multiple levels.
A Timeless Success: Reception and Enduring Legacy
The initial performance of “Peter and the Wolf,” featuring Prokofiev himself at the keyboard, was met with enthusiasm by the young audience at the Children’s Theater. However, a subsequent public performance a few days later was less successful. Despite this initial lukewarm reception, “Peter and the Wolf” quickly gained momentum. Within weeks, another performance in Moscow cemented its triumph, and soon, its charm extended far beyond Soviet Russia. Its universal appeal transcended geographical and demographic boundaries. Its educational value was immediately recognized, becoming a staple in concerts designed for young audiences.
Prokofiev’s ability to create such a masterpiece stems from his deep understanding of childhood. Robinson explains, “Long after his own idyllic childhood, he continued to love children for their unfettered imagination, sense of play and inability to dissimulate. That he never forgot what it meant to be a child, and how children think, is evident in the playful but never condescending music he wrote for them, most of all the phenomenally successful ‘Peter and the Wolf,’ written when Prokofiev was a boy of forty-five.”
Over the years, “Peter and the Wolf” has been performed by countless orchestras and conductors and narrated by a diverse array of prominent figures, including Sting, David Bowie, Patrick Stewart, and many others. Its popularity has also inspired numerous comedic interpretations, showcasing its versatility and enduring cultural relevance.
Suzie Templeton’s animated, wordless version offers a contemporary perspective, set in a seemingly unchanged, bleak Russia. Yet, within this somber setting, Peter’s inquisitive, sensitive, and brave spirit shines brightly, reaffirming the timeless power of Prokofiev’s creation. Whether one considers its subtle moral message, its pure entertainment value, or simply its ingenious way of teaching children about the orchestra, “Peter and the Wolf” remains a vital and beloved piece of music. While the performance duration typically ranges around 25-30 minutes, its impact and legacy are immeasurable, continuing to captivate audiences of all ages worldwide.
Referenced Source:
Prokofiev, Sergei. SOVIET DIARY 1927 AND OTHER WRITINGS. Trans. and ed. Oleg Prokofiev. Boston: Northeastern University Press, 1992.
Robinson, Harlow. SERGEI PROKOFIEV: A BIOGRAPHY. New York: Viking Penguin, 1987.
–Tim Smith
Tim Smith is the classical music critic of THE BALTIMORE SUN. He has also written for THE NEW YORK TIMES, OPERA NEWS, and BBC MUSIC MAGAZINE, among other publications. His writing has won several regional and national journalism awards, including a first place in arts criticism from the American Association of Sunday and Feature Editors. He is the author of THE NPR CURIOUS LISTENER’S GUIDE TO CLASSICAL MUSIC (Perigee Books).
