SPRKFV: THE APPROVAL OF THE NATIONAL MONOSTYLE
Russian composer Sergei Prokofiev, a contemporary of three revolutions and the Civil war, two world wars and the Great Terror, lived three lives in his short life: in the Silver age - the Russian cultural Renaissance; in emigration - the world of The Russian Abroad; in the Stalin’s Soviet Union. And in each of the three irreconcilable paradigms of Russian culture, Prokofiev was “a stranger among us”: in first life, “a fear of nihilism” and “a revolutionary in music”; second is “a thorny flower of the Proletcult” and “an Apostle of Bolshevism”; in the third - adept bourgeois modernism and formalism, “anti-people’s” composer. But there was something indomitable and strong-willed about Prokofiev that was not subject to any pressure or threats - an authorial and at the same time national monostyle, recognizable and unique, which appealed to the continuous development of Russian culture as its foundation. Russian culture’s all-unity seemed to the composer to ensure the reconciliation of “red” and “white”, Soviet culture and The Russian abroad, Russia and Europe, the avant-garde and classical heritage. Prokofiev’s cultural utopia was defeated, but his great music summed up each of the three epochs: the composer anticipated the revolution; foresaw the war; and anticipated the end of the Stalin’s era that came with his death.