Prokofiev in Eretz Israel: An Unknown Premiere

My paper will present an intriguing story about the premiere of Sergei Prokofiev's Russian Overture in Eretz Israel in 1938 under Eugene Szenkar's conducting. I found this information in the composer's notebook, which was kept in Prokofiev's collection in RGALI (Russian State Archive of Literature and Art). The 17-minute piece is not among Prokofiev's most popular works; nevertheless, it attracted the attention of such prominent conductors as Segey Koussevitsky, Leo Ginzburg, Alexander Gauk and even Arturo Toscannini. This work was included into the season-opening concert held in Eretz Israel in 1938. Why did it happen? What was the precise date (or dates) of the concert (or concerts)? What compelled a world-class conductor like Szenkar, at the very peak of his celebrity, to come to Eretz Israel? What was the public's response to a piece by a little-known "modernist" composer? What did the Palestine orchestra look like at that time? Why did the composer call it "Russian"?

The leading newspapers - Haaretz, Haboker, Parestine Post and the Palestine labor publication Davar had already printed full-size advertisements of the upcoming concert with the program, including Prokofiev, Weinberger, Tchaikovsky and Wagner works. Subsequently, Prokofiev's name would appear regularly on the repertoire of Israel Philharmonic Orchestra in the future, but for now it remained unknown to local audience. For Szenkar it was a great honor to come before a new audience with a piece by a Russian famous composer. The orchestra was very uneven in quality at that time. Highly skilled professionals shared the stage with a less experienced musicians. The serious financial problems forced musicians to leave the orchestra, taking better-paying work in cafes and restaurants.

My presentation deals with a private interview with a former first flutist, Uri Teplitz, who took part in this premiere. This concert program became the subject of a heated debate in press. The paper will discuss the reviews that have been published in the leading newspapers in Eretz Israel. The anti-Semitic demonstrations in Germany that led to Kristallnacht had a crucial impact on the musical life in general and on this concert, in particular.

The score with Senkar's remarks in red pencil is kept in IPO archive in Tel-Aviv. No one has ever used it since then. The Russian Overture has not been performed in Israel since 1938. Next year we'll celebrate the 80th anniversary of this remarkable concert.