In spite of the political and social turmoil in Russia in 1917, Sergei Prokofiev experienced one of the most prolific years of his career. In addition to his First Violin Concerto, which drew from a Concertino written in 1915, he composed several major works, including the Classical Symphony and his Third Piano Concerto. Prokofiev soon made his first of seven trips to the United States, obtaining a passport through a clever bribe. However, the premiere of the Violin Concerto, originally set for 1917, was delayed until 1923, by which time the political landscape had changed and Prokofiev had relocated to Paris.

The premiere, however, was met with mixed reviews. Many in the avant-garde Parisian audience found its lyrical sweetness outdated, especially following the modern premiere of Stravinsky’s Octet on the same evening. Despite the criticism, violinist Joseph Szigeti was captivated by the concerto and began touring with it throughout Europe, praising its blend of “fairy-tale naivete and daring savagery.” Other notable figures at the premiere included Artur Rubinstein, Picasso, and ballerina Anna Pavlova. 

The concerto consists of three movements, structured as slow-fast-slow (instead of the typical fast-slow-fast format). The wistful first movement, likened to a Russian fairy tale, features two major themes: the first, marked sognando (dreaming), and the second, narrante (narrating). The movement showcases Prokofiev’s ability to create intimate and tender melodies, with the first theme stemming from his 1915 love affair with Nina Mescherskaya. This theme enters quietly, gaining passion as it travels across registers, and culminates in a serene conclusion without a cadenza, redolent of a fairy-like atmosphere.

The second movement, a scherzo, provides a lively contrast with its virtuosic display and playful humor. Featuring sul ponticello passages and pizzicati, it exhibits a tightly knit interaction between the soloist and orchestra. The final movement returns to the serene tone of the first, beginning with a bouncing bassoon theme that builds anticipation for the solo violin's entrance. As the movement progresses, the intensity increases, highlighted by dazzling passages that soar into the high registers. The concerto concludes wistfully, with the soloist echoing the opening theme, now adorned with trills, bringing the work to an ethereal finish.