Prokofiev wrote a fairly large number of transcriptions for piano based on various orchestral works. He extracted nineteen such pieces from Cinderella (1940-44), distributing them among three sets, and also reworked sections from War and Peace, The Love for Three Oranges and other dramatic and occasional music. He completedRomeo and Juliet in 1936 and arranged ten pieces for piano from the score the following year. When Prokofiev transcribed, he usually did so in a fairly literal fashion, though he typically reordered numbers and often imported music from one section into another.

The first piece here, Folk Dance, is No. 22 in the ballet and bears the same name. It is the leadoff dance in the Second Act, serving as a kind of overture. The music is bright and rhythmic, depicting a festive atmosphere and the hustle and bustle of the people. A more optimistic beginning to this collection of what is ultimately dark, tragic music would be hard to imagine. Scene is the next piece, and corresponds to No. 3 in the ballet, The Street Awakens. The music here is happy and lively, though not rushed. The ensuing piece, Minuet: Arrival of the Guests, contains music from the similarly-named No. 11 in the ballet. The piano version is shorter and reduces the pomp and festive atmosphere of the ball to a more small-scale celebration.

Some of the most delicate and subtle writing is to be found in the next piece Juliet the young girl, which is a transcription of the like-named No. 10 in the First Act. The music is sprightly and innocent, but contains the thematic seeds of conflict, as is later shown in the Montagues and Capulets. Preceding that piece, however, is Masques (No. 12 in the ballet), a delightful and joyous piece, full of dissonant chords in its spiky rhythm. The music sounds much more pungent in the piano version, the left hand almost seeming to sabotage the gaiety in the right, but to good effect.

The aforementioned Montagues and Capulets, the sixth piece here (No. 13 in the ballet) contains probably the most famous music in Romeo and Juliet. Its melody is warlike and angry, profound yet catchy. Ironically, this march-like dance is related to the playful, chaste music of Juliet. The next piece, Friar Laurence (No. 28, Romeo at Friar Laurence's) is warm and has an air of religiosity about it. Some musicologists claim to hear pompous, almost mocking music in this section. Theirs is a hard interpretation to reconcile to the otherwise mesmerized ear.

Mercutio, the eighth item in the set and carrying the same title in the ballet (No. 15), is a mixture of anxiety, playfulness and sarcasm. In the piano version Prokofiev wisely eliminates certain sostenuto string chords near the beginning. Dance of the maidens with lilies, similarly-named in the ballet (No. 49), is ominous and exotic, full of mystery both in the orchestral and piano versions. This is a masterpiece of mood and color.

The last piece is Romeo and Juliet before parting, which corresponds to No. 38, Romeo and Juliet, and without doubt contains some of the most beautiful and passionate music in the ballet. This is the only piece that features the famous love theme, as well as other important motifs and melodies. It is also the longest of the ten selections, lasting seven minutes or more in performance, while the entire set typically runs a little over a half-hour.

Prokofiev published this collection in 1938 and it is now among his most popular piano compositions.



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