The first of these transcriptions is from Prokofiev's opera War and Peace, Op. 91, and the other two from his little-known score for the film, Lermontov, based on the life of the nineteenth century Russian poet, Mikhail Lermontov (1814 - 1841). By the time he wrote these pieces, Prokofiev had already completed what could be described as the first version of War and Peace, a work he tinkered with from 1941 to 1952, owing to pressures to get it politically correct to satisfy the ridiculously backward tastes of Stalin and his obsequious cultural ministers.

The "Waltz" from War and Peace is taken from the fourth scene of the opera. There are two main themes, the second actually having roots in Prokofiev's 1936 score for Eugene Onegin, which was never used because production of the play was ultimately canceled. This waltz ranges from the festive and playful manner of the main theme to the mysterious and dark character of the Onegin waltz.

Fine as the first piece is, the next two, light though they are, are even better. The "Contredanse" from Lermontov is quite simply one of the finest piano transcriptions Prokofiev ever made. For one thing, it is superior to the original orchestral version, presenting just as wide an array of color in its brilliant writing and imparting even more high spirits and mischief. There are three themes, the last of which is manic and brilliant, what many will recognize as a typically witty Prokofiev concoction, with driving rhythms and a sense of playful urgency. The "Mephisto Waltz" from Lermontov presents a theme that seems to rapidly unravel as it scampers along the keyboard, finally to dance merrily. When the anxious opening idea is given again, it becomes distorted, almost clumsy, displaying subtle dark humor that perfectly conveys its harmless(?) diabolical elements. The middle section is subdued and soothing, and is followed by a return of the main thematic material to close out the piece.

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