The Cooperative Problems In Prokofiev’s "Overture On Hebrew Themes" Op.34

Prokofiev created a large number of works throughout his life.Among them,the world-famous and more frequently performed are his piano sonatas,orchestral sonatas,concertos,symphonies,ballets,etc.Most of the existing literature is also focused on Research on these works has achieved more comprehensive research results.Since Prokofiev’s chamber music is rare and his ensemble works are rare on the stage,the literature on Prokofiev’s chamber music works is less and less comprehensive.In recent years,people have begun to pay close attention to musicians and their works in the 20 th century.Overture on Hebrew Themes Op.34—the six-string concerto created by Prokofiev during his stay in the United States in the early 20 th century.Gradually entered everyone’s field of vision,but there is still no relevant literature on its composition techniques,performance techniques,and only brief historical background,introduction and so on.In view of this historical research status,this article proposes Overture on Hebrew Themes Op.34 as the research object,and mainly studies the cooperation issue of this work.This article is divided into three chapters.The first chapter introduces the background of Prokofiev’s life experience,his creative features,and Overture on Hebrew Themes Op.34.The second chapter analyzes the musical structure and tonal features of the works.In the third chapter,through the exposition of the basic structure and playing techniques of various musical instruments in Overture on Hebrew Themes Op.34,combined with the analysis of the musical structure in the previous chapter,the author focused on the cooperation issues in the performance of the work,from the timbre,Sound zones,phrases,rhythms,melody,and harmony textures are explored in combination with lead performances,accompaniments,rounds,and concerts.