The Montagues and the Capulets (From Romeo & Juliet Suite N0. 2, OP. 64c

The Montagues and the Capulets is part of Sergei Prokofiev’s Romeo & Juliet Suite No. 2 op. 64c, originally scored for ballet before it was reworked into the suite form we know today. This modern-era work was completed in 1936 and was Prokofiev’s first Russian ballet. Unfortunately, it did not premiere in Russia, but rather in Brno, Czechoslovakia, in 1938. The Communist government was not happy with Prokofiev’s happy ending, and it was not until 1940 that the ballet had its first Russian premiere, and eventually ended up being a success.

This work is one of three symphonic suites derived from the ballet, with ten more pieces based on this transcribed for piano. The suite shares the same name as William Shakespeare’s famous tragedy Romeo & Juliet, from which the suite was inspired. This particular movement is in E minor. It opens with clangorous, dissonant chords spanning an extreme dynamic range (from ppp to fff). It represents the history of the long-standing rivalry between the two families. The first section (Section A), consists of the violins stating a brusque, angular melody that outlines an E minor arpeggio, marked pesante, conveying a feeling of arrogance, hubris, and snobbishness. As the theme develops, it cycles through A minor, then F minor, showcasing Prokofiev’s abrupt use of chromatic modulations, ending with an assertive cadence. Section B unfolds with a much more serene mood in contrast to the preceding section, and consists of flutes playing a statement based on the opening theme. Violins accompany the flutes on some of the restatements. The orchestra gradually comes together as clarinets, harps, and celesta are added. This section overall is intended to highlight Juliet’s youthful innocence and portrays the image of Juliet going with Paris to the Capulet ball. It has an elegant and refined character. When Section A returns, the saxophone opens with the same jocular theme that the violins played the first time and punctuates the piece with the final authentic cadence. This piece demonstrates Prokofiev’s masterful use of compositional devices and is a prime example of why he is regarded as the “bad boy” of Russian music.