A professor once told me, “A good composition tells a story: it has a beginning, an end, and a middle section that takes you on a journey. And when you are finished listening to it, you feel like you’ve been somewhere and learned from your experience.” I have come to realize that he was right, and that the compositions I enjoy the most are those that take me to distant places—places where my mind’s eye can see and experience all the emotions and ideas that a composer can communicate so vividly, using only the concept of harmony and a palette of orchestral instruments.

Composer Sergei Prokofiev did just that with Peter and the Wolf, which he wrote in 1936 as a commission for the Central Children’s Theatre in Moscow. The main purpose of this commission was to present children with a lighthearted piece that would introduce them to the instruments and sounds of the orchestra. Peter is represented by the string section. What Prokofiev composed in less than two weeks turned out to be a combination of an engaging children’s tale and a masterful orchestral accompaniment that musically accentuates and shares the story’s narrative. As a result, the piece has become immensely popular among children and adults alike, and no doubt, tells a story in more ways than one.

It goes something like this: Peter, a young boy, lives in the Russian countryside with his grandfather. Their property has a pond that lies at the edge of a forest. One day, Peter ventures out to the pond, accidentally leaving the garden gate open. Shortly thereafter, a duck wanders in to take a swim and soon gets into an argument with a nearby bird. While the birds bicker, a cat sneaks up through the grass and tries to pounce, but a warning shout from Peter causes the bird to fly up into a tree and out of harm’s way. Peter’s grandfather arrives and ushers Peter back inside the gate, warning him of the possible dangers of wolves from the adjacent forest.

No sooner does he say this, than a wolf appears and swallows the duck whole! Turning his attention to the bird and cat that are now in the tree, the wolf paces menacingly underneath, plotting his attack. Peter saves the day by climbing over a wall and into the tree, and while the bird distracts the wolf, Peter lassoes him with a rope. Hunters in hot pursuit of the wolf suddenly emerge from the forest and fire at him, but Peter stops them. The tale ends with a processional to the zoo, and the muffled quack of the duck, still alive inside the wolf’s stomach.

More Than Music
The amazing thing about this piece is not the story itself, but how well Prokofiev’s specific instrumentation and musical harmonies reflect and portray the imagery of these events. One can’t help but “see” the story unfold while listening to the music. The mood, imagery, and nature of each event are realized through the tone of the music. In addition, the characters are each represented by specific instruments within the orchestra, which helps personalize and identify the cast musically: Peter—strings; Bird—flute; Duck—oboe; Cat—clarinet; Grandfather—bassoon; Wolf —three French horns; and Hunters—timpani and bass drum.

Prokofiev has not only given us a great piece of music, but also a setting, image, mood, atmosphere, and experience, all without the use of a visual aid.

That is a true demonstration of the art of composition.