Prokofiev was also a world-traveller, who held a unique place in history as the only composer of note to leave Russia and then return. Though his music was performed internationally even before his return to Russia at the eve of the Stalinist purges, he found his true voice only within the folds of his maternal country. Writing the music for the film Lt. Kije was a key moment of recognition for Prokofiev, who pined for a simple language that would allow him room for his expression, all the while accessible to the “masses”.

My transcription of the Lt. Kije Suite had its origins in my earliest years, when I was immersed as an infant in the recording that my parents played at home. I loved the piece, and that particular performance, which was on a reel-to-reel tape.

When I was in my late 20’s, in France, exploring connections with my roots while I was in a foreign land, I felt the need to hear that recording again. But my search for a re-issue on CD was in vain - none of the versions I found had the same sound, the same tempi, the same melodic phrasing. I began to flesh out what I heard in my mind on the piano, starting with the Romance. Over a period of 2 months, while on a summer retreat in the country in central France, I worked out the 4 movements that are now on my recordings. And over the years they have changed very little.

A few years later, after making the recording and performing the suite many times, I did an interview at Radio France. The host of the show had picked out an orchestral recording of the suite to play side by side with my piano transcription. When he put it on, I suddenly had that flash of recognition - it was “my” recording!

It was one of the classics - Fritz Reiner and the Chicago Symphony Orchestra, from the 60’s. It was a great experience to hear it again, this time with the added appreciation and attentiveness that my transcription had brought to me.

Interestingly, I had evolved with my own version to another place, sometimes quite different from the original performance. Tempi had changed, some slower, some faster. Phrasings had modified. But the essential color and feel were still there for me. Perhaps an outside listener would not be able to make that connection, but what I was looking to reproduce in order to satisfy my inner ear was all there!