Prokofiev, who had been living in exile in America and Europe following the 1917 Russian Revolution, returned to his homeland under Soviet rule and, in 1935, brought his wife and children, who had remained in Paris, to join him. Music for Children—12 Easy Pieces dates from this period.

At that time, the Soviet Communist Party demanded that artists create clear and easily understandable works for the people under the banner of socialist realism, while simultaneously focusing on music education as a national policy. The creation of "artistically excellent works" for children was further encouraged. In this environment, where works deemed contrary to these directives faced severe criticism, Prokofiev compiled this collection as "music for children," presenting pieces with classical and easily accessible folk-like musical ideas, yet interspersing them with his characteristic musical elements. Today, it is not only used in music education but also widely performed in concerts and other settings.

<toggle>No. 1 "Morning"

As indicated by the tempo marking Andante tranquillo, the piece begins calmly and quietly. While the clear C major tonic chord is played p, the theme, played by eighth and sixteenth notes, resembles the chirping of birds echoing in the radiant morning sun. From the middle section (measures 8-23), a new melody is played by the left hand under expansive eighth notes. At measure 18, this beautiful melody shifts to the right hand, and the eighth-note movement is passed to the left hand. From measure 24, the opening theme is recapitulated, and the music concludes, maintaining the same atmosphere. Both in its musical character and title, this piece is fitting for the beginning of the collection.<toggle>

<toggle>No. 2 "Promenade"

Characterized by light footsteps played with triplets and quarter notes within a sprightly 3/4 meter. While the rhythm is sprightly, typical of an Allegretto, and the key is a clear C major, Prokofiev occasionally introduces non-harmonic tones using accidentals within the melody and bass line, adding changes in color with a modern sound. This piece presents a contrasting musical character to the leisurely first piece.<toggle>

<toggle>No. 3 "Historiette"

Throughout the piece, a distinctive rhythmic figure (two sixteenth notes + one eighth note) constantly resounds, albeit in varied forms, creating a somewhat nostalgic atmosphere. In the melody, chromatic movements like those in the second piece are rarely seen. Fully utilizing the melancholic A minor key, the sound of the chords struck in the interlude (measures 15-21) adds a new color to the music, as if depicting a fairy tale world.<toggle>

<toggle>No. 4 "Tarantelle"

As the title suggests, this is a dance-like piece developed to the rapid 6/8 "Tarantella" rhythm of Italian origin. Initially, a vibrant theme is repeated in D minor, but it modulates rapidly with the fast tempo. In the middle section (measures 39-48), despite a shift to a cheerful major key, the rapid eighth notes of the "Tarantella" continue in the left hand. The piece then moves to the recapitulation (measures 49-80), where the opening theme appears shifted forward by one weak beat, meaning one eighth note becomes an anacrusis, which can be said to add even more dynamism to the musical character. The recapitulation concludes firmly without major modulations, and the coda (from measure 81) ends with a majestic cadence.<toggle>

<toggle>No. 5 "Repentirs"

This piece, composed in D minor in 4/4 time at a Moderato tempo, also possesses a musical character true to its title. A leisurely yet somewhat sorrowful quarter-note theme is played alternately, as if in a dialogue. From measure 17, a melancholic chromatic melody is laid over a flowing eighth-note accompaniment.<toggle>

<toggle>No. 6 "Valse"

This piece begins with the left hand marking a cheerful Waltz rhythm at an Allegretto tempo. Over this accompaniment, a melody characterized by disjunct motion unfolds as if dancing in circles. From measure 25, a new rhythmic figure of double stops played in eighth notes resounds, creating a somewhat comical depiction. After this middle section, the Waltz accompaniment pattern reappears, and the piece concludes. While the "Waltz" is a traditional form derived from classical dance, the composer's individuality is revealed in the occasional addition of modern-sounding colors.<toggle>

<toggle>No. 7 "Cortege de sauterelles"

This duple-meter piece, beginning with a "tacca" rhythm, is not merely a "march" as the title suggests, but a march of "grasshoppers." The prominent melody with "tacca" and sixteenth notes expresses a somewhat lighthearted depiction, as if portraying a procession of grasshoppers. The constantly changing musical character within the same duple meter is likely a result of the detailed and narrative expression of the grasshoppers' movements. It is a small piece where various scene changes can be enjoyed within a compact musical framework.<toggle>

<toggle>No. 8 "La pluie et l'arc-en-ciel"

Throughout this piece, from beginning to end, tone clusters (meaning "clusters of sound"; a technique of simultaneously playing densely packed notes) are scattered. This creates a unique sound not found in the previous pieces. At an Andante tempo, these mysterious sound clusters seem to represent raindrops or the faint glow of a rainbow. While the musical character is somewhat unstable, it never becomes dark, revealing Prokofiev's characteristic humor.<toggle>

<toggle>No. 9 "Attrape qui peut"

The footsteps of children running away from the "tagger" are depicted by "Vivo" (lively) eighth notes. The left-hand rhythm supporting these eighth notes, with its leaps, also resembles children bouncing around. The music is structured throughout without disruption to its rhythm or character, but the rapid modulations, similar to those in the fourth piece, <Tarantella>, give this piece a unique color.<toggle>

<toggle>No. 10 "Marche"

Although in the same duple meter as the seventh piece, <Cortege de sauterelles>, the "march" in this piece is marked by more stately quarter notes than in the seventh piece. It likely depicts the footsteps of children imitating soldiers, rather than small grasshoppers. The occasional grace notes appearing in the right hand from the beginning also seem to express the children's joyful demeanor.<toggle>

<toggle>No. 11 "Soir"

Titled <Soir> (Evening), this piece serves as a counterpart to the first piece, <Matin> (Morning), and its lyrical character is quite similar to that of the first piece. However, noting that the instruction "teneroso" (tenderly) follows Andante, differing from the "Andante tranquillo" of the first piece, one can discern that <Soir> is composed with somewhat softer-sounding harmonies compared to the distinct C major of the first piece.<toggle>

<toggle>No. 12 "Sur les pres la lune se promene"

Regarding this piece, which serves as the finale of the collection, Prokofiev himself recounted in his autobiography the memory of "often watching the moon rise over the fields and meadows of Polenovo from my composing hut." Within the bright key of D major, an atmosphere of slight reluctance to part occasionally emerges. The right and left hands play in unison, but the low D note appearing in the left hand from measure 61 resonates like the sound of a bell announcing the evening hour. As if gradually fading away with such bell sounds, the music concludes quietly.<toggle>