How did The Prodigal Son differ in style from Le Pas d’acier?

In the context of Sergey Prokofiev’s work, Le Pas d’acier (1927) and The Prodigal Son (1929) represent distinct stylistic approaches developed in collaboration with Diaghilev.1

Le Pas d’acier was characterized by a bold, innovative style that evoked images of Soviet Russia during the early 1920s, specifically highlighting industrialization and economic dislocation.1

In contrast, The Prodigal Son marked a shift toward emotional relaxation and a clarification of style. It featured a lofty biblical theme and music that was described as exquisitely lyrical. This transition toward a more lyrical and clarified aesthetic in The Prodigal Son was a trend that continued in several of Prokofiev's subsequent works from that period, including his String Quartet No. 1 in B Minor and the ballet On the Dnieper.1