Symphony No. 5 (Prokofiev)
Template:Short description Template:Multiple issues Template:Infobox musical composition Sergei Prokofiev wrote his Symphony No. 5 in B-flat major, Op. 100, in the Soviet Union Template:Citation needed span in the summer of 1944.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Background
From 1925 onward, Prokofiev’s status as a composer grew, with his 1942 Piano Sonata No. 7 receiving the Stalin Prize (Second Class). Prior to composing his Fifth Symphony, Prokofiev relocated to Moscow as a result of his increasing reliance on financial support from the Soviet Union and their threat of revoking their contributions.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The creation of the Fifth Symphony can be traced to musical ideas explored during the composition of Prokofiev's earlier work, particularly the Symphony No. 4 in C major composed fourteen years prior.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Prokofiev incorporated these musical motifs into a piano score over less than a month during his stay at The Composers' House in Ivanovo, under the background of the Soviet Union’s involvement in World War II.
He gave out in a statement at the time of the work's premiere that he intended it as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit."<ref>Schwarz, Music and Musical Life in Soviet Russia, p.196, cited in Preston Stedman, The Symphony, p.290</ref> He added, "I cannot say that I deliberately chose this theme. It was born in me and clamoured for expression. The music matured within me. It filled my soul."<ref> Template:Cite book</ref>
Movements
Template:External media The piece is in four movements, lasting 40–45 minutes:
- Andante (in B-flat major)
- Allegro marcato (in D minor)
- Adagio (in F major)
- Allegro giocoso (in B-flat major)<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
Movement I
The first movement is in a tightly argued sonata form: its exposition presents two themes, one calm and sustained, the other soaring with tremolo accompaniment from strings, which are then involved in an elaborate and climactic development section. The movement is wrapped up with an electrifying coda punctuated by a roaring tam-tam and low piano tremolos.Template:Citation needed
- 1st theme, mm. 1–7
- <score sound="1">
\relative c' { \clef treble \time 3/4 \key bes \major \tempo "Andante" 4 = 48 f4(\p^"Flute/Bassoon" g a8. f16 | c'8. bes16 f'4 bes | d,8. ees16 f4.) g8( | f ees d c bes c | ees4 d4.) bes8( | c[ ees d] bes'4 g8) | g8.( a16 f2~ | f4) }
</score>
- mm. 8–10
- <score sound="1">
\relative c' { \clef treble \time 3/4 \key bes \major \tempo 4 = 48 << { \times 2/3 {g'8(^"Clarinet"\p ees' d} c2) } \\ { s4 r8. <bes ges>16_"Horns" <bes ges>4-> } >> }
</score>
- mm. 29–30
- <score sound="1">
\relative c { \clef bass \time 4/4 \key bes \major \tempo 4 = 48 f,\mp bes8( d) cis\< g'4( a8)\! | bes( a) e-- a16-- g-- f8.\> d16 bes4\! }
</score>
- 2nd theme, mm. 54–64
- <score sound="1">
\relative c { \clef treble \time 4/4 \key bes \major \tempo "Poco più mosso" c2.(\p^"Flute/Oboe"_"dolce" bes8 a | c4) e( d cis | c8. bes16 a4~ a8) g( f e | \key c \major dis2) e4( fis | gis--) gis-- gis-- fis-- | a8.( cis16 b2 a4) | cis-- cis-- cis--( b8 a | gis fis fisis gis dis' cis fis,4~ | fis8.) g16\mp gis2(_"cresc." a4) | a8.--\mf_"cresc." ais16-- b2-- b8.( c16 | c,2.\f) }
</score>
- mm. 74–77
- <score sound="1">
\relative c { \clef treble \time 4/4 \key c \major \tempo "Tempo I" e'2~->(\ff e8. d16--) c8.( f16--) | c8. d16 c4~( c8. d16--) c8.( bes16--) | a8.->( bes16--) c8.->( des16--) d8.->( e16--) f8.->( g16--) | f8.->( g16) a4 f c }
</score>
- Closing theme, mm. 83–86
- <score sound="1">
\relative c { \clef treble \time 4/4 \key c \major r4 b'8.(\f_"animato" gis16) a( f') b,-. b-. b-. b-. b-- des-- | gis,( b) f-. a-. c,2.->~ | c4 r16 b'( aes des) a( f') b,-. b-. b( des) aes-. b-. | f( a) c,-. c-. c2._>~ | c4 }
</score>
Movement II
The second movement is an insistent scherzo in Prokofiev's typical toccata mode, framing a central theme in triple time.
- mm. 3–10
- <score sound="1">
\relative c { \clef treble \time 4/4 \key d \minor \tempo "Allegro marcato" 4 = 132 r8 bes(^"Clarinet"\mp a gis bes a d a | e' a,-- cis-- e-- a2->) | r8 a(\< aes g c4--) a--\! | f8.->(\f c16) c8-. c-. c-. c-. c-. c16^"Oboe/Viola"( d | b4-> bes16)[ r bes( c] a4->) aes-- | g8.->( c,16) c8-.\> c-. c-. c-. c-. c-.\! | \clef bass c(->\mf^"Cello"[ des)] bes(\>->[ c)] aes->([ bes)] g(-.[ aes->)\!] | f\mp-> }
</score>
- mm. 56–58
- <score sound="1">
\relative c { \clef treble \time 4/4 \key d \minor \tempo 4 = 132 bes\p->~(^"Violin (con sord.)" bes16 c bes a) d4->~( d16 c bes a) | gis4->~( gis16 c bes a) d( c bes a) d( c bes a) | bes( ees,) g g bes2.-> }
</score>
- mm. 112–115
- <score sound="1">
\relative c { \clef treble \time 4/4 \key d \major \tempo "Meno mosso" a'4->\f~(^"Oboe/Clarinet" a16 g fis e d4->~ d16 e f g | a8 d) gis,-- eis-- eis->~( \times 2/3 {eis16 fis g} fis4) | fis->~( fis16 e d cis c2~ | c4.)\> a8--\! d2->\mf }
</score>
- mm. 120–127
- <score sound="1">
\relative c' { \clef treble \time 3/4 \key d \major \tempo "Più mosso (un poco più animato ch'el tempo I)" 4 = 132 a2.->\p^"Clarinet/Viola"(~ | a8 b a fis g gis | a gis a4) d,-- | e4.-- g4( fis8 | a2.) | c2-- \times 2/3 {c8( b bes} | a2.->) }
</score>
- mm. 154–157
- <score sound="1">
{ \new PianoStaff << \new Staff \relative c { \clef treble \time 3/4 \key d \major \tempo 4 = 132 a'8(\p^"Piano" d16 fis a8) a a a | a( gis,) gis g g fis | \key c \major fis(\p f16 des aes8 f) f f | f( aes') aes f, f f' | f4 }
\new Staff \relative c' { \clef bass \key d \major \time 3/4 a,8( d16 fis a8) a a a | a( bes) bes b b c | \key c \major c( des16 aes f8 des8) des des | des( des') des des, des a' | f4 } >> }
</score>
Movement III
The third movement is a dreamy slow movement, full of nostalgia, which nevertheless builds up to a tortured climax before receding to a quiet end.
- mm. 4–8
- <score sound="1">
\relative c { \clef treble \time 3/4 \key f \major \tempo "Adagio" 4 = 60 f\p(_"espress." e) f8( e | d c d b c4~ | \time 4/4 c8] f([ a c] e a b, g' | \time 3/4 bes,4-- f'-- a,--~ | a8) }
</score>
- mm. 55–62
- <score sound="1">
\relative c { \clef bass \time 3/4 \key c \major \tempo 4 = 60 c,4.->\f ais8 c b | e c'( b) g' e( e') | d c16 a e'8 a,4 b16( g) | b4 \clef treble b'4. b8 | ais8.-> fis16 g8.-> e16 fis8.-> b16 | ais8.-> fis16 g8.-> e16 fis8.-> bis16 | cis8.->\dim gis16 a8.-> fis16 g8.-> e16 | fis4\mf }
</score>
- mm. 82–84
- <score sound="1">
\relative c { \clef treble \time 3/4 \key c \minor \tempo "a tempo" 4 = 60 \partial 8*2 g8.--\p fis16 | g4( c,) d\trill( | ees8.--) d16-- f4( ees) | g,8.( c16 f4) d-- | ees-- }
</score>
- "tortured climax" mm. 125–131
- <score sound="1">
{ \new PianoStaff <<
\new Staff \relative c' { \clef treble \time 3/4 \key fis \minor \tempo 4 = 60 <cis' fis, b,>8.-> <fis fis,>16 <eis a,>8.-> <cis a>16 <d bes>8.-> 16 | <cis fis, b,>8.-> <fis fis,>16 <eis a,>8.-> <cis a>16 <d bes>8.-> 16 | <cis fis, b,>8.-> <fis fis,>16 <eis a,>8.-> <cis a>16 <d bes>8.-> 16 | \time 9/8 \key a \minor c'8.->(\ff[ bes16)] aes64([ g f ees d c b aes)] g4-> fis8-> f4.-> | c8.->(\ff[ bes16)] aes64([ g f ees d c b aes)] g4-> fis8-> f4.-> }
\new Staff \relative c { \clef bass \time 3/4 \key fis \minor <fis, b,>8. 16 8. <d' bes f>16 <d bes f>8. <fis,, b,>16 | <fis b,>8. 16 8. <d' bes f>16 <d bes f>8. <fis,, b,>16 | <fis b,>8. 16 8. <d' bes f>16 <d bes f>8. <d, d,>16 | \time 9/8 \key a \minor << { aes'8 c d g, b <d fis,> f, bes d | aes8 c cis d b fis eis b' cis } \\ { aes,4. b cis | aes4. b cis } >> } >> }
</score>
Movement IV
The finale starts with a cello choir playing a slow introduction recalling the first theme of the first movement, which then launches into the movement proper, a rondo. The playful ("giocoso") main theme is contrasted with two calmer episodes, one introduced by the flute, the other a chorale in the strings. Just as the movement is striving to end with a victorious tone, the music degenerates into a frenzy (rehearsal mark 111), which is stripped down to a string quartet playing staccato "wrong notes" (rehearsal mark 113) with rude interjections from low trumpets, making the ultimate orchestral unison on B-flat sound all the more ironic.
- mm. 3–6
- <score sound="1">
\relative c { \clef treble \time 2/2 \key bes \major \tempo "Allegro giocoso" 2 = 72 \partial 4*1 f'(\p a, bes2~ bes8) cis( | d4 e, f bes) | bes,4.( ees8 b2 | c1) }
</score>
- Theme from first movement, mm. 15–22
- <score sound="1">
{ \new PianoStaff <<
\new Staff \relative c' { \clef treble \time 3/2 \key bes \major \tempo "Poco più tranquillo" 2 = 72 c2(\mf d) e4.( c8)-- << { \stemUp g'4.(\< f8--) c'2\! f\f | a,4.( bes8) c2.( d4--) | c\dim bes( a) g( f) g | bes2 a2.\p } \\ { \stemDown b,4.( c8--) e4.( f8) gis2 | f2.. e8( f2) | e4 d( cis) d( c) d | des2 c2. } >> f4 | g(\< bes) a\! f'2\mf\> d,4\! | d4.(\mp e8 c1\> | c1.\!\fermata\p }
\new Staff \relative c { \clef bass \time 3/2 \key bes \major << { <e c>2 <f b,> fis4.( e8--) | <d gis,>4.( <dis a>8) <gis b,>4.( <a c,>8) <bes d,>4.( 8) | c2.. gis8( a2) | aes4 ges( e) d( c) d | <ees ges,>4.( <e g,>8) <f a,>2. <a c,>4 | ( <des ges,>) <c e,> aes'2 f,4 | <f c,>4.( <g g,>8 <e c>2( <f d>) | g1.\fermata } \\ { c,,1 <bes' c,>2 | c,1. | d'4.( des8) c1~ | c2 cis4 g( aes) g | s1 c,2->~ | c1 b2 | c1 s2 | d'2( e1)\fermata } >> }
>> } </score>
- mm. 29–36
- <score sound="1">
\relative c { \clef treble \time 2/2 \key bes \major \tempo "Tempo I" 2 = 72 \partial 8*1 f8\p(^"Clarinet" bes,4.-- c8-- d4.-- a'8-- | bes2.--) a16( g f g | a4.) bes16( c bes4.) d,8 | d2..-> e16( fis | g4.-> fis16 e d cis b a g8)[ r16 ges-.] | ges8-> aes'2.-- ges,8( | f4.-- ees8-- f'4.--) c16( ees | d8) bes'2.-- }
</score>
- mm. 37–38
- <score sound="1">
\relative c { \clef treble \time 2/2 \key bes \major \tempo 2 = 72 \partial 8*1 d'16( f) | e,->[ e-. e-. e-.] e-.[ e-. f-. e-.] ees-.[ d-. des-. c-.] ces-.[ bes-. a-. cis-.] | aes,2.. }
</score>
- mm. 54–55
- <score sound="1">
\relative c { \clef treble \time 2/2 \key c \major \tempo 2 = 72 \partial 4*1 aes16( bes b g | c8) g'16 g g8-. c-. b-. fis-. fis-. g-. | dis-. dis-. dis-. e-. c4-> }
</score>
- mm. 83–90
- <score sound="1">
\relative c { \clef treble \time 2/2 \key f \major \tempo 2 = 72 \partial 2*1 f'4.(^"Flute"\p e8 | f4 a,2.) | f'4( c,2 a'4) | a2.( c4 | a8 g e g a2) | a4(^"Clarinet" e2) e8.( a16 | e4 c2) c8.( f16 | c8 d, g bes cis4. d8 | \times 2/3 {g a g} g2) }
</score>
- mm. 164–172
- <score sound="1">
\relative c { \clef bass \time 2/2 \key des \major \tempo 2 = 72 r4 f(\pp ees) aes, | des( ees) f2~ | f4 ges aes2 | f' ees4( c) | des f8-- des-- c4( aes) | bes2 f4( ges) | aes2 ees4( f) | ges bes8 ges f4( ges) | aes bes c2 }
</score>
Instrumentation
The work is scored for the following:
| Woodwind | Brass | Percussion | Keyboard
Strings
|
Premiere
The symphony was premiered on January 13, 1945, in the Great Hall of Moscow Conservatory by the USSR State Symphony Orchestra, conducted by Prokofiev himself.<ref name="ESO">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
As he took the stage, artillery fired. He paused until it finished. This left a great impression upon the audience, who upon leaving the Great Hall learned the gunfire marked the Red Army's crossing of the Vistula into Germany.<ref name="ESO"/> The premiere was very well-received, and the symphony has remained one of the composer's most popular works.Template:Citation needed
Then, in November of that year, Serge Koussevitzky and the Boston Symphony Orchestra introduced the score to America and recorded it in Boston's Symphony Hall on February 6 and 7, 1946, for RCA Victor, using an optical sound film process introduced by RCA in 1941; it was initially issued on 78-rpm discs and later on LP and CD. The symphony's rapid insertion into the repertoire was referenced by Dennis Dobson in his review of the 1951 Edinburgh Festival for Music Survey, where he panned the work as "noisy, uncouth" and a "falling off in maturity" from works such as Chout and the Piano Concerto No. 3 and went on to say, "that this work is well thought of and much played in both America and the Soviet Union speaks sociological and cultural volumes".<ref>Edinburgh Festival, 1951, Dennis Dobson. Music Survey, vol. IV, no. 2, February 1952, p. 425.</ref>
Notable recordings
References
External links
Template:Sergei Prokofiev Template:Portal bar Template:Authority control