Symphony No. 5 (Prokofiev)
Lua error in package.lua at line 80: module 'strict' not found. Sergei Prokofiev wrote his Symphony No. 5 in B-flat major (Op. 100) in Soviet Russia in one month in the summer of 1944.
Contents
Background
Fourteen years had passed since Prokofiev's last symphony.
World War II was still raging during the symphony's gestation, and Prokofiev composed it in the Soviet Union. He gave out in a statement at the time that he intended it as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit."[1] 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."
Movements
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)
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.
1st theme - mm. 1 - 7 <score vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 back to dreaminess. mm. 4 - 8 <score vorbis="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 vorbis="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 vorbis="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 vorbis="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 containing elements from 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 played by the flute, the other a chorale on strings. At the end, just as the movement is striving to end in a victorious tone, the music unexpectedly degenerates into a manic frenzy (rehearsal mark 111), which is then interrupted by a string quartet playing staccato "wrong notes" (rehearsal mark 113) with rude interjections from low trumpets, making the ultimate B flat major chord sound all the more ironic.
mm. 3 - 6 <score vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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 vorbis="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
- Piccolo
- 2 Flutes
- 2 Oboes
- Cor Anglais
- E-flat Clarinet
- 2 Clarinets
- Bass Clarinet
- 2 Bassoons
- Contrabassoon
Brass
Percussion
Keyboard
Strings
- Harp
- Violins (1st and 2nd)
- Violas
- Cellos
- Double Basses
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. The premiere was very well received, and the symphony has remained one of the composer's most popular works. 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.
References
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- ↑ Schwarz, Music and Musical Life in Soviet Russia, p.196, cited in Preston Stedman, The Symphony, p.290
