English Commentary by Sergio Cánovas

Prokofiev’s Symphony No.4 was composed between 1929-30, being largely based on material from the ballet «The Prodigal Son» (1928-9). The piece was coldly received at its premiere in Boston on November 14 of 1930, and the same reactions followed in Europe and the Soviet Union. Despite the poor reception, Prokofiev thought the material had great potential. In 1947, Prokofiev completed a thorough revision of the piece. It was premiered in a radio broadcast in London on March 11 of 1950, performed by the BBC Symphony Orchestra conducted by Sir Adrian Boult. In the Soviet Union it was premiered in Moscow on January 5 of 1957, performed by the USSR State Symphony Orchestra conducted by Gennady Rozhdestvensky

Compared with the rather modest ambition of the original version, the revised one is longer and its orchestration is expanded with an E-flat Clarinet, one extra trumpet, piano, triangle, tambourine, and wood blocks and harp. Its style also departs from the original dance-like neoclassical language towards socialist realism, that is, more grand, bombastic, and heroic, resembling his recent epic wartime Symphony No.5, which had enjoyed great favour in Soviet official circles. The material is mostly augmented, transitions are added throughout the piece and the development of the themes is more substantial.

Unfortunately for Prokofiev, the success he enjoyed during the war years was short-lived. As the patriotic fervour waned, tight governmental control of the arts returned with an iron fist. Four months later in 1948, a devastating and fierce anti-formalist campaign was launched against some of the then most prominent soviet composers like Shostakovich, Prokofiev, Kachaturian or Myaskovsky. Prokofiev’s career never truly recovered from such campaign; many of his works were banned and the new compositions, written to appease soviet authorities failed to relaunch his career. By August 1948, Prokofiev was in severe financial straits, his personal debt amounting to 180,000 rubles.

The first movement is written in sonata form, being the most modified and expanded in the revision. It begins with an andante introduction dominated by a warmly melodic theme on woodwinds. The main allegro then starts with a wilful and vigorous main theme on full orchestra. After a transition, a deeply lyrical second is introduced by flute over strings. The development starts with urgent and agitated fragments of the main theme, reaching a solemn climax with the return of the introduction material. The second one soon follows before the main one dominates it and leads us to an intense climax coronated with brass fanfares. The themes are then recapitulated, before a vigorous and determined coda closes the allegro.

The second movement is written as a slow rondo (A-B-C-B’-A’-D-A»-Coda), the material being augmented and its exposition more spread. It opens with a peaceful and contemplative main theme shared between woods and strings. Follows a more chromatic and menacing second theme in form of a march, soon contrasted by a lyrical and nocturnal third theme introduced by the clarinet. The second theme is then recapitulated in a varied way, followed by the main one in a radiant and hopeful way. The introduction material from the first movement then suddenly returns in an expressive climax. Then the main theme is recapitulated in the ensuing passionate climax, right before the andante ends with a serene coda.

The third movement is a scherzo in ternary form, revised with a new introduction, expanded coda and transition material. It begins with a brief introduction that presents the motives further developed later on. A sensuous, dance-like main theme is presented between woodwinds and strings. The trio section features a major-key variation of the material, with added layers of counterpoint. The original shape of the theme briefly appears before being subjected to new variations. A brief reminiscence of the main theme leads to a calm coda which ends the moderato with a final flute restatement.

The fourth movement is rather free in form, formally being the most altered of the work. It opens with a rhythmic introduction that, as in the previous moderato, introduces the main motives. Then the allegro follows with a two-part main theme; a fierce and agitated first part answered by a more melodic second one. The waltz-like second theme from the original version was removed, which Prokofiev substituted with a 6/8 processional in E-flat major. The original vigorous and modulatory development of the material then ensues, creating a disconnect as the second theme can still be heard present. There is no recapitulation section, instead the work ends with an extensive coda in which the original push and pull between C major and C minor is absent substituted by climatic reappearance of the introduction material from the first movement blaring out triumphantly. The piece ends on this jarring, incongruous note.

Picture: «Fantasy» (1925) by the Russian painter Kuzma Petrov-Vodkin.

Musical analysis partially written by myself. Sources: https://tinyurl.com/229uuxgc and https://tinyurl.com/23fronrc To check the score: https://tinyurl.com/2blj755v