English Commentary by Sergio Cánovas

Prokofiev’s Symphony No.5 was conceived on 1943 during the composer’s stay in Alma-Ata (the largest city in Kazakhstan), relocated alongside other composers like Myaskovsky, Shostakovich or Khachaturian. He composed the work during his stay in summer of 1944 at the Composers’ House in Ivanovo, while the war was still raging but the tide had turned in the Allies’ favor. It was premiered at the Moscow Conservatory on January 13 of 1945, performed by the USSR State Symphony Orchestra conducted by the composer. There is a well-known story that during the first performance with the composer conducting, celebratory artillery salutes could be heard marking the Red Army’s invasion of Germany.

The symphony became a great success, being awarded a Stalin prize on 1946. Soon it was performed in the United States and in the freed Europe. To this day, it remains one of Prokofiev’s most popular works. Prokofiev himself described the piece as: «a hymn to free and happy Man, to his mighty powers, his pure and noble spirit. 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.» In later interviews, the composer revealed that most of the material actually originated from previous years, going as far back as 1933. Although the symphony lacks a programme per se, it is undeniably a depiction of war and victory.

Unfortunately for Prokofiev, the success was short-lived, as son after the composer fell and injured his head, restricting subsequent activities. Although he continued to compose, it was the last time he would conduct an orchestral premiere of his own music. More chillingly, the patriotic fervour of the war did not last, and governmental control returned with an iron fist. In 1948, Prokofiev’s music was severely condemned by the Soviet Composer’s Union and a number of his compositions were specifically banned, making him a persona non grata in the Moscow concert hall. In a final stroke of unkind fate, the long-suffering composer died on the same day in 1953 as Stalin. Unlike his colleagues with whom he had spent the summer of 1944 in retreat, he would never experience the loosening of artistic restrictions that followed the dictator’s death.

The first movement is structured in sonata form. It begins with a broad and lyrical main theme in B-flat major, introduced by flute and bassoon before passing onto full orchestra as it rises in an epic and solemn way. After a more agitated transition, a melodic and expressive second theme is presented by flute and oboe over strings, culminating in a grand climax. This exposition ends with a rhythmic figure that plays a key role in the ensuing development, which starts with the main theme on low strings. The music becomes more frantic and dramatic as the material is transformed, reaching an intense and passionate climax. It directly leads into the varied recapitulation of the themes. The substantial coda is a slower and heavier version of the main theme, closing the andante with tremendous force after a brief lyrical interruption.

The second movement is a scherzo in ternary form. It opens with a rhythmic and lively main theme in D minor, presented in the form of a bellicose toccata full of syncopated rhythms. A more melodic passage offers contrast before returning to the opening driving and motoric textures. The central trio section is largely derived from material of Prokofiev’s ballet «Cinderella» (also premiered on 1945). It features a playful and dance-like second theme in D major, shared between strings and woodwinds. The music reaches an unbridled and dionysiac climax, a sharp contrast from the previous tension. The scherzo then continues with a slow march that gradually accelerates, with the main theme returning with an increasing sense of menace. The allegro marcato then ends after a dissonant crescendo.

The third movement is written as a sonata-rondo (A-B-A’-C-A»-B»-Coda). It begins with ascending arpeggio string figures, followed by a lyrical and expressive main theme in F major, presented by the wood and taken from Prokofiev’s music for the unrealized 1936 score «The Queen of Spades». It unfolds in tortured way as the melody is twisted, leading to an ominous second theme in form of a march, emerging from the depths of the orchestra and reaching a dramatic climax. The main theme is then briefly recapitulated. The central section takes and develops fragments of the material in an increasingly tragic way, building towards a climax full of dissonance, sorrow and violence. The themes are then recapitulated in a varied and shortened way. The music becomes more lyrical and cantabile, before the adagio ends with a variation of the opening arpeggios.

The fourth movement is structured as a rondo (A-B-A’-C-A»-B»-Coda). It opens with a lyrical and nostalgic introduction, with cellos recalling the main theme of the first movement. The allegro proper then begins with a rhythmic and lively main theme in B-flat major, shared between strings and woodwinds. The first contrasting episode is delicate and dance-like, like a slow waltz introduced by the flute. The main theme is briefly recapitulated, the second contrasting episode features a variation of the slow introductory material, unfolding in counterpoint until reaching a vigorous climax. The main theme is then recapitulated, soon followed by the second. The coda is based on the main theme, growing ever wilder with slashing percussion punctuation, culminating in a propulsive and thrillingly grotesque end.

Picture: Photograph of the Soviet War Memorial in Treptower Park (1946-9), Germany.

Musical analysis partially written by myself. Sources: https://tinyurl.com/273j27ja and https://tinyurl.com/24njfw6w To check the score: https://tinyurl.com/2agn87t6