Complete Symphonies
Symphony No. 1 in D major, Op. 25 Classical (1917) [13:22]
Symphony No. 2 in D minor, Op. 40 (1924) [32:55]
Symphony No. 3 in C minor, Op. 44 (1928) [32:40]
Symphony No. 4 in C major, Op. 112 (1930, rev. 1947 version) [38:25]
Symphony No. 5 in B flat major, Op. 100 (1945) [41:23]
Symphony No. 6 in E flat minor, Op. 111 (1947) [38:53]
Symphony No. 7 in C sharp minor, Op.131 (1952) [31:05]
Moscow Radio Symphony Orchestra/Gennady Rozhdestvensky
rec. 1965/67 Moscow, USSR
MELODIYA MEL CD 10 011797 [3 CDs: 78:58 + 80:06 + 70:04]
Melodiya, formerly the major state owned record label of the Soviet Union,
is celebrating its fiftieth anniversary year. Here Melodiya has reached
into its massive archive and re-issued its 1965/67 analogue set of the
Prokofiev symphonies.
Of the major twentieth-century composers Prokofiev doesn’t receive
the attention he deserves for his symphonies. Herbert von Karajan, so
prolific in the recording studio, only recorded the Classical
Symphony and the Symphony No. 5. Sir Simon Rattle too
has only released a recording of the Symphony No. 5 and that
was with the CBSO over twenty years ago in 1992. In retrospect I had not
given the Prokofiev symphonies sufficient attention until my eyes were
opened by attending a stunning Berlin concert of the Symphony No.
3 by the visiting London Philharmonic Orchestra under Vladimir Jurowski
at the Philharmonie in 2010.
The Ukrainian-born Prokofiev wrote seven symphonies which span the years
1916/1952 and inhabit a recognisably individual sound-world. Prokofiev
tended to write music as an emotional response to the challenges created
by significant world events. It has been said that his symphonies mirror
the turbulent history of the twentieth century.
Melodiya has managed to fit this Rozhdestvensky set of the Prokofiev symphonies
onto only three discs and placed them in order of composition. The Symphony
No. 1 in D major, Op. 25 was written in 1917 with Prokofiev adopting
a neo-classical style in the manner of Haydn and Mozart. Now universally
known as the Classical Symphony it received its premièred
in 1918 just a few months before Prokofiev emigrated from Russia to America.
A much loved work I should think it is played more than all the other
six symphonies put together. This is polished playing from the Moscow
RSO under Rozhdestvensky that mainly feels vivacious with a youthful zest.
Only a curiously leaden feel to the opening movement spoils the overall
effect.
Composed in 1924 whilst living in Paris the two movement Symphony No.
2 was Prokofiev’s response to a Parisian audience looking to his
progressivism as a composer. This symphony that Prokofiev designed to
be “made of iron and steel” is given a lucid and
compelling reading - brash and robust in the first movement and suitably
engaging in the second movement, a theme and variations.
Prokofiev’s dramatic Symphony No. 3 was first heard under
Pierre Monteux in 1929 in Paris. There is extensive reuse of material
from his opera The Fiery Angel. The writing may be deficient
in overall coherence but the committed Rozhdestvensky doesn’t shirk
from the challenges and delivers a well-judged performance. The opening
Moderato evokes a nocturnal winter scene that sends an icy chill
down the spine and the final movement advances powerfully forward like
an unstoppable war machine.
In 1936 Prokofiev had moved back to the Soviet Union. In 1947 he set about
completing the Symphony No. 4 in C major, Op. 112. This is an
extensive revision of the Symphony No. 4, Op. 47 written almost twenty
years earlier. In the C major score Prokofiev recycles material from his
ballet The Prodigal Son. Rozhdestvensky’s Moscow players
revel in the wide-ranging moods with resilient, sure-footed playing. The
opening movement is memorable for its energetic, brightly lit playing
and the Andante tranquillo just overflows with passion.
Although its gestation period was whilst the Second World War was at its
fiercest Prokofiev completed his Symphony No. 5 in just one month
in 1945. Something of a connoisseur choice, this is a work that a number
of eminent conductors have championed. Focused and exercising a firm grip
Rozhdestvensky excels in this marvellous score with its sheer physical
excitement. I especially admire the passionate and colourful opening movement
with its cinematic air. In the passionate Adagio how expertly Rozhdestvensky
tightens and loosens the intensity of the densely textured writing.
The Symphony No. 6 completed in 1947 is undoubtedly the composer’s
reaction to the war years and to his own failing health. Falling foul
of the Soviet anti-formalism policies the work was denounced by the authorities.
Proving a faithful interpreter Rozhdestvensky supplies plenty of rhythmic
clarity. I love the way the stern central Largo grinds its way
menacingly forward and the raucous final Vivace has a surfeit
of potent energy.
A triumph at its 1952 première in Moscow the Symphony No. 7
was the last of his works he would hear; he died some five months later.
In indomitable form Rozhdestvensky captures that special Russian colouration
infused in the writing. The opening movement is evocative of a swirling
fantasy world with darkly mysterious low strings providing underpinning.
A favourite movement is the songful Andante espressivo which
is rich in romance and can easily be heard to evoke the innocent love
of a fairy-tale Princess.
There are a number of fine sets of the Prokofiev symphonies and those
most likely to be encountered are from: LSO/Gergiev, Berliner Philharmoniker/Ozawa,
Orchestra National of Paris/Rostropovich, Gürzenich-Orchester Köln/Kitajenko,
LSO/Weller and Royal Scottish National Orchestra/Neeme Järvi. Overall
this re-issued Melodiya set from Moscow Radio Symphony Orchestra under
Rozhdestvensky is hard to beat. Recorded nearly fifty years ago in Moscow
the satisfactory sound quality is clear and decently balanced. Although
there are a few rough edges the playing makes a striking impact and there
is satisfying consistency of performance.
Michael Cookson
Masterwork Index: Prokofiev
symphonies
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