Symphony No. 3 (Prokofiev)
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Sergei Prokofiev wrote his Symphony No. 3 in C minor (Op. 44) in 1928.
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[edit] Background
The music derives from Prokofiev's opera The Fiery Angel. This opera had been accepted for performance in the 1927-28 season at the Berlin State Opera by Bruno Walter, but this production never materialised; in fact, the opera was never staged in Prokofiev's lifetime. Prokofiev, who had been working on the opera for years, was reluctant to let the music languish unperformed, and after hearing a concert performance of its second act given by Serge Koussevitzky in June 1928, he adapted parts of the opera to make his third symphony (shortly afterwards, he drew on his ballet The Prodigal Son for his Symphony No. 4 in similar fashion).
The symphony occupies a middle ground among Prokofiev's seven symphonies in terms of popularity, not as well-known as the Symphony No. 1 (Classical), but not so neglected as the Symphony No. 2 or the first version of the Symphony No. 4.
[edit] Analysis
Though the music of the symphony is based on that of the opera, the material is developed symphonically; the symphony is therefore absolute rather than programmatic.
The first movement, in traditional sonata form, opens with clashing chords played by the whole orchestra, along with tolling bells, setting a mood of threat and unrest. An impassioned first theme enters on strings, while a melancholy second theme on bassoons and lower strings provides contrast, before the movement enters into the climactic development section. The movement ends with the first theme integrated with the opening chords, now played much softer, as if only the shadow of what was before remains. The second movement is a meditative andante, displaying Prokofiev's talent for creating fragile, gossamer textures. The third movement serves as a scherzo and trio. The scherzo is best remembered for its hysterical, spine-chilling string textures (the strings are divided into 13 parts), while the trio offers a calmer repose from the preceding nervousness. The grim finale gradually picks up pace, eventually rounding up this supernatural-themed symphony with heavy blows from the brass.
[edit] Movements
The symphony is in four movements, lasting around 30-35 minutes.
- Moderato
- Andante
- Allegro agitato - Allegretto
- Andante mosso - Allegro moderato
[edit] Instrumentation
The work is scored for the followings:
Woodwind
Brass
- 4 French Horns
- 3 Trumpets
- 3 Trombones
- Tuba
Percussion
Strings
- 1st and 2nd Violin
- Violas
- Cellos
- Double Basses
- 2 Harps
[edit] Premiere
Paris, 17th May 1929, Orchestre Symphonique de Paris, conducted by Pierre Monteux.
[edit] Recordings
| Orchestra | Conductor | Record Company | Year of Recording | Format |
|---|---|---|---|---|
| Scottish National Orchestra | Neeme Järvi | Chandos Records | 1986 | CD |
| London Symphony Orchestra | Valery Gergiev | Philips | 2004 | CD |
| Boston Symphony Orchestra | Erich Leinsdorf | RCA Records | 1967 | LP |
| London Symphony Orchestra | Walter Weller | Decca | ? | CD |
| Orchestre National de France | Mstislav Rostropovich | Erato | 1988 | CD |
| National Symphony Orchestra of Ukraine | Theodore Kuchar | Naxos Records | CD | |
| Philadelphia Orchestra | Riccardo Muti | Philips | 1991 | CD |
| London Symphony Orchestra | Claudio Abbado | Decca | 1969 | CD/LP |
| National Orchestra of the O.R.T.F. | Jean Martinon | Vox Records | CD | |
| Czech Philharmonic Orchestra | Zdenek Kosler | Supraphon | CD | |
| Berlin Philharmonic Orchestra | Seiji Ozawa | Deutsche Grammophon | CD | |
| USSR Ministry of Culture State Symphony Orchestra | Gennadi Rozhdestvensky | CD/LP |
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