Sergei Prokofiev wrote his Symphony No. 5 in B major, Op. 100, in the Soviet Union in the summer of 1944.
Background
From 1925 onward, Prokofiev’s status as a composer grew, with his 1942 Piano Sonata No. 7 receiving the Stalin Prize (Second Class). Prior to composing his Fifth Symphony, Prokofiev relocated to Moscow as a result of his increasing reliance on financial support from the Soviet Union and their threat of revoking their contributions.
The creation of the Fifth Symphony can be traced to musical ideas explored during the composition of Prokofiev's earlier work, particularly the Symphony No. 4 in C major composed fourteen years prior. Prokofiev incorporated these musical motifs into a piano score over less than a month during his stay at The Composers' House in Ivanovo, under the background of the Soviet Union’s involvement in World War II.
He gave out in a statement at the time of the work's premiere that he intended it as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit." 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:
I. Andante
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 sound="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 sound="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 sound="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 sound="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 sound="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 sound="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>
II. Allegro marcato
The second movement is an insistent scherzo in Prokofiev's typical toccata mode, framing a central theme in triple time.
;mm. 3–10
:<score sound="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 sound="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 sound="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 sound="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 sound="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>
III. Adagio
The third movement is a dreamy slow movement, full of nostalgia, which nevertheless builds up to a tortured climax before receding to a quiet end.
;mm. 4–8
:<score sound="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 sound="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 sound="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 sound="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.-> <b cis, b>16 | <cis fis, b,>8.-> <fis fis,>16 <eis a,>8.-> <cis a>16 <d bes>8.-> <b cis, b>16 | <cis fis, b,>8.-> <fis fis,>16 <eis a,>8.-> <cis a>16 <d bes>8.-> <b fis b,>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. <b g>16 <b g>8. <d' bes f>16 <d bes f>8. <fis,, b,>16 | <fis b,>8. <b g>16 <b g>8. <d' bes f>16 <d bes f>8. <fis,, b,>16 | <fis b,>8. <b g>16 <b g>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>
IV. Allegro giocoso
The finale starts with a brief introduction consisting of a fragmented melody in the woodwinds, followed by a cello choir recalling the first theme of the first movement. This is interrupted by the violas, launching into the movement proper, a rondo. The playful ("giocoso") main theme is contrasted with two calmer episodes, one introduced by the flute, the other a chorale in the strings. Just as the movement is striving to end with a victorious tone, the music degenerates into a frenzy (rehearsal mark 111), which is stripped down to solo strings playing staccato "wrong notes" (rehearsal mark 113) with rude interjections from low trumpets, making the ultimate orchestral unison on B sound all the more ironic.
;mm. 3–6
:<score sound="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 sound="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.( <b ees,>8) | c2.. gis8( a2) | aes4 ges( e) d( c) d | <ees ges,>4.( <e g,>8) <f a,>2. <a c,>4 | <b des,>( <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 sound="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 sound="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 sound="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 sound="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 sound="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( ees) | aes bes c2 }
</score>
Instrumentation
The work is scored for the following:
Woodwinds
: Piccolo
: 2 Flutes
: 2 Oboes
: Cor anglais
: E clarinet
: 2 Clarinets
: Bass clarinet
: 2 Bassoons
: Contrabassoon
Brass
: 4 Horns
: 3 Trumpets
: 3 Trombones
: Tuba
Percussion
: Timpani
: Bass drum
: Snare drum
: Cymbals
: Triangle
: Tambourine
: Tam-tam
: Wood block
Keyboards
: Piano
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.
As he took the stage, artillery fired. He paused until it finished. This left a great impression upon the audience, who upon leaving the Great Hall learned the gunfire marked the Red Army's crossing of the Vistula into Germany.
Notable recordings
<!-- These entries require sourcing; not only for the fact that the recording exists, but that the recording is sufficiently noteworthy to be listed as a "notable recording". See discussion on talk page. -->
{|class="wikitable" width="800px"
!align="center"|Orchestra
!align="center"|Conductor
!align="center"|Record company
!align="center"|Year of recording
!align="center"|Format
|-
|align="center"|Philharmonic Symphony Orchestra of New York
|align="center"|Artur Rodziński
|align="center"|Columbia Records
|align="center"|1946
|align="center"|LP/CD
|-
|align="center"|Boston Symphony Orchestra
|align="center"|Sergei Koussevitzky
|align="center"|RCA, Dutton
|align="center"|1946
|align="center"|LP/CD
|-
|align="center"|Philadelphia Orchestra
|align="center"|Eugene Ormandy
|align="center"|Columbia
|align="center"|1958
|align="center"|LP
|-
|align="center"|Leningrad Philharmonic Orchestra
|align="center"|Evgeny Mravinsky
|align="center"|Russian Disc, Leningrad Masters
|align="center"|1968
|align="center"|CD
|-
|align="center"|Leningrad Philharmonic Orchestra
|align="center"|Gennadi Rozhdestvensky
|align="center"|BBC
|align="center"|1971
|align="center"|CD
|-
|align="center"|Orchestre National de France
|align="center"|Mstislav Rostropovich
|align="center"|Erato
|align="center"|1988
|align="center"|CD
|}