Uploaded December 2025 | Updated September 2026, 2 weeks ago
Philadelphia Orchestra conducted by Riccardo Muti.
I - Allegro (𝅘𝅥 = 100) : 0:00
II - Larghetto (𝅘𝅥 = 54): 4:09
III - Gavotta. Non troppo allegro (𝅘𝅥 = 144) - Poco meno: 8:06
IV - Finale. Molto vivace (𝅗𝅥 = 152): 9:54
Prokofiev's Symphony No.1 was composed between 1916-7, written during a countryside holiday while the February revolution was taking place. It was premiered in Petrograd on April 18 of 1918, performed by the former Court Orchestra conducted by Prokofiev. The work was a triumphal success, soon becoming a repertoire staple up to this very day. The composer was largely ambivalent towards the piece later on, considering it as an "isolated experiment".
The symphony is a neoclassical pastiche, which is rather surprising if one considers Prokofiev had made a name of being an enfant terrible, shocking his composition teaches with the raucousness and dissonance of his music. It is possible it was inspired by his conducting studies at the Saint Petersburg Conservatory, where composer Nikolai Tcherepnin taught his students about conducting Haydn, among other composers. Regardless, the symphony overtly imitates the music of Mozart and Haydn, but with traces of Prokofiev's own particular style.
Not only that, but it is modestly scored for the standard classical orchestra, as well as following the traditional four-movement structure with sonata and ternary form in its foundation. "It seemed to me that if Haydn had lived in our day he would have retained his own style while accepting something of the new at the same time". He also added "I christened it the Classical Symphony first, because it sounded much more simple, and second, out of pure mischief 'to tease the geese' in secret hope that eventually the symphony would become a classic."
The first movement is structured in the classical sonata form. It begins with a Mannheim Rocket, after which a cheerful and rhythmic main theme in D major is presented. The quick digression to C major already shows us Prokofiev is not going to strictly adhere to the classical style. A transition leads to the charming and dance-like second theme in A major, leading to a climax that closes the exposition. The development then begins with fragments of the main material, before a more forceful and determined transformation of the second theme that breaks the classical poise. The recapitulations then starts with the same Mannheim Rocket of the opening, beginning in C major before modulating to the "correct" key of D major. The allegro then vigorously ends with the Mannheim Rocket.
The second movement is written in ternary form. It opens with a stately, minuet-like triple metre rhythm before upper strings introduce an elegant and melodic main theme in A major, soon shared with woodwinds. The central section is a variation of the material on pizzicato strings and bassoon, before more instruments are added and a rapid ascent (reminiscent of the Mannheim rocket) leads to the movement's climax. A transition then leads to the recapitulation of the main material but in a different key, soon in counterpoint with the variation. The coda recalls the larghetto very opening, before ending with quiet and stately chords.
The third movement is a gavotte in ternary form. It is a duple-metre dance (2/2 or 4/4 time) of French folk origin, broadly used between the Renaissance and Classical eras. It begins with a rhythmic and stately main theme in D major, characterized by its octave leaps. The central section (or trio) introduces a quieter melody in form of a musette, sustained by a drone-like accompaniment. An abbreviated version of the main material is recapitulated by the flute, before the gavotte ends in a rather sudden way. This movement would be reused (with some changes) in the Scene 2, no.18 of the 1935 ballet "Romeo and Juliet".
The fourth movement is also structured in sonata form. It begins with a galloping and vivacious main theme in D major. The second theme in A major is playful and restless in nature, characterized by a whirlwind ostinato figure on flute. This entire exposition is then repeated, a featured commonly found in classical symphonies. After a series of firm cadential chords, the development is quite brief, focusing on the interplay between the material, of which the second theme is most prominent. It seamlessly connects into the recapitulation, with the second theme being substantially expanded. A high-spirited coda ends the symphony with a brilliant gesture.
Picture: "Harlequin" (1917) by Spanish painter Pablo Picasso.
Sources: tinyurl.com/28s2gqb8 and tinyurl.com/2cjyuk6b
To check the score: tinyurl.com/29qbxarg
Philadelphia Orchestra conducted by Riccardo Muti.
I - Allegro (𝅘𝅥 = 100) : 0:00
II - Larghetto (𝅘𝅥 = 54): 4:09
III - Gavotta. Non troppo allegro (𝅘𝅥 = 144) - Poco meno: 8:06
IV - Finale. Molto vivace (𝅗𝅥 = 152): 9:54
Prokofiev's Symphony No.1 was composed between 1916-7, written during a countryside holiday while the February revolution was taking place. It was premiered in Petrograd on April 18 of 1918, performed by the former Court Orchestra conducted by Prokofiev. The work was a triumphal success, soon becoming a repertoire staple up to this very day. The composer was largely ambivalent towards the piece later on, considering it as an "isolated experiment".
The symphony is a neoclassical pastiche, which is rather surprising if one considers Prokofiev had made a name of being an enfant terrible, shocking his composition teaches with the raucousness and dissonance of his music. It is possible it was inspired by his conducting studies at the Saint Petersburg Conservatory, where composer Nikolai Tcherepnin taught his students about conducting Haydn, among other composers. Regardless, the symphony overtly imitates the music of Mozart and Haydn, but with traces of Prokofiev's own particular style.
Not only that, but it is modestly scored for the standard classical orchestra, as well as following the traditional four-movement structure with sonata and ternary form in its foundation. "It seemed to me that if Haydn had lived in our day he would have retained his own style while accepting something of the new at the same time". He also added "I christened it the Classical Symphony first, because it sounded much more simple, and second, out of pure mischief 'to tease the geese' in secret hope that eventually the symphony would become a classic."
The first movement is structured in the classical sonata form. It begins with a Mannheim Rocket, after which a cheerful and rhythmic main theme in D major is presented. The quick digression to C major already shows us Prokofiev is not going to strictly adhere to the classical style. A transition leads to the charming and dance-like second theme in A major, leading to a climax that closes the exposition. The development then begins with fragments of the main material, before a more forceful and determined transformation of the second theme that breaks the classical poise. The recapitulations then starts with the same Mannheim Rocket of the opening, beginning in C major before modulating to the "correct" key of D major. The allegro then vigorously ends with the Mannheim Rocket.
The second movement is written in ternary form. It opens with a stately, minuet-like triple metre rhythm before upper strings introduce an elegant and melodic main theme in A major, soon shared with woodwinds. The central section is a variation of the material on pizzicato strings and bassoon, before more instruments are added and a rapid ascent (reminiscent of the Mannheim rocket) leads to the movement's climax. A transition then leads to the recapitulation of the main material but in a different key, soon in counterpoint with the variation. The coda recalls the larghetto very opening, before ending with quiet and stately chords.
The third movement is a gavotte in ternary form. It is a duple-metre dance (2/2 or 4/4 time) of French folk origin, broadly used between the Renaissance and Classical eras. It begins with a rhythmic and stately main theme in D major, characterized by its octave leaps. The central section (or trio) introduces a quieter melody in form of a musette, sustained by a drone-like accompaniment. An abbreviated version of the main material is recapitulated by the flute, before the gavotte ends in a rather sudden way. This movement would be reused (with some changes) in the Scene 2, no.18 of the 1935 ballet "Romeo and Juliet".
The fourth movement is also structured in sonata form. It begins with a galloping and vivacious main theme in D major. The second theme in A major is playful and restless in nature, characterized by a whirlwind ostinato figure on flute. This entire exposition is then repeated, a featured commonly found in classical symphonies. After a series of firm cadential chords, the development is quite brief, focusing on the interplay between the material, of which the second theme is most prominent. It seamlessly connects into the recapitulation, with the second theme being substantially expanded. A high-spirited coda ends the symphony with a brilliant gesture.
Picture: "Harlequin" (1917) by Spanish painter Pablo Picasso.
Sources: tinyurl.com/28s2gqb8 and tinyurl.com/2cjyuk6b
To check the score: tinyurl.com/29qbxarg
