Uploaded December 2025 | Updated September 2026, 2 weeks ago
Scottish National Orchestra conducted by Neeme Järvi.
I - Andante assai (𝅘𝅥 = 60) - Allegro eroico - Più traquillo (𝅘𝅥. = 69) - Allegro, come prima - Più tranquillo - Tempo primo: 0:00
II - Andante tranquillo (𝅘𝅥 = 52) - Meno mosso - Larghetto: 6:30
III - Moderato, quasi allegretto (𝅘𝅥 = 108) - Meno mosso (𝅘𝅥 = 96) - Tempo primo - Andante (𝅘𝅥 = 69) - Poco più mosso (Moderato) - Andante assai: 12:25
IV - Allegro risoluto - Meno allegro - Moderato (𝅘𝅥 = 96) - Più mosso - Poco meno mosso (Moderato) - Allegro risoluto, come prima - Coda (senza accelerare) - Poco più mosso: 16:39
Prokofiev's Symphony No.4 was composed between 1929-30, being requested by Serge Koussevitzky to celebrate the fiftieth anniversary of the Boston Symphony Orchestra in 1930. As with the previous symphony, Prokofiev based the work on the material of a previous piece, in this case the ballet "The Prodigal Son" (1928-9). It was premiered on November 14 of 1930, performed by the Boston Symphony Orchestra conducted by Serge Koussevitzky. The work was coldly received, and the same reaction in the ensuing performances in Europe and the Soviet Union. Some critics even accused Prokofiev of running out of ideas.
Unlike the abrasive modernism of the second symphony and the fierce expressionism of the third, the fourth symphony is much less noisy and dissonant, aiming towards concision, lyricism and melodic phrases. Prokofiev would in 1947 revise the original score (Op.47) to the point of creating a whole new symphony (Op.112), wholly reshaped to fit into the aesthetic of socialist realism, as demanded by the authorities of the Soviet Union. Both versions are nearly unrecognizable when compared, despite being based on the same material.
"The Prodigal Son" was based on the biblical parable in St Luke’s gospel, but without the character of the envious elder son and with an alluring woman, the Beautiful Maiden, newly introduced as a further element in the Prodigal’s downfall. The scenario in three scenes and ten episodes stresses psychological development and human relationships, and the prodigal’s wanderings and involvement with the "Siren". The story clearly mirrored Prokofiev's own wanderings from his native mother Russia and his recent experience of fatherhood.
The first movement is written in sonata form, derived from the ballet’s Scene 1, No.4 "The Dancers", and Scene 2, No.7 "The Despoiling". It begins with an andante introduction dominated by a warmly melodic theme on woodwinds. The main allegro then starts with a wilful and vigorous main theme on full orchestra, which is soon contrasted by a lyrical second theme introduced by the flute over strings. Follows a brief but tumultuous development of the material, culminating in a forceful climax. The themes are then recapitulated in a varied manner, before the movement ends with a boisterous coda.
The second movement is written as a rondo (A-B-C-B'-A'-A''-Coda), being based on the last scene "The Return", and from Scene 2, No. 8 "Awakening and Remorse". It opens with a peaceful and contemplative main theme shared between woods and strings. Follows a more chromatic and menacing second theme, followed by a nocturnal third. The second theme is then recapitulated in a varied way, followed by the main one in a radiant climax. The main theme is restated again with slight changes, before the andante ends with a serene coda.
The third movement is a scherzo in ternary form, taken virtually unchanged from the "Siren" episode in Scene 1 of the ballet. It begins with a sensuous, dance-like main theme presented between woodwinds and strings. The trio section features a major-key variation of the material, with added layers of counterpoint. The original shape of the theme briefly appears before being subjected to new variations. A brief reminiscence of the main theme leads to a calm coda which ends the moderato.
The fourth movement is written in a modified sonata form, based on music from several episodes from Scene 1 of the ballet. It opens with a two-part theme; a fierce and agitated first part answered by a more melodic second one. The second theme is lyrical and contemplative, presented by the clarinet and soon taken by the strings, in turn leading to a broad climax. Follows a development on fragments of the material while constantly modulating, ending with a diminished-seventh fanfare. The recapitulation of the themes is inverted, beginning with the second before the main one. The vigorous and boisterous coda consists of a push and pull between C major and C minor, with the major key finally winning.
Picture: Photograph of a 2021 New York production of Prokofiev's "The Prodigal Son".
Musical analysis partially written by myself. Sources: tinyurl.com/229uuxgc and tinyurl.com/23fronrc
To check the score: tinyurl.com/2blj755v
Scottish National Orchestra conducted by Neeme Järvi.
I - Andante assai (𝅘𝅥 = 60) - Allegro eroico - Più traquillo (𝅘𝅥. = 69) - Allegro, come prima - Più tranquillo - Tempo primo: 0:00
II - Andante tranquillo (𝅘𝅥 = 52) - Meno mosso - Larghetto: 6:30
III - Moderato, quasi allegretto (𝅘𝅥 = 108) - Meno mosso (𝅘𝅥 = 96) - Tempo primo - Andante (𝅘𝅥 = 69) - Poco più mosso (Moderato) - Andante assai: 12:25
IV - Allegro risoluto - Meno allegro - Moderato (𝅘𝅥 = 96) - Più mosso - Poco meno mosso (Moderato) - Allegro risoluto, come prima - Coda (senza accelerare) - Poco più mosso: 16:39
Prokofiev's Symphony No.4 was composed between 1929-30, being requested by Serge Koussevitzky to celebrate the fiftieth anniversary of the Boston Symphony Orchestra in 1930. As with the previous symphony, Prokofiev based the work on the material of a previous piece, in this case the ballet "The Prodigal Son" (1928-9). It was premiered on November 14 of 1930, performed by the Boston Symphony Orchestra conducted by Serge Koussevitzky. The work was coldly received, and the same reaction in the ensuing performances in Europe and the Soviet Union. Some critics even accused Prokofiev of running out of ideas.
Unlike the abrasive modernism of the second symphony and the fierce expressionism of the third, the fourth symphony is much less noisy and dissonant, aiming towards concision, lyricism and melodic phrases. Prokofiev would in 1947 revise the original score (Op.47) to the point of creating a whole new symphony (Op.112), wholly reshaped to fit into the aesthetic of socialist realism, as demanded by the authorities of the Soviet Union. Both versions are nearly unrecognizable when compared, despite being based on the same material.
"The Prodigal Son" was based on the biblical parable in St Luke’s gospel, but without the character of the envious elder son and with an alluring woman, the Beautiful Maiden, newly introduced as a further element in the Prodigal’s downfall. The scenario in three scenes and ten episodes stresses psychological development and human relationships, and the prodigal’s wanderings and involvement with the "Siren". The story clearly mirrored Prokofiev's own wanderings from his native mother Russia and his recent experience of fatherhood.
The first movement is written in sonata form, derived from the ballet’s Scene 1, No.4 "The Dancers", and Scene 2, No.7 "The Despoiling". It begins with an andante introduction dominated by a warmly melodic theme on woodwinds. The main allegro then starts with a wilful and vigorous main theme on full orchestra, which is soon contrasted by a lyrical second theme introduced by the flute over strings. Follows a brief but tumultuous development of the material, culminating in a forceful climax. The themes are then recapitulated in a varied manner, before the movement ends with a boisterous coda.
The second movement is written as a rondo (A-B-C-B'-A'-A''-Coda), being based on the last scene "The Return", and from Scene 2, No. 8 "Awakening and Remorse". It opens with a peaceful and contemplative main theme shared between woods and strings. Follows a more chromatic and menacing second theme, followed by a nocturnal third. The second theme is then recapitulated in a varied way, followed by the main one in a radiant climax. The main theme is restated again with slight changes, before the andante ends with a serene coda.
The third movement is a scherzo in ternary form, taken virtually unchanged from the "Siren" episode in Scene 1 of the ballet. It begins with a sensuous, dance-like main theme presented between woodwinds and strings. The trio section features a major-key variation of the material, with added layers of counterpoint. The original shape of the theme briefly appears before being subjected to new variations. A brief reminiscence of the main theme leads to a calm coda which ends the moderato.
The fourth movement is written in a modified sonata form, based on music from several episodes from Scene 1 of the ballet. It opens with a two-part theme; a fierce and agitated first part answered by a more melodic second one. The second theme is lyrical and contemplative, presented by the clarinet and soon taken by the strings, in turn leading to a broad climax. Follows a development on fragments of the material while constantly modulating, ending with a diminished-seventh fanfare. The recapitulation of the themes is inverted, beginning with the second before the main one. The vigorous and boisterous coda consists of a push and pull between C major and C minor, with the major key finally winning.
Picture: Photograph of a 2021 New York production of Prokofiev's "The Prodigal Son".
Musical analysis partially written by myself. Sources: tinyurl.com/229uuxgc and tinyurl.com/23fronrc
To check the score: tinyurl.com/2blj755v
