Listening Guide: Prokofiev Symphony #5

Prokofiev said this about his 5th symphony: It is, "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 clamored for expression. The music matured within me. It filled my soul."
Music critics say: “Whether this comment represents his true intent or a statement for official
consumption we will never know.” And “His model was Shostakovich’s Symphony No.5, in
which traditional symphonic structure, broad dramatic themes and conservative harmonies – the
“Soviet reality” demanded by the authorities – still allowed for a strong personal expression.”
With these comments in mind, here is a listening guide to this huge, dramatic symphony.
First movement:
1. Track the emotional colors and rapid emotional shifts throughout this movement. Listen
to these three segments (using the video on our website page: “Preview the Upcoming
Concert.”)
a. The first minute (approx.). 5:03 – 6:25
b. Minute 7:34 – 8:34 (approx.)
c. Minute 8:39 – 9:02
• Do you hear a repeated pattern of emotional shifts in these segments?
• Would you say that the different emotions are in sympathy with each other or in
opposition? Would you agree that there is a lot of emotional tension in these segments?
• Given Prokofiev’s statement that this symphony is “a hymn to free and happy Man,”
which emotional color do you expect to triumph by the end of this movement?

2. Track the consonance and dissonance throughout this first movement. Consonance is
created by melody lines and chords that seem to go together comfortably —as in the first 30
seconds of this piece. Dissonance is created by melody lines and chords that seem to grate on
our ears, creating jarring and unresolved sounds and patterns, as in the next 30 seconds of
this piece.
• Listen to the last 5 min. of this movement (approx.), from 12:40 – 17:25 and track the
shifts between consonance and dissonance. In which mode does the movement end? Are
you surprised?
• How would you explain the consonance vs. dissonance pattern of this movement with
Prokofiev’s statement that this symphony is “a hymn to free and happy Man”?

3. Follow the instruments throughout this first movement.

• In the first 30 seconds of the movement, the flute, clarinets and oboe introduce the lovely
first melodic theme. They also introduce theme #2 (at 7:34, approx.) As the movement
unfolds, how often do they play these themes? Why are these instruments given this role,
do you think?
• Listen to the segment between 6:30 - 7:30 min. Listen especially to the lower
instruments and the percussion: the cellos, basses, tympani, cymbals, and snare drum.
Are they pushing the music upward or downward? Are they adding tension or
resolution? Consonance or dissonance? As the movement unfolds, how often do these
instruments add these elements? Why are these instruments given this role, do you think?
 • In these same passages, what sounds, patterns and emotions are given to the upper brass
and violins? Why are these instruments given these roles, do you think?

Second movement:
1. Before listening to this movement, imagine a movement that is in many ways very much
opposite the first movement. How would such a movement sound--its mood, its consonance
vs. dissonance—its rhythms and melodies? Now listen to this 2nd movement. Does it
capture many of the ‘opposite’ qualities you anticipated? What might Prokofiev have in with
such an opposite movement?
2. This movement is in three segments—A, B, A, with part B offering melodic contrast to the
other parts. When the orchestra returns to Part A does it have the same or different emotional
tones as the first part A? If you hear a change, in mood, does this shift make the movement
more or less in keeping with the symphony so far?

Third movement:
1. Anticipate: Before listening to this movement, imagine a movement that is in many ways
very much opposite the second movement. How would such a movement sound? Now listen
to this 3nd movement. Does it capture many of the ‘opposite’ qualities you anticipated?
What might Prokofiev have in mind with such an opposite third movement?
2. Trace the emotion: This is a long slow, almost funereal, movement in three parts: A, B, A.
Where is its emotional tone most intense, in parts A or in part B? Why would a composer
put the most intense portion of the music in the middle of a movement, do you think? What
effect does this have when the orchestra returns to part A?
3. Anticipate: Does the emotional structure of the 3rd movement help to set up the last
movement for you? Given the patterns we have traced so far among the movements, what
might we expect of the 4th movement? Where is this symphony going, for you?

Fourth movement:
1. Track the melodies: This movement starts with an echo of the melodies of the 1st
movement. It continues with these echoes and adds other melodies. How many melodies do
you hear? What are their emotional tones? Are they oppositional or more consonant?
2. Track the instruments: This movement is a “rondo” (of sorts), meaning an instrument or a
section will start a melody and then hand it off to another instrument or section. Are the
upper instruments carrying a ‘spirited’ musical line while the lower instruments and tympani
carry a more ominous line, as in the first movement, or not?
3. Track the emotional colorings and consonance vs. dissonance:
• As the movement unfolds do you find the same constant emotional tension as in the first
movement or not? The same amount of dissonance?
• The critics point out the mostly consonant tonal quality of the last movement. Would you
agree? Could this be the movement in which we hear Prokofiev’s “hymn to a free and
happy Man”? Does this movement resolve the dissonances of the first movement for
you?
• The critics point to a creeping dissonance in the last few minutes of this last movement.
Would you agree or not? What might this last minute return to dissonance mean in a
symphony that is a “hymn to free and happy Man”?