Sergei Prokofiev - Op.47 Symphony No.4 in C major, first version (1929-30) (Score, Analysis)

Четвертая симфония C-dur в 4 частях (1-я редакция)/Fourth Symphony in 4 Movements (1st Version)
Sergei Sergeyevich Prokofiev (Сергей Сергеевич Прокофьев/Sergey Sergeyevich Prokofiev) (1891-1953) was a Russian/Soviet composer, pianist, and conductor. His works range from piano sonatas to operas, and he is regarded as one of the most important composers of the 20th century.
Like the third symphony, the fourth symphony also draws from a stage work. This time, it is a ballet, The Prodigal Son (Op.46). The premiere of the ballet was very successful, but after Diaghilev’s death, it was dropped from the repertoire. Prokofiev recycled the music into many forms, including a suite and piano pieces. However, the largest out of the recycling was this symphony.
The symphony was commissioned by Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra. Prokofiev made clear that this is a symphony, not a ballet suite. There were many ideas that were composed anew, but the vast majority of the materials come from the ballet or sketches intended for the ballet.
To the composer’s disdain, the premiere on 14 November 1930 in Boston by Koussevitsky with the Boston Symphony Orchestra was not a success. The following performances were greeted with timid responses. However, Prokofiev never gave up faith in this work. He later stated that he adored this symphony for the absence of noisy effects and abundance of melodic materials.
In 1947, the composer made a completely new version of this symphony (Op.112), which is the version usually played right now. It is completely fine to see the two symphonies as completely different pieces that are based on the same theme. This original version is more classical, subtle, and elegant; the new version is grander and more dramatic. Each has its charm, and I would not give a judgment on which one is better.
It is scored for Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets (Bb and A), Bass Clarinet, 2 Bassoons, Contrabassoons, 4 Horns, 2 C Trumpets, 3 Trombones, Tuba, Timpani, Bass Drum, Snare Drum, Cymbals, Suspended Cymbal, and Strings.
(0:00) Mov.1 Andante - The first movement’s slow introduction is a newly composed melody.
(1:43) T1 (Taken from Scene 1, “The Dancers” (No.2)), a exciting and victorious theme.
(2:48) T2 (Scene 2, “The Despoling”). A stark contrast from T1, with a soft lyricism.
(3:45) Development, starting with a fugato-fanfare
(4:03) T1, mostly with changes in tonality and canonic texture
(4:22) T2?
(4:50) Recapitulation, T1
(5:23) T2
(6:20) Coda, T1
(6:50) Mov.2 Andante tranquillo - The second movement is based on “The Return” in the final scene, as well as “Awakening and Remorse” at the end of Scene 2.
(8:03) Different theme
(8:36) Transition
(9:30) B theme
(9:53) Initial theme
(10:26) Middle section. A bit mysterious.
(10:51) First movement’s introduction theme
(12:04) A theme (outer section)
(13:31) Mov.3 Moderato, quasi Allegretto - The third movement is almost completely borrowed from the “Seductress” episode from Scene 1.
(15:16) Trio
(15:50) Scherzo da capo
(16:54) Coda
(17:17) Final passage
(17:43) Mov.4 Allegro risoluto - The fourth movement draws on materials from “Departure” and “Meeting Friends” episode from Scene 1 (No.1, 2, 5, 9). The T1 is a combination of the rhythmic theme (from No.1 of ballet), and the lyrical theme (from No.2 of the ballet)
(18:28) Transition with modulation
(19:25) T2, newly composed for the symphony
(20:41) The development is taken from the ballet’s fifth number. However, the fragments of the first theme (as well as second theme) are inserted in places.
(22:34) Recapitulation, T2.
(23:22) Transition
(23:37) Coda, with a frequent push-and-pull between C major and minor, but in the end, the tonality is C major (this part is drawn from the ballet’s ninth number)
Source: English/Russian Wikipedia, original research, Preface from Boosey & Hawkes score
Recording by James Galfigan, Netherlands Radio Philharmonic Orchestra
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[@lightspeed174]

I have to agree that the first version of this symphony is much better. To me this is an outstanding recording. Let me tell you, I have enjoyed it immensely. All I know is, Prokofiev composed a lot of magnificent music. Especially Romeo & Juliet. I want to thank you so much for uploading this.

[@is0s]

I love this Symphony so much more in its first version: it has a beautiful spontaneity and naivety that, for me, the second one lacks.

[@ZewenShifu]

based Prokofiev