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CD Review

Serge Prokofieff

Complete Symphonies

• Symphony #1 in D Major "Classical", Op. 25 (1917)
• Symphony #2 in D minor, Op. 40 (1925)
• Symphony #3 in C minor, Op. 44 (1928)
• Symphony #4 in C Major, Op. 112 (Second Version)
• Symphony #5, Op. 100 (1945)
• Symphony #6 in E Flat minor, Op. 111 (1947)
• Symphony #7 in C Sharp minor, Op. 131 (1953)

Moscow Radio Symphony Orchestra/Gennady Rozhdestvensky
Melodiya MELCD1001797 3CDs 229m

This set of Prokofiev symphonies was reissued on CD by Melodiya in 2011 but was apparently withdrawn a short time later. It's good to have it back in the catalog again, since it is one of the better Prokofiev symphony cycles. It was a pioneering effort in its day as it was the first complete set of Prokofiev symphonies to be issued. According to the album information, the performances were recorded in the period 1965-67, but I have a 1999 reissue of Symphonies 1-4 on BMG/Melodiya that gave the date of recording for Symphony #2 as 1962. Whatever the case, I have noticed that Symphony #2 seems to inhabit a slightly different sound world from the other symphonies in the set. I possess vinyl discs of this performance of #2 on both Everest and Melodiya that seemed to suggest that the other symphonies, which appeared on Melodiya/Angel in the 1960s, had somewhat different miking and better balances. However, in this new Melodiya reissue, apparently all the symphonies have been expertly remastered, for not only does Symphony #2 sound clearer and better balanced than ever before, all the others do as well.

In general Rozhdestvensky employs brisk tempos throughout the set and makes no attempt to sugarcoat the harsher elements in Prokofiev's often acerbic scoring. You hear brass instruments more prominently than in other sets, though Rozhdestvensky doesn't exactly shortchange the strings or percussion. In sum, you might say his way with the Prokofiev symphonies is robust, vigorous and quite potent.

The Classical is vivacious and lean, busy and very colorful, but not as elegant in the outer movements as some other interpretations. Still, it's a fine account. The Second is powerful, grim and almost wanton in the first movement, abounding in thrills and drama. Rozhdestvensky effectively captures the shifting moods in the second movement theme and variations, fully conveying its wistful and sometimes exotic lyricism, its dynamism, its humor and finally its crushing power. The improved sound of this issue makes this certainly one of the better accounts of this still misunderstood masterpiece. The Third Symphony comes across as driven and menacing, with even the lyrical themes in the first movement sounding tortured and darker than usual. Perhaps the wind-over-the-graves music in the Scherzo should be a little more elegant and subtle, but overall the performance is effective. With music derived from Prokofiev's fantastic opera The Fiery Angel the symphony exudes an otherworldly character and Rozhdestvensky brilliantly conveys that quality here.

Musically the Fourth and Fifth symphonies are similar in their epic character, even though the former features much music drawn from Prokofiev's ballet The Prodigal Son. Despite the general opinion that the early and much shorter Op. 47 version of the Fourth is better than the Op. 112 rendition, the later one has been more often performed and recorded, and is in my opinion superior to Op. 47. Here Rozhdestvensky captures Op. 112's plentiful lyricism quite sensitively: he actually paces the second movement more slowly than most conductors, milking the music for all its ravishing beauty. Although the Scherzo is lively and colorful, it may be a bit bland in places. The finale is deliciously menacing and suspenseful in the opening and finishes in a blaze of glory. This is absolutely one of the best Fourths on record, perhaps rivaling the Ormandy, which doesn't quite sound this good. The Fifth is also very convincing in Rozhdestvensky's hands: the first movement is grand and spirited, a marvelous account overall; the Scherzo is muscular but with wit and subtlety; Rozhdestvensky phrases the Adagio very sensitively, brilliantly capturing both the tragic beauty of the main theme and the darkness of the funereal middle section; the finale is lively and colorful and features a truly madcap finish. A splendid version of this great work!

The Sixth and Seventh also share characteristics: both are tragic works, though the latter might more properly be called valedictory. Rozhdestvensky's Sixth is a compelling rendition, though the first of the two climaxes in the first movement development section could be a bit more powerful. Also, I find the horn soloist in the first movement to have a tad too much vibrato. Overall though, this is a strong if aggressive take on this great symphony. Rozhdestvensky gives the Seventh some edginess and grit, and because this is a mostly serene and lyrical symphony, some listeners may regard his approach as a bit over-the-top. I don't: this is a hard-hitting, energetic reading that points up the plentiful sunshine as well as the darker elements in the work. Rozhdestvensky uses the original ending in the Seventh, which is always a wise decision.

I haven't commented much about the orchestral playing in this set. Some reviewers in the distant past characterized the Moscow Radio Symphony Orchestra's playing as rough and lacking in nuance and subtlety. True, the orchestra sometimes tends to lack refinement in their approach here, but they play with great spirit and commitment, fully grasping Prokofiev's highly individual idiom. Moreover, like any great orchestra, they play with accuracy and a good measure of finesse.

One thing you can't complain about here is the quantity of music offered: disc one clocks in at 78:58, disc two at 80:06, and disc three at 70:04. Granted, the early version of #4 is not included as it is in sets by Gergiev, Jarvi, Rostropovich and Kitayenko. But their sets run to one or two more discs each. Regarding those other sets, I have reviewed and/or referenced a number of them, including those by Järvi (Chandos CHAN10500), Ozawa (Deutsche Grammophon 463761-2), Gergiev (Philips 4757657), Kitayenko (Phoenix Edition 135), Kuchar, Rostropovich, Martinon, Weller, Kosler, and am currently covering the Alsop and Karabits cycles. I would say Rozhdestvensky is clearly among the better cyclists, though I have most recently favored Kitayenko as perhaps the best of them. Still, Rozhdestvensky is convincing on his own more gritty terms and presents a set that Prokofiev mavens will find highly desirable. Strongly recommended.

Copyright © 2014, Robert Cummings