SYMPHONY No. 5 Op. 100 By SERGE PROKOFIEFF The Fifth Symphony, introduced in the Western Hemis- phere by Serge Koussevitzky and the Boston Symphony Orchestra, has achieved quick and well-grounded recogni- tion as one of the great symphonic works produced in the last twenty-five years. On all sides, it has been justifiably proclaimed as Prokofieff’s most monumental and most mature composition. Written in a single month of the summer of 1944, the Fifth Symphony has been described by Prokofieff himself as “a work about the spirit of man.” In the summer of 1944, Russia was still locked in bloody combat with the Nazis, and the spirit of man was deeply troubled. While the Symphony is devoid of program, painting or local color, it is suffused with moods of introspection, compassion and exaltation whose roots are not difficult to trace in the furious military struggle. In structure, the Symphony seems to employ two forms of development. The first movement, Andante, and the third movement, Adagio, are rather free in style. In the first, there is a spirit of philosophic probing, and in the third, a mood of funereal sadness that find expression in freely elaborated melodic materials. In contrast, the second and fourth movements are con- structed along more or less classical lines, with a traditional development of themes. Perhaps the most remarkable aspect of the Symphony is the brilliant concluding movement, Allegro Giocoso, which achieves a degree of intensity and exaltation unapproached in any contemporary symphonic work. : The world premiere of the Fifth was given on March 3, 1945 in the Large Conservatory Hall of the Moscow State Philharmonic Society. It was con- ducted by Alexander Gauk. Since the Western Hemisphere premiere by the Boston Symphony Orchestra in November 1945, the Fifth Symphony has been repeated a number of times, each time to a profounder appreciation of its monumental qualities. It has also been recorded by Artur Rodzinski and the New York Philharmonic-Symphony (Columbia Masterwork Set M-MM 661), in a set of records which vividly display the gigantic stature of the work, ! Mh llan,Orwl Ca Justrumentation Piccolo Timpani 2 Flutes ‘Triangle 2 Oboes Cymbals eB English Horn Tambourine (() Clarinet Piccolo (Eb) Snare-Drum \ 2 Clarinets (Bb) Wood Block Bass Clarinet (Bb) Bass Drum 2. Bassoons Tam-Tam Contrabassoon Piano 4 Horns (E) Harp \ 3 Trumpets (Bb) Ist & 2nd Violins 3, Trombones Violas Tuba Violoncellos Basses Note: In the score, all instruments are written in C. In the parts, however, the Clarinets and Trumpets are in Bb and the Horns in F. ) Playing time: 40-42 minutes g (OQ fos C= OQ When quoting this work or any part thereof, for any purpose whatso- evet, please give credit to Leeds Music Corporation, New York, N. Y. ~( Se MW SSL”SYMPHONY No. 5 Op. 100 Edited with special annotations by By HAROLD SHELDON SERGE PROKOFIEFF andante d.43 ____—. — Flauti Fagotto I Viole Violoneelli Contrabassi| mu on. car cubasso Copyright 1945 by leeds Music Corporation Conynght 1988 by LEEDS MUSIC CORPORATION, RKO Bldg., Radio City, New York, N. ¥. Insernotional Copyright Secured Mode in USA ‘All Rights Reserved0, ing Cas. CL. besso| tag: Tete (cor. Th. Arps Arentinet, OL ples. ous cr dasso| ‘Trbno othe Piatti ore. Arp Aresom. cutie. iples. ter. ‘Lbasse Geto. mal or, Plano ArehiFL on. Caingh. car, ch.bass0 eet or. ‘Trone 1 T.. Timp. Piano ArchiGing. Cu plee. our, Cpasso Pg. Gteg. ‘Tebne Or ote ml. Plano am Arecht10 ing. c1.pice, Olas. cu basso ‘Troe Th. Til, anc. Plano ‘Aredi“on. cing cuss, cibesso Fee. Cote. or. ‘Tei ote ‘Timp. Piatti Piano Aspe Arai12 0. oar, Archi13 3g] Poco pit mosso P ont Ging Poco pit mosso ‘Archi Fu ont44 m. on. las. cuvasso otag. Arehi crdasso| tog. 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