Sergei Prokofiev 
(1891-1853)

Symphony No. 1 in D Major, Op. 25, "Classical"
Composed 1917

Sergei Prokofiev’s Classical Symphony is a playful yet sophisticated work that blends the formal elegance of 18th-century symphonic style with the modern, inventive spirit of the early 20th century. Composed in 1917, during a period of immense personal and political upheaval in Russia, the symphony reflects Prokofiev's ambition to create something both nostalgic and forward-looking. Prokofiev believed that the future of music lay in creating works that were both simple and melodic, yet distinctively new.

Prokofiev described his Classical Symphony as a piece that Mozart or Haydn might have written had they been alive in his era. He envisioned it as a bridge between the classical traditions he admired and the innovative musical language he was developing. The symphony’s title, chosen partly in jest, reflects Prokofiev’s mischievous desire to “tease the geese,” or provoke his critics, while secretly hoping that the work would indeed become a classic. The Classical Symphony succeeds in both respects—it is lighthearted and witty yet enduringly influential, seamlessly integrating the past with the present.

Prokofiev composed the Classical Symphony without the aid of a piano, believing that this approach would lend the orchestration a more natural and direct quality. The symphony is compact, with each movement brimming with humor, elegance, and unexpected twists. Prokofiev employed traditional forms but filled them with his signature modern flair: spiky rhythms, surprising harmonies, and clever musical jokes that often upend classical conventions.

The symphony opens with a brisk Allegro, characterized by sharp, non-lyrical themes that twist and turn in unexpected ways. Prokofiev begins with a brief two-measure introduction, immediately launching into contrasting themes that evoke a distinctly modern version of Haydn’s spirited style. A nod to the Mannheim school, a fast-rising melodic line known as the “Mannheim rocket” propels the music forward. Prokofiev’s development section is filled with witty surprises, such as a grand pause that abruptly halts the music before launching into the recapitulation, which intentionally starts in the “wrong key” before resolving itself.

The second movement, Larghetto, showcases Prokofiev’s gift for lyrical writing with a long, flowing melody first presented by the violins and then echoed by the flute in a high register, a placement that humorously subverts classical expectations. A contrasting section features lively, delicate sixteenth notes in the winds, brass, and timpani, before the movement ends with a brief, charming coda.

Instead of the customary minuet, Prokofiev presents a Gavotte, an old French dance characterized by its playful leaps and foot-stamping rhythms. The Gavotte’s heavy, exaggerated style is a parody of the classical elegance typically associated with this form, further enriched by a contrasting drone trio section that adds a rustic touch.

The finale, Molto vivace, is exuberant and full of rhythmic vitality, continuing the symphony’s witty dialogue between old and new. Prokofiev’s brisk patterns, rapid modulations, and whimsical turns lead the listener through an energetic musical landscape before dashing toward an exhilarating conclusion.

Premiered in Petrograd on April 21, 1918, just months after the Bolshevik Revolution, the Classical Symphony emerged during a time of great upheaval in Russia. Despite the tumult, Prokofiev’s work transcends its historical context, offering a timeless and joyful escape. Its fusion of classical form with modern sensibilities has ensured its place as a beloved staple of the orchestral repertoire, showcasing Prokofiev’s ability to honor tradition while boldly breaking new ground.

Instrumentation – two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings

Duration – 16 minutes

~ Kenneth Bean
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra