Utwory na płycie:

• Symphony No. 4 (second version) Op. 112 in C Major - Andante – Allegro eroico
• Symphony No. 4 (second version) Op. 112 in C Major - Andante tranquillo
• Symphony No. 4 (second version) Op. 112 in C Major - Moderato, quasi allegretto
• Symphony No. 4 (second version) Op. 112 in C Major - Allegro risoluto
• Symphony No. 2, Op. 40 in D Minor - Allegro ben articolato
• Symphony No. 2, Op. 40 in D Minor - Theme: Andante
• Symphony No. 2, Op. 40 in D Minor - Variation 1: L’istesso tempo
• Symphony No. 2, Op. 40 in D Minor - Variation 2: Allegro non troppo
• Symphony No. 2, Op. 40 in D Minor - Variation 3: Allegro
• Symphony No. 2, Op. 40 in D Minor - Variation 4: Larghetto
• Symphony No. 2, Op. 40 in D Minor - Variation 5: Allegro con brio
• Symphony No. 2, Op. 40 in D Minor - Variation 6: Allegro moderato
• Symphony No. 2, Op. 40 in D Minor - Theme

Symphony No. 2, Op. 40 in D Minor
Symphony No. 4 (Second Version), Op. 112 in C Major

The Dutch composer, music journalist and novelist Elmer Schönberger once described the Second Symphony as a sub-genre – of a primarily psychological nature, albeit with considerable stylistic consequences: in a first symphony, a composer will more or less reflect the traditions from which he comes, and in a second he will deliberately break away from them. Prokofiev’s Second, composed eight years after the First, appears to be a defiant ode to the modern era, witnessed by the layers of mechanically persistent rhythms, expressionist harmonies, ostensibly unfathomable forms and its very expansive take on tonality. The work was premiered in Paris in 1925, conducted by Serge Koussevitsky.

Prokofiev decided to revise his Fourth Symphony, Op. 47, after the successful premieres of his Fifth and Sixth Symphonies (in January 1945 and December 1947 respectively). The original four movements remained largely intact, but the changes say a great deal about his style at that point. The first alteration was to insert or expand some passages that were predominantly reflective, with a strong emphasis on melody. Another example is the attempt to align the scale more closely with what was required by Social Realism, in which the neo-classical is overlaid with a considerable dose of heroism and sometimes even bombast. The association of Op. 112 with Social Realism subsequently proved to be an obstacle to its acceptance in the West.

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Recorded at Studio 5, Muziekcentrum van de Omroep, Hilversum, The Netherlands; Symphony 2 – 23-25 August 2016 - Symphony 4 – 2-4 March 2015