When reviewing the recent Telarc SACD (Cincinnati Symphony) of probably Prokofiev’s best symphony, I realized I had missed out on the PentaTone SACD of the same which was released late last year. So here it is, and I’m betwixt and between as to which I prefer. The Symphony came from a terrible year in the 20th century, 1944, and has a surprisingly optimistic slant to it – though seasoned with plenty of the composer’s patented hard-edged sardonicism. There are a host of hummable melodies in the work, and much drama. Prokofiev’s genius allowed him to create a work that slipped insidiously into the prescribed Soviet socialist realism strictures while simultaneously being a symphonic creation of the highest artistic quality.
The Russian National Orchestra was formed in 1990 and is entirely separate from the Russian government, being supported by private funding. It has acquired some of the top players and has made many unique innovations. They have been engaged in many artist exchanges with the West, including with Dave Brubeck, Sophia Loren, Wynton Marsalis and Michael Tilson Thomas. The superlative playing of the Russian ensemble is supported by PentaTone’s usual high standard of recording quality. The session was recorded live in the Grand Hall of the Moscow Tchaikovsky Conservatory.
The more Soviet-serving Ode to the End of the War was composed by Prokofiev the next year and is a very strange duck. It employs 8 harps, 4 pianos, 8 double basses, a wind orchestra and percussion! The country’s victory over Fascism is celebrated with some very interesting music, but it’s not surprising that this is the first time the work has been recorded.
– John Sunier
