When musicologists have examined the bolder, more revolutionary side of Prokofiev, they usually mention several key works: the Scythian Suite (1914 - 1915), the Sarcasms for piano (1912 - 1914), and the Symphony No. 2 (1924). While these are uncompromising and highly dissonant works, they do not surpass the composer's later Symphonic Song for sheer complexity and brashness.

For over half of its nearly 15-minute length, the music roils and festers, exploding in violent outbursts whose dissonance will make the listener wonder how the composer arrived at such an innocent-sounding title. There are three sections to the work, the first of which opens darkly, presenting a gloomy chameleonic theme which seems to emerge from a deep troubled sleep. Tension builds slowly as it evolves amid crushing brass chords and eerie string sonorities. The music in the next section is lively but just as dark and dissonant, again with brass outbursts and other chaotic sounds. Finally, the roiling is resolved in one final powerful statement of the theme, which now has become clearer. In the final section, this melody becomes lyrical and even yields much beauty in its color and gentleness. The ecstatic ending is memorable as this now triumphant theme seems to rise to the brightest heavens. This is one of Prokofiev's deepest orchestral compositions, but despite its masterful scoring and many profundities it has rarely been performed or recorded, and will probably remain outside the repertory.

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