There are two versions of the Russian Overture; the second, from 1937, amounted to a reduced scoring made by Prokofiev in answer to unfounded criticism that the original was too thickly orchestrated and aurally overpowering. It is certainly true that the first version of this composition achieves massive sonorities and huge washes of sound, but its folkish colors and nationalistic character justify the large instrumental forces the composer called for. Most performances and recordings of the Russian Overture have used the smaller scoring, probably for economic reasons rather than any artistic ones.

Prokofiev fashioned the piece with the intention of creating a nationalistic work. He examined numerous volumes of Russian folk music, in the end using several such themes but also employing some of his own that sound like genuine folk music. The work is laid out in a sort of rondo-like form, but lacks any significant development of materials. It opens with a proud, jaunty horn theme, which alternates with a vigorous and joyous melody of considerable color. A rich, songful tune is then presented by the strings and serves as the perfect foil for the merriment that preceded.

The middle section features another attractive theme, this one a solemn creation whose reverential demeanor will soon produce a glorious outpouring of what for Russian audiences must have represented national pride. Previous material reappears in even more colorful orchestration and the work ends with a playful theme, overtaken by its driving rhythmic elements, vying fanatically for center stage with a brass-dominated rendition of the middle section theme. This masterful work began receiving significant attention in the later twentieth century after nearly a half century of general neglect.

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