Prokofiev wrote incidental music for the Leningrad production of Hamlet in 1937-38, at the behest of stage director, Sergei Radlov. It was he who had introduced Prokofiev's Love for Three Oranges to Soviet audiences in 1927 and later worked with the composer on the staging of his ballet masterpiece Romeo and Juliet. The premiere of Hamlet took place on May 15, 1938, but the music never caught on and only in the latter-20th century received its first recording. The score, which contains ten movements, half of which are songs, was not published in the composer's lifetime.

Hamlet opens with The Ghost of Hamlet's Father, which features a striking, ominous march-like theme, whose sinister character is conveyed by music that begins and stays in the lower registers and by repetition of certain parts of the material that serves to enhance its menace, especially as it grows to forte volume levels. Claudius's March follows and contrasts effectively by presenting bright, light music, restrained a bit, however, by its only moderately lively tempo and pensive middle section, which combine to withhold a complete break from the dark atmosphere of the opening movement.

Fanfares comes next, lasting just over a half-minute. It contains two brief fanfare sequences, obviously employed to establish mood. There follows Pantomime, a difficult piece to reconcile to the action it purportedly portrays. The music is fairly light and stately, though it contains suggestions of menace and evil, to be sure. It is supposed to depict the ghost (Hamlet's father) recounting his poisoning by Claudius, but focusing more on the illicit aspects of the murderer's relationship with Gertrude.

There follow the four songs of Ophelia. All are relatively subdued, with the first and last rather somber, if not melancholy, and the middle pair divulging a fair measure of color. The second one, in fact, sounds close to an English or Irish folk song and suggests a Medieval atmosphere. Following this quartet is The Gravedigger's Song, a hearty number whose accompaniment is rather bizarre-chords that slash and percussion that thumps. This vocal devising has wit and spirit in its drunken character.

The final movement, Fortinbras's Final March is atmospheric and effective, and thematically the most memorable item here. This is truly inspired writing: the music begins quietly, a stately melody appearing that builds gradually to achieve a grandiosity that is both triumphant and beautiful, never lapsing into bombast.

© Robert Cummings, All Music Guide