Rachmaninofftu Symphony No

Rachmaninofftu Symphony No. 3 Prince Rostislav Caprice bohémien tu BBC Philharmonic Gianandrea Noseda Serge Rachmaninoff at his studio in Villa 1935 Senar, Courtesy of the Serge Rachmaninoff Foundation Serge Rachmaninoff (1873 – 1943) 1 Caprice bohémien, Op. 12 (1892 – 94) 17:55 Allegro Vivace. Lento lugubre. Alla Marcia funebre – Un poco più mosso – L’istesso tempo – Andante molto sostenuto – Più mosso – Allegro ma non troppo – Un poco più mosso – Più vivo – Con moto – Allegro – Un poco più mosso – Con moto – Allegro mosso – Più vivo – Allegro scherzando – Con moto – Allegro vivace – Agitato – Allegro impetuoso – Più mosso – Presto – Grave – Prestissimo 2 Prince Rostislav (1891) 14:41 Lento. Allegretto – Con moto – Allegretto – Con moto – Grave – Vivo – Grave – Vivo – Grave – Allegro con fuoco – Tempo rubato – Grave – Lento – Allegretto – Lento 3 Symphony No. 3, Op. 44 (1935 – 36) 40:50 in A minor • in a-Moll • en la mineur 3 I Lento – Allegro moderato. Poco più mosso – 16:04 Tempo precedente – Più vivo (Allegro) – Tempo primo – Poco meno mosso – Allegro molto – Tempo 1 – Allegro 4 II Adagio ma non troppo. Allegro vivace – 11:47 Alla breve. L’istesso tempo – Tempo come prima – Un poco meno mosso – Adagio 5 III Allegro. Meno mosso – Meno mosso (Andante con moto) – 12:47 Allegro – Allegro vivace – Moderato – Allegro vivace (tempo precedente) – Allegro (Tempo primo) – Meno mosso – Andante con moto –L’istesso tempo – Allegretto – Allegro – Allegro vivace TT 73:49 BBC Philharmonic Yuri Torchinsky leader Gianandrea Noseda 4 Rachmaninoff: Symphony No. 3 / Prince Rostislav / Caprice bohémien Symphony No. 3 themes by Corelli and Paganini, even if that In January 1937, the ailing sixty-three-year- brought personal inspiration of a different old Rachmaninoff wrote a mournful reply kind. It is little wonder, then, if he was to Nicolas Slonimsky, who had asked him anxious about finding enough material for to enumerate all the major works he had a Third Symphony, which he so wanted to composed since leaving Russia in 1917: provide for what he called ‘my very favourite I list all that I have composed as a orchestra’, the glossy Philadelphia musicians, ‘refugee’. It’s not difficult: little has been then under the charismatic sway of Leopold accomplished. Stokowski (and his successor, Eugene Indeed, the statistics are sobering: whereas Ormandy, impressed Rachmaninoff no less). he had composed thirty-nine works bearing Encouraged by the beautiful surroundings official opus numbers between 1891 and 1917, of Senar, the house he had built on Lake the following twenty years gave birth to five, Lucerne, called after an amalgam of his with only the Symphonic Dances still to join own and his wife Natalia’s first names, them at the time Rachmaninoff wrote that Rachmaninoff sketched out the first and letter. second movements swiftly, in exactly two Part of the reason could be ascribed months between June and September to Rachmaninoff’s punishing schedule as 1935. The finale, however, hung fire until a pianist, touring and recording his own the following summer. Its difficulties are as well as several others’ music. Yet the reflected in the letter he wrote to his sister- creative fount had long been running dry: in-law on 30 June 1936, observing that ‘with while the Fourth Piano Concerto of 1926, to each of my thoughts I thank God that I was be thoroughly revised in 1941, often makes able to do it’ – a remark echoed at the end of a haunting virtue out of its thematic short- the score: ‘Finished. I thank God! 6 – 30 June windedness, Rachmaninoff was reliant on 1936, Senar.’ the works of others in his Three Russian While not all reviews of Stokowski’s Folksongs and his brilliant Variations on premiere on 6 November were as bad as the 5 composer later made out, there was a general of the chant-lines, the Third starts with a sense of weariness with more of the familiar ghostly reminiscence oscillating with only Rachmaninoff melancholy at a time when three notes and given to the unforgettable music seemed to be marching forwards. Only wraith-like unisons of clarinet, muted horn the British conductor Henry Wood and ‘the and muted solo cello. This is a new approach violinist Busch’, Rachmaninoff noted in 1938, to the Tchaikovskyan ‘fate-motif’, and it will seemed to love the Third Symphony as much extend its baleful influence as the symphony as he did. His own affection was unwavering: progresses. In the meantime, there is a personally, I’m convinced that this is a full-orchestral flare-up and the main Allegro good work. But – sometimes the author is wings its mournful way with oboes and wrong, too! However, I maintain my opinion. bassoons singing above another oscillating Now that we live in an age less obsessed with figure on second violins. A slight quickening the narrow definition of what it means to be of the pulses eases to usher in the most ‘modern’, we can value the Third Symphony expansive lyrical theme in the symphony, for its idiosyncratic use of orchestral colour launched by cellos dolce cantabile against and even the minimal thematic means used gentle woodwind syncopations and climbing for maximum effect. As with the Fourth Piano to an almost frenetic optimism. Concerto, even the uncertainties – and they After all this has been subjected to a are most marked in the finale – seem very welcome repeat – Rachmaninoff in his supple much a candid reflection of the composer’s Philadelphia account of 1939, one of only state of mind at the time he wrote it. three recordings he made as a conductor, Rachmaninoff was intensely aware of and Ormandy both omit it, though that’s rare the continuities, as well as the differences, today – the development is an adventure. It between this symphony and its two begins with nagging violas and oboe wails predecessors. All three begin with narrow, familiar from the inner world of the Second intervalled themes reflecting his lifelong Symphony before whipping up intensity with interest in the stepwise chants of the a tarantella-like dance and plenty of rhythmic Russian Orthodox Church. While the ingenuity. Three times the trumpet brings opening of the First Symphony is almost the ‘fate-motif’ back into the spotlight, and adolescent in its doom-laden inflexibility, the violins – Rachmaninoff knew he could and the Second promises gracious unfurling trust on the Philadelphia section for great 6 strength here – arch a mighty protest against atmospheric short-cut back to the height it, which subsides. Further echoes of fate, of the romantic descending melody. More from muted horn and finally from staccato poignant solos – most marked of all is the strings, bracket an ingeniously varied and one for the cor anglais – lead the movement colourfully orchestrated reprise of the main carefully to a pizzicato reprise of the fateful allegro material. motif. The melancholy song of a legendary Nine months elapsed between the minstrel which launches the slow movement completion of the second movement and of Borodin’s Second Symphony may have the start of the finale, and they seem to been on Rachmaninoff’s mind when he gave have given Rachmaninoff some problems the three-note leading motif to first horn of what to do next, but he starts boldly by with harp accompaniment at the start of looking back to the first-movement flare-up the Adagio. While a solo violin answers with and capping it with a determined dance another of the composer’s melancholy falling (Slonimsky, in Music since 1900, found themes, it is the chant-like idea which the this ‘very Russian’, though many of us will collective violins extend, as in the Second have the sounds of Walton, whose First Symphony, to a lush climax. A more restless Symphony was also produced earlier in the figuration, punctuated by fantasy woodwind 1930s, ringing in our ears). The lyrical relief solos, eventually leads to a surprise this time is darker, if still tailor-made for the scherzo within the slow movement (the idea lush Philadelphia strings; it puts us off our may have come from the centrepiece of guard for the return of the three-note motif, Tchaikovsky’s First Piano Concerto, reflected ushering in a fugato in which the strings in Rachmaninoff’s earlier examples). As in make staggered entries of the dance-music the first movement development, it kicks from the top downward. Despite its ever off with a tarantella but takes proper shape more forced-sounding cheerfulness, the as a trenchant march. For the first time the dance seems destined to sink in a slough of three-note motif threatens to extend as despond, after which the Dies Irae celebrates Rachmaninoff’s most consistent macabre its high noon with unequivocal quotations signature-theme, the Dies Irae or Latin of the full Latin chant. The dance ploughs on chant for the dead, but the demons are regardless, bringing the movement into line sent packing and Rachmaninoff takes an with the similarly darkly freighted symphonic 7 finales being, or soon to be, composed unquiet sea which drags Rimsky-Korsakov’s in the Soviet Union by Shostakovich and Novgorod minstrel Sadko beneath the waves Prokofiev. But Rachmaninoff pulls off his and the ocean-girt island of Prospero in own ambiguous conclusion; while fate has Tchaikovsky’s fantasy overture inspired by infiltrated the light fantastic of the strings, a Shakespeare’s The Tempest. flute sheds a benediction above it. The final A more mobile, sensuous passage raucous victory is equivocal, its questions introduced by solo oboe reveals the rusalki or to be resumed and ultimately transcended water-maidens of the Dniepr, caressing the with ‘Alleluias’ in the composer’s piercing drowned knight and combing his hair with swansong, the Symphonic Dances of 1940.

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