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DESTINATION RACHMANINOV · ARRIVAL Piano Concertos 1 & 3

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DESTINATION RACHMANINOV · ARRIVAL Piano Concertos 1 & 3 Daniil Trifonov DESTINATION RACHMANINOV · ARRIVAL Piano Concertos 1 & 3 The Philadelphia Orchestra · Yannick Nézet-Séguin DESTINATION RACHMANINOV ARRIVAL 2 SERGEI RACHMANINOV (1873–1943) 1 The Silver Sleigh Bells op. 35, 1st movt. 6:56 Transcription for piano solo: Daniil Trifonov Concerto for Piano and Orchestra No. 1 in F sharp minor op. 1 2 1. Vivace – Moderato – Vivace 13:08 3 2. Andante 7:20 4 3. Allegro vivace 7:47 5 Vocalise op. 34 no. 14 3:34 Transcription for piano solo: Daniil Trifonov Concerto for Piano and Orchestra No. 3 in D minor op. 30 6 1. Allegro ma non tanto 17:26 7 2. Intermezzo. Adagio – attacca: 11:19 8 3. Finale. Alla breve 14:25 Daniil Trifonov piano The Philadelphia Orchestra · Yannick Nézet-Séguin 3 tles and Dies irae gongs. This second chap- tration begs for piano transcription. The VIBRATIONS THROUGH TIME ter of Trifonov’s journey with Rachmaninov work’s fluid energy is highly pianistic, even if sustains that motif, opening with chimes of it is challenging for the performer to sustain a different variety: the pianist’s own bravura a legato line and soft dynamic through so transcription of “Silver Sleigh Bells”. Inton- much elaborate passagework.” “Silver Sleigh ing cascading peals of sleigh bells, this first Bells” captures the bright, effervescent spirit movement of Rachmaninov’s four-part cho- of Rachmaninov’s First Concerto, while also “Bells are perhaps the central symbol of Novgorod District, about six hours by train ral fantasy The Bells establishes the atmo- echoing the deeply religious roots of the Russian culture,” Daniil Trifonov muses. Born north-west of Moscow. Like Trifonov, Rach- sphere for Trifonov’s arrival home. Third Concerto. Trifonov also identifies (and in the fortress city of Nizhny Novgorod, 400 maninov identified bells as the iconic aural “Silver Sleigh Bells” is a joyous, shimmer- in his transcription extends) material from kilometres (or a six-hour train ride) north- motif of Russian identity, their evo cation ing point of departure connecting the Depar- Rachmaninov’s Second Piano Concerto in east of Moscow, in 1991, Trifonov grew up throughout his compositions lending his ture and Arrival instalments of Trifonov’s the piece’s accompaniment, as well as frag- surrounded by the sounds of bells – church music its unique nobility and nostalgic char- journey, as well as bridging – both chrono- ments from the composer’s Second Suite for bells, sleigh bells, train bells – echoing acter, unmistakably rooted in the cultural logically and thematically – the composition Two Pianos and the Prelude in G minor, all through his home town. “In Russia,” he fabric of his homeland. of Rachmaninov’s Third Piano Concerto in composed around 1901. explains, “bells ring for many occasions. It is fitting, then, that the first part of 1909 and his definitive revision of his 1891 With its evocation of Russian nature, Their vibrations carry across the great Trifonov’s project traversing the Rachmaninov First Concerto in 1917. Completed in 1913 folk culture and spiritual life, “Silver Sleigh expanses of the country, connecting events, Piano Concertos – Departure – opens with and inspired by a poem of Edgar Allan Poe, Bells” sets the stage for Rachmaninov’s First people and communities – and across time, the brooding first chords of Rachmaninov’s The Bells is a deceptive work, with emo- Piano Concerto. “The F sharp minor Piano connecting history and spirituality.” Second Piano Concerto, the solo piano tional tension and extreme technical diffi- Concerto is the work of a passionate young One such connection across time and echoing the deep, resonant toll of Russian culty lurking beneath its dancing surface. heart,” says Trifonov. “We meet a Rach- space links Trifonov with his pianist-com- Orthodox church bells, and concludes with “With prominent voices of harp, celesta maninov full of aspirations and Romantic poser predecessor, Sergei Rachmaninov, the Fourth Piano Concerto’s Modernist in vo- and flutes emulating the bells’ colours,” ideals.” The 1891 composition does indeed who hailed from Russia’s other Novgorod: cation of clanging train bells, tambourine rat- Trifonov explains, “Rachmaninov’s orches- capture a moment of rare happiness in the 4 life of the then 18-year-old. “It is a work melodies are fresh, the energy vivacious, like full of fragrances,” Trifonov explains, “like those country sleigh bells. “In its 25 minutes, smelling fresh flowers on a field after rain.” the piece never succumbs to melancholy or The three-movement First Concerto stems grief,” says Trifonov, “it rather clings tightly from the same period as the Romantic germ to its original purity.” The First Concerto motifs for what would become the Second was, indeed, Rachmaninov’s own favourite Piano Concerto, and is a work based in to perform amongst his concertos. Through- character and form on the Piano Concerto out his life, he kept coming back to the First by Edvard Grieg. “Rachmaninov admired Concerto, even when his Second and Third the Grieg concerto,” affirms Trifonov, “one Concertos were far more popular and he had hears it right from the first measures. But, resigned himself to a modern, cosmopolitan for me, Rachmaninov’s concerto has a lot of existence, far from his Novgorod origins. “It Chopin in its relentless poetic expression connected him,” Trifonov explains, “with too. It is impatient music, full of anticipa- memories of his home, his roots – of hap- tion – a young man bursting with curiosity, pier times.” tirelessly asking, ‘What’s next?’ Tragedy, however, was a defining senti- “The First Concerto is music by a com- ment of Rachmaninov’s life, reflecting his poser who has not yet experienced tragedy,” personal psychological and existential strug- Trifonov summarizes. Even if performed, as gles, and the greater crisis of modernity at here, in the extensive 1917 revision produced the turn of the 20th century. The idyll of the under the storm clouds of the Russian Rev- First Concerto was a vanishing illusion in a olution and after Rachmaninov’s traumatic world where centuries-old social orders, typ- bouts with depression, the piece still exudes ified by the aristocracy (Rachmaninov came an unthwarted, even naive exuberance. The from a family of aristocrats) and the church, 5 were crumbling under pressures of polit ical longing, comes to its fullest expression in emancipation, industrialization and civil the Third Piano Concerto in D minor, com- strife. Rachmaninov’s sense of melancholy posed in 1909. If the tolling church bells in the face of these convulsions comes to opening the Second Concerto mark the the fore in his famous Vocalise. Originally departure of Trifonov’s Rachmaninov voy- the final song of his piano and voice cycle age, the hymnal plainchant beginning the of 14 Romances op. 34 from 1912, the Voca- Third Concerto announces his arrival home. lise has no words, just one long melodic line It is profoundly Russian music in char- suggestive of loss or sorrow. The youthful acter and quintessentially Rachmaninov exuberance of the First Concerto gives way in expression. It is a very intimate form of to intimate reflection. “The Vocalise is not spiritual affirmation, and continues reveal- a ‘romance’ in the sense of a romantic love ing aspects of this meditation in vast, melis- poem,” says Trifonov; “it is rather an expres- matic phrases. Trifonov: “The musical expo- sion of spiritual longing.” The work begins sition is very similar to Rachmaninov’s style with a motif prefiguring the opening solo of letter-writing – long, complex sentences piano statement of the Third Concerto, with of prose, seamlessly transitioning between tightly woven relations between notes, and contrasting themes and moods.” close, chromatic intervallic progressions. “In terms of technical, psychological and Trifonov transcribes the work into the bari- emotional complexity,” Trifonov believes, tone register, heightening the poignant inte- “Rachmaninov’s Third Piano Concerto is riority of its feeling. perhaps the most substantial undertaking in The soulful, introspective aspect to the piano literature.” Trifonov also describes Rachmaninov’s musical expression, his this gargantuan concerto as Rachmaninov’s symbiosis of cultural nostalgia and spiritual most religious: “The concerto has a unique 6 kind of emotion – a solemn intimacy. It is like meditation on the passing of time. The third certos. Their traversal is a lonely Odyssey, a prayer – the composer’s inner conversa- movement is “propulsive and inspirational – rich in symbols and resonant with chimes. tion with himself, and with God.” As such, a glimpse of redemption.” Arriving at his destination, exhausted and the Third Concerto is, in a sense, a paradox: Accompanying Trifonov are The Philadel- gratified, Trifonov cites another great Rus- a profoundly introspective and spiritual work phia Orchestra and their esteemed Music sian émigré, the poet Joseph Brodsky, who from beginning to end, yet also in length, Director Yannick Nézet-Séguin. An ensemble captures Rachmaninov’s forbearance, while structure, expository technique and sym- of the highest quality and renowned for its implac ably yearning for new horizons: phonic scale, comparable with the concertos distinctive sound, The Philadelphia Orches- of Brahms and Busoni in belonging to, as tra boasts a Rachmaninov pedigree which “O when so much has been and gone Trifonov terms it, the “maximalist” concerto is second to none. Working closely with the behind you – grief, to say the least – tradition of late Romanticism. composer, they gave the premiere perform- expect no help from anyone. “The piece is a unique example of one ance of works including the Fourth Piano Board a train…” unending melody,” the pianist explains, “one Concerto and the Rhapsody on a Theme of Joseph Brodsky – With a View of the Sea continuous flow of musical consciousness Paganini, both with the composer himself – a single, rhapsodic journey. Above all,” at the piano. Rachmaninov played his Third he continues, “there is nothing banal in the Concerto with The Philadelphia Orchestra, expression.
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