"I am
a Russian composer and the land of my birth has influenced my
temperament and outlook."
Sergei
Rachmaninov wrote music that unabashedly expressed feelings of romance,
nostalgia and a profound longing for his homeland Russia. He had
the gift of being able to weave searing melodies set against a tapestry
of lush orchestration, thereby conveying intense emotional drama,
movement and excitement. Two recurring themes dominated his music:
martial grandeur and of love - lost and found. Much of his work
also evoked the essence of "bells" for the sound of bells were an
inescapable influence while growing up in St. Petersburg.
Rachmaninov's
approach to music was straightforward. He believed each piece of
music had its individual point of culmination. This gives
the performer a point of reference to work to and to be able to
move away from. In his piano concertos, such moments are signaled
by the dramatic buildup as the movement heads towards the inevitable
climax, following which there is an almost a cathartic release.
I have
affectionately referred to such climaxes as a Lawrence of Arabia
moment, because each climax sounds like the music straight out of
the film epic of the same name (starring Peter O'Toole and Omar
Shariff). (Curious listeners might like to refer to the third movement
of Second Concerto at 6:30 and 10:31 for such a moment).
Like
Erich Wolfgang Korngold (1897-1957), Rachmaninov's music evokes
rich cinematic imagery. However unlike Korngold, who wrote music
for the screen and concert hall, Rachmaninov never wrote for film
but his music (such as the second subject from the third movement
of the Second Concerto) has on numerous occasions, been shamelessly
hijacked by Hollywood.
 Piano
Concerto No.1
(1890-1; Rev.1917)
Composed
while Rachmaninov was only 18 years of age, there may be some truth
to the observation that the First Concerto is faintly reminiscent
of earlier works by Grieg and Tchaikovsky. The outer movements are
characterised by a certain amount of flamboyance. That aside, the
First Concerto is significant in highlighting that as a composer,
Rachmaninov was well on the way to developing his individual style:
virtuoso piano writing, a beautiful slow movement and a knuckle
gripping finale.
From
the very flamboyant introduction in the first movement, to the third
movement, suffused with warmth and a hint of playfulness, Ms Biret
admirably captures the youthful exuberance of the First Concerto.
The Andante, a lyrical nocturne, although one of Rachmaninov's
lesser known pieces, remains uniquely beautiful.
Piano
Concerto No.2 (1901)
The famous
8-chord introduction, signifying the toll of bells, opens Rachmaninov's
most well-loved piano concerto. The Second Concerto is a work of romantic
opulence, dominated by bittersweet nostalgia and brilliant solo writing.
No other piece of work sees Rachmaninov wear his emotions on his sleeve
more overtly.
Like
the Third, the 2nd Concerto has been subject to numerous interpretations.
Ms Idil Biret opts for a restraint performance, preferring not to
indulge in emotional ostentation. Just as in Rachmaninov's own recordings
of the Second Concerto which appear at first blush, emotionally
austere, repeated listenings however reveal Ms Biret's performance
to be both elegant and thoughtful.
Moments
which are wonderful to listen to include the recapitulation of the
1st movement (beginning at 6:50). The soloist and orchestra unite
in a thumping performance, evoking a rousing military pageant, complete
with pomp and splendour. The slow movement is especially haunting.
The playing is sensitive and the theme of love lost and found is
beautifully presented. In the final movement the second theme (at
6:26) is very atmospheric and conjures a scene of a marketplace
somewhere in the Middle East. Not long after, the grand Lawrence
of Arabia recapitulation makes a reappearance (10:27) before
the movement races towards a triumphant climax.
Piano
Concerto No.3 (1909)
The Third Concerto rightfully retains the reputation as being the
most daunting of all piano concertos. The writing for piano and
orchestra is texturally complex and even more than the Second, makes
tremendous demands on the soloist. Further, the soloist is not allowed
a momentary respite between the second and third movements but is
instead immeditely catapulted at the end of the Intermezzo
straight into the Finale. Yet Rachmaninov's Third Concerto
remains a poetic masterpiece.
In
the first movement, the opening theme is played by the piano, one
note at a time, before unfolding into some brilliant passage work.
The PNRSO takes the movement at a slightly faster tempi than normal,
but Ms Biret far from faltering, seems to relishes in the challenge
and keeps up with effortless ease. The performance is consistent
throughout. For the long cadenza, Ms Biret chooses the more silvery
of the two that Rachmaninov wrote, resisting once again the temptation
to pound away the chords. Her performance is instead restraint and
dignified. Towards the end of the second cadenza (at 16:20), do
listen to how the orchestra gently coaxes the piano away to return
to the main theme before the movement ends on a sobre note.
The
Adagio opens with a long and dreamy introduction before the
soloist takes over the main theme. The piano is especially pleading
and the playing full of emotional intensity. The brief but brilliant
scherzando (8:40), makes an appearance in rapid waltz time, and
whirls around like two dancers spinning around the hall in perfect
unison. As the PNRSO abruptly signals the return to doom and gloom,
the piano struggles to break free twice (11:10) before exploding
upward into the Finale.
 The
Finale contains some of Rachmaninov's most exuberant piano
writing. The PNRSO play with verve, providing the Finale a wonderful
sense of movement, encouraging Idil Biret (left) to reach greater
virtuositic heights. Check out the roller-coaster experience she
takes you on (7:19) which leaves one breathless at its conclusion.
Martial themes pervade the Finale, gay celebrations (at 3:10) are
abound, and Biret's playing is tremendously joyous. There are moments
of wistfulness and exquisite tenderness, especially (at 8:05) where
the two lovers have to part as the horns interrupt to sound the
military fanfare and start of battle. The climax of the Third is
perhaps the best. Rachmaninov had by then perfected the art of suddenly
quickening the pace and sweeping the listener along with the momentum
towards the finale, culminating in a triumphant heart-stopping end.
There is almost a temptation to erupt into a thunderous applause
and shout Bravo!.
Piano
Concerto No.4 (1926; Revised 1941)
During
his time, Rachmaninov's Fourth Concerto was continually dogged by
criticism that it was work desperately seeking a style. Critics said
the Fourth did not seem know where it was coming from, nor know where
it was going. Concert goers, swept away earlier by the poetic beauty
of the Second and barn-storming brilliance of the Third, were expecting
Rachmaninov's Fourth Concerto to have that similar emotional impact.
Today,
the Fourth has been given its due, representing the composer's attempt
to chart a new direction in his writing. The Fourth Concerto is
laconic and does not have the luxury of the long-breathed melodies
developing over time, as do the Second and Third. Neither are emotions
so openly presented although there is no mistaking the nostalgia
and yearning that pervades. Nevertheless, there is a wonderful rhythmic
tautness to the Fourth. Ideas in the 1st movement are presented
one after another in apparent an unrelated manner before they are
gathered in the accelerando (at 6 mins) and scattered all over in
the fiery climax. The PNRSO plays with a marvelous rhythmic suppleness
and control, especially the way in giving the resolution (at 7:00)
an almost whip-like effect.
The
Largo is distinctly Rachmaninov, shot with a yearning and
homesickness for Russia following his exile in 1917. There are moments
of sublime beauty in Biret's playing, and mention should be made
of the PNRSO strings' heart-wrenching performance of the theme (3:15).
The
finale contains some of the Fourth's most attractive music. At points,
it appears to sound like the Mad Hatter's Tea Party going on (the
introduction, at 6:40 & 8:09). The piano scampers about playfully
with the orchestra, as each tries to outrace the other. There are
nevertheless moments of introspection with the piano (at 4:00 mins)
before the orchestra unfolds the big the Lawrence of Arabia
exposition (8:52 onwards). Both Ms Biret and the PNRSO serve up
a polished, entertaining and cohesive performance.
Rhapsody
on a Theme of Paganini (1934)
Vladimir Horowitz, acknowledged as one of the greatest pianists
of the 20th century, is himself on record as claiming that while
composing the Rhapsody, Rachmaninov would excitedly telephone
Horowitz every other day to tell him he had written yet another
variation for Horowitz to play!
The
Rhapsody has sometimes been referred to as Rachmaninov's
Fifth Piano Concerto, for it can loosely be sectioned into the three
movements of a normal concerto: the first movement (Variations 1-10),
the second slow movement (Variations 11-18) and the finale (Variations
19-24). The Rhapsody, a take on Paganini's 24th Caprice,
represents Rachmaninov at the height of his powers as a composer
for piano and orchestra. It is a work of great invention, wit (the
humourous reference to the Paganini's theme at the very end of Variation
24) and luxuriant romanticism (the glorious 18th Variation, one
of Rachmaninov's most celebrated melodies).
The
performance of the Rhapsody on this recording is of high
quality. Worthy of note is Variation 7 which introduces the medieval
Dies Irae, the plainsong funeral chant and a motif that continually
dominated Rachmaninov's works. Idil Biret infuses the Dies Irae,
with a brooding-like quality. There is an element of fun in Variation
13, sounding as if two people are doing a jig and bumping against
each other on purpose. Variation 14 has a tremendous sense of movement
and evokes strong military imagery. The highlight of the performance
must however go to Idil Biret's poignant entrance at the beginning
of Variation 18 following after a period of intense searching in
Variation 17. The PNRSO strings are warm and lush and thankfully
eschew an over-the-top treatment of the big melody in the 18th,
as some other recordings tend to do.
The
only minor drawback I might point out is that in this CD, each Variation
is individually accessible. Some recordings prefer to present the
entire Rhapsody as a single track. There is the good and
not-so good to this. On one hand, it makes it easier for the listener
to zoom in specifically to a favourite Variation (chances are it
is the 18th) without having to listen to the Rhapsody in
its entirety. The drawback is that one misses out on the experience
of enjoying in the Rhapsody as a whole, to bear witness to
how the piece unfolds and how each variation is so neatly and intrinsically
linked to each other.
Overall,
both Naxos recordings, comprising all of Rachmaninov's music for
piano and orchestra, are highly commendable and are ideal for anyone
looking for good introduction to Rachmaninov's works. The budget
pricing belies the quality of the recordings on both discs. Ms Idil
Biret gives a consistently polished performance throughout. Her
playing is crisp and articulate and demonstrates that it takes more
than merely keyboard mastery when its comes to Rachmaninov. Maestro
Antoni Wit and the Polish National Radio Symphony Orchestra (PNRSO)
show a sympathetic understanding of Rachmaninov's idiom. The PNRSO
sound is lush and on the whole, they give a warm and endearing performance.
ROHAN
HARITH is in the second-oldest (some would say oldest) profession
in the world.
8xx:
9.3.2001 © Rohan Harith
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