Tuesday, May 28, 2019
Sergei Rachmaninoff :: essays research papers
Probably the most revered of Rachmaninoffs compositions is the Second Piano Concerto, a work whose existence is attributed to the auto-suggestion therapy of a Dr. Nicholas Dahl. Rachmaninoffs withdraw for the good doctors services came about in this manner in 1897, the composer was in the throes of despair over the failure of his First Symphony at its premiere at St. Petersburg. Nothing, not even subsequent success in London in his unusual triple role of pianist, conductor, and composer, could dispel the agony of the defeat. discourage and unable to work on a concerto he had promised to bring with him on his next London visit, Rachmaninoff took the Dahl treatment. This consisted of four months of daily sessions with the doctor, who bombarded the patient with constantly repeated, "You impart begin to write your concerto... The concerto will be of excellent quality..."He did write the concerto, dedicating it to Dahl, and it is indeed of excellent quality, a judgment audienc es have been making since it was played by the composer for the first time on October 27, 1901. It immediately took its place as one of the quintessential romantic showpieces for piano and orchestra, and this in spite of the fact that the solo is oft sonically buried in unyielding orchestral textures. There are, to be sure, virtuosic flights aplenty for the piano, and lyrical ones, too, but the work is hardly all the pianists show.The Concerto opens with a serial publication of rather ponderous, static, unaccompanied piano chords which lead to the orchestras statement of a sardonic main theme taken by the strings while the keyboard spills out perpetual cascades of harmonic embellishment. Finally a martial answer by the piano on the first two notes of the main theme leads to a melodically and harmonically luxurious second theme given by piano alone. This is the breathless, heart-on-sleeve expressiveness that Rachmaninoff is all about, and its being in a major key helps to correct the fancy that Rachmaninoff in excelsis must be somber and maudlin.
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