Sergei Rachmaninoff – Symphony No. 1

★★★

   Sergei Rachmaninoff owes his fame to his piano concertos. His 2nd and 3rd concertos are probably most praised compositions for grand piano and orchestra. One may add the Rhapsody on a Theme of Paganini. 1st and 4th concertos are not so popular. He was also recognized composer of symphonic and choral works, artist well known for his recordings and very popular virtuoso pianist. Even though he was not adequately valued for big part of his works, he remains one of most popular composers of 20th century music. His three symphonies were never as much popular as concerti, but in last decades of 20th and first decades of 21st century these great scale postromantic compositions are present in wide symphonic repertoire. So even if someone doesn’t like sound recordings, all three are not difficult to find in concert programs.
   Born in 1973 Sergei Vasilievich Rachmaninoff – in his native language Сергей Васильевич Рахманинов – was one of the greatest romantic composers at the turn of the 20th century. But even seventy years after his death Rachmaninoff is the reason of some artistic controversy. He was extremely popular for his concertos and highly rated for performing skills. Although many historians were hostile about his style, seeing his music as it was just a continuation of Tchaikovsky and Borodin style. It is misconception, in fact Rachmaninoff’s style was criticized as too much modern, and this criticism pushed him to rejection of his 1st Symphony D Minor op. 13. In effect he lost his self-confidence, ceased composition and started to perform and conduct. Later the manuscript of the score disappeared and he did not return to the case of the bad luck numbered opus.

Sergei Rachmaninoff – Symphony No. 1 (1967)

   The irony of fate is later criticism of Rachmaninoff’s style as too much traditional. It was already time of growing interest on contemporary, intellectually arranged music and novelty of new concepts. And young Rachmaninoff was rather radical in experiments in his own way. In his first symphony he portrayed platonic love to Anna Lodyzhenskaya, giving dedication with initials A. L. and the same Biblical motto as Leo Tolstoy in Anna Karenina “Vengeance is mine; I will repay”. Other characteristic feature was using of motive from Dies irae sequence as one more reference to unrequited love. In cover notes Nicolas Slonimsky written Rachmaninoff destroyed the manuscript. Almost fifty years later, two years after Rachmaninoff died, in 1945 orchestral parts of Rachmaninoff’s 1st Symphony were discovered in archive of Leningrad Conservatory. Reconstructed and premiered in Moscow the same year Symphony was received with great success. Nicolas Slonimsky wrote: “Rachmaninov was dead, but he would probably have appreciated the irony of the resurrection of his youthful work”.
   Rachmaninoff’s 1st Symphony is great piece of romantic music. Starting with short solemn introduction Grave, it bursts with energy Allegro ma non troppo theme. Initially bright, after some modulations it changes into elegiac and then tragic, contrasted with melancholic second theme. Introduced by the violins Moderato is composed in gypsy scale which could be a reference to Anna Lodyzhenskaya, who was Romani descendant. This is only beginning of narration, continued in ironically dramatic scherzo Allegro animato. Third part Larghetto is the contemplative moment and a background for strong finale Allegro con fuoco.
   There are many great performances of this Symphony. Most appreciated were made by Vladimir Ashkenazy with Amsterdam Concertgebouw Orchestra, Kurt Sanderling with Leningrad Philharmonic Orchestra, Lorin Maazel with Berliner Philharmoniker. All emotional depth of 1st Symphony was also perfectly rendered by the Philadelphia Orchestra and its conductor Eugene Ormandy in 1967. The Philadelphia Orchestra was the first orchestra Rachmaninoff has conducted during his emigration. It happened in December 1939 and it was the first time since his last Russian concert in January 1917. Rachmaninoff was recording his piano concerti with Philadelphia Orchestra conducted by Leopold Stokovsky and Eugene Ormandy. Eugene Ormandy was also conductor of premiere performances of 3rd Symphony A Minor op. 44 and Symphonic Dances op. 45, late Rachmaninoff’s symphonic works.

Galina Vishnevskaya and Mstislav Rostropovich perform Rachmaninoff and Glinka

   Song is definitely a cultural phenomenon. It unites poetry, music and performance in one clear economic form. It is more than just a communiqué, it is an exposure comprising human processes: emotional and intellectual, private and social, natural and cultural. Song is present since ancient times, throughout history, to the present day. There were special moments, when song in various forms became particularly important, like late mediaeval canson or early baroque accompanied monody. Song is especially significant as a medium of rebellion and protest. Artistic song was also probably most characteristic musical form of romantic era. In 19th century European culture poetry was probably more popular than ever before, and musical elaboration of poems took prominent place in many social events. No wonder almost every composer was trying his potential in songs, song cycles, small forms for voice or even instrumental miniatures constructed as songs.
   Russian composers were especially creative in this field which was the result of great romance tradition giving song special place in repertoire and in collective memory. Russian culture until XVIII century was developing in isolation. In consequence of religious and cultural differences, Russian music was almost impenetrable from West European positions. The first Russian composer who became internationally recognized was Mikhail Glinka (1804-1857). He become famous for his operatic works, especially A Life for the Tzar (1936 original title Ivan Susanin) Ruslan and Lyudmila (1942) after poem by Alexander Pushkin. He was also author of chamber and orchestral compositions, with most popular symphonic piece Kamarinskaya (1848) and two Spanish Overtures (1845 and 1851). He composed also numerous artistic songs to romantic poems by Alexander Pushkin, Nestor von Kukolnik, Friedrich von Schiller and Adam Mickiewicz.

Galina Vishnevskaya – Songs by Rachmaninov and Glinka (1976)

   Romantic era was the time of great rise of culture in imperial Russia. During the one century Russian composers gained rated positions and become leading power in late romantic period. One of late romantic composers was Sergei Rachmaninoff, composer and pianist famous mainly for his four piano concertos and Rhapsody on a Theme of Paganini. He is remembered as brilliant pianist and his works are often present in virtuoso piano recitals, especially Preludes. His works comprise three operas, three symphonies, two string quartets, and series of choral works, many of them liturgical. And maybe the biggest amount of his works are compositions for voice with piano with famous Vocalise Op. 34 No. 14 (1912). He was composing songs to great Russian poetry, to lyrics of Ivan Bunin, Alexander Pushkin, Yakov Polonsky and Fyodor Tyutchev.
   Both composers, Glinka and Rachmaninoff are great masters of artistic song, and this part of their work was the subject of frequent renditions. One of the best is Deutsche Grammophon album with the recital of songs written by two romantic composers. Chronologic order was reversed and five Rachmaninoff songs were placed in side A of the record: Ночь печальна (Night is Mournful) Op. 26 No. 12, Не пой красавица (Beauty, Don’t Sing Anymore) Op. 4 No. 4, Музыка (Music) Op. 34 No. 8, Весенная вода (Spring Waters) Op. 14 No. 11 and Вокализ (Vocalise) Op. 34 No. 14. B side comprises 8 songs by Glinka: Сомнение (Doubt), Я помню чудное мгновение (I Remember the Wonderful Moment), Как сладко с тобой мне быть (How Sweet is to Be with You), К ней (To Her), Только узнал я тебя (I Just Found You), Венецианская Ночь (Night in Venice), Жаворонок (The Lark) and Баркарола (Barcarolle). This album of songs by Mikhail Glinka and Sergei Rachmaninoff was recorded in 1976. It is beautiful presentation of two Russian artists, singer Galina Vishnevskaya and famous cellist and conductor Mstislav Rostropovich who was also perfect pianist and sophisticated accompanist. Four stars for poetic and musical features of repertoire and for the quality of performance.