Piano Concerto No. 3 (Rachmaninoff)

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The Piano Concerto No. 3 in D minor, Op. 30, composed in 1909 by Sergei Rachmaninoff has the reputation of being one of the most technically challenging piano concertos in the standard classical repertoire.

The beginning of the opening theme of the Piano Concerto No. 3

Form[edit]

Following the form of a standard concerto, the piece is in three movements:

A portion of the original cadenza (ossia)
  1. Allegro ma non tanto (D minor)
    The first movement revolves around a diatonic melody that soon develops into complex pianistic figuration. The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into a slower theme in a major key. The first part of the first theme is restated before the movement is pulled into a loud development section which opens with toccata like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious climaxes, especially in the cadenza. Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the ossia, and a second one with a lighter, toccata-like style. Both cadenzas lead into a quiet solo section where the flute, clarinet and horn restate the first theme of the exposition, accompanied by delicate arpeggios in the piano. The cadenza then ends quietly, but the piano alone continues to play a quiet development of the exposition's second theme before leading to the recapitulation, where the first theme is restated by the piano, with the orchestra accompanying, soon closing with a quiet, rippling coda reminiscent of the second theme.
  2. Intermezzo: Adagio (F sharp minor/D flat major)
    The second movement is opened by the orchestra and it consists of a number of variations around a single lush, heavily romantic melody following one another without a rigid scheme. The melody soon moves to the tonic major which is the second theme. After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is closed by the orchestra in a manner similar to the introduction. Then the piano gets the last word with a short "cadenza-esque" passage which moves into the last movement without pause. Many melodic thoughts of this movement allude to Rachmaninoff's second piano concerto, third movement, noticeably the Russian-like, E-flat major melody.
  3. Finale: Alla breve (D minor → D major)
    The third movement is quick and vigorous and contains variations on many of the themes that are used in the first movement, which unites the concerto cyclically. However, after the first and second themes it diverges from the regular sonata-allegro form. There is no conventional development; that segment is replaced by a lengthy digression using the major key of the third movement's first theme, which leads to the two themes from the first movement. After the digression, the movement recapitulation returns to the original themes, building up to a toccata climax somewhat similar but lighter than the first movement's ossia cadenza and accompanied by the orchestra. The movement concludes with a triumphant and passionate second theme melody in D major. The piece ends with the same four-note rhythm – claimed by some to be the composer's musical signature – as the composer's second concerto.[1]

Rachmaninoff, under pressure, and hoping to make his work more popular, authorized several cuts in the score, to be made at the performer's discretion. These cuts, particularly in the second and third movements, were commonly taken in performance and recordings during the initial decades following the Concerto's publication. More recently, it has become commonplace to perform the concerto without cuts. A typical performance of the complete concerto lasts about forty minutes.

History[edit]

Proofing copies of the concerto (1910)

Rachmaninoff composed the concerto in the peaceful setting of his family's country estate, Ivanovka,[2] completing it on September 23, 1909. Contemporary with this work are his First Piano Sonata and his tone poem The Isle of the Dead - both in the same key of D minor.

The concerto is respected, even feared, by many pianists. Josef Hofmann, the pianist to whom the work is dedicated, never publicly performed it, saying that it "wasn't for" him. Gary Graffman lamented he had not learned this concerto as a student, when he was "still too young to know fear".[3]

Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while en route to the United States.

The concerto was first performed on November 28, 1909 by Rachmaninoff himself with the now-defunct New York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened the Century Theater). It received a second performance under Gustav Mahler several weeks later, an "experience Rachmaninoff treasured."[4] The manuscript was first published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that "I much prefer the Third, because my Second is so uncomfortable to play." Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular.

Orchestration[edit]

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, piano and strings.

Selected recordings[edit]

Soloist Conductor Orchestra Record Company Year of Recording Format
Vladimir Horowitz Albert Coates London Symphony Orchestra HMV 1930 CD, LP
Sergei Rachmaninoff Eugene Ormandy Philadelphia Orchestra RCA Red Seal 1939 CD, LP
Vladimir Horowitz John Barbirolli New York Philharmonic Label 1941 CD, LP
Emil Gilels André Cluytens Orchestre de la Société des Concerts du Conservatoire EMI Classics 1955 CD, LP
Van Cliburn Kirill Kondrashin Symphony of the Air RCA Red Seal 1958 CD, LP
Vladimir Ashkenazy André Previn London Symphony Orchestra Decca 1973 CD, LP
Martha Argerich Riccardo Chailly German Symphony Orchestra, Berlin Philips 1982 CD
Dimitris Sgouros Yuri Simonov Berlin Philharmonic EMI 1983 CD, LP
Horacio Gutiérrez Lorin Maazel Pittsburgh Symphony Orchestra Telarc 1991 CD

In film[edit]

The concerto is one of the main foci of the 1996 film Shine, based on the life of pianist David Helfgott.

References[edit]

Further reading[edit]

  • W.R. Anderson: Rachmaninov and his pianoforte concertos. A brief sketch of the composer and his style. London 1947
  • Yasser, Joseph (1969). "The Opening Theme of Rachmaninoff's Third Piano Concerto and its Liturgical Prototype". Musical Quarterly LV (3): 313–328. doi:10.1093/mq/LV.3.313. 

External links[edit]