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Piano Concerto No. 2 (Rachmaninoff)
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Piano Concerto No. 2, Op. 18, is a work in C minor for piano accompanied by orchestra, composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on October 27, 1901, with his cousin Alexander Siloti conducting.
This piece is one of his most enduringly popular pieces, and established his fame as a concerto composer.
ts 1897 premiere, Rachmaninoff's first symphony, though now considered a significant achievement, was derided by critics.
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Encyclopedia
Piano Concerto No. 2, Op. 18, is a work in C minor for piano accompanied by orchestra, composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on October 27, 1901, with his cousin Alexander Siloti conducting.
This piece is one of his most enduringly popular pieces, and established his fame as a concerto composer.
Background
At its 1897 premiere, Rachmaninoff's first symphony, though now considered a significant achievement, was derided by critics. Compounded by problems in his personal life, Rachmaninoff fell into a depression that lasted for several years. His second piano concerto confirmed his recovery from clinical depression and writer's block. The concerto was dedicated to Nikolai Dahl, a physician who had done much to restore Rachmaninoff's self-confidence.
Composition
The work is scored for 2 flutes, 2 oboes, 2 clarinets in B and A, 2 bassoons, 4 horns in F, 2 trumpets in B, 3 trombones (2 tenor, bass), tuba, timpani, bass drum, cymbals, solo piano, and strings. It is written in three-movement concerto form.
Moderato: C minor
The opening movement begins with a series of bell-like tollings on the piano that build tension, eventually climaxing in the introduction of the main theme. In this first section, the orchestra carries the Russian-character melody while the piano makes an accompaniment made of arpeggios. After the statement of the long first theme, a quicker transition follows until the more lyrical second theme, in E flat major, is presented.
The agitated and unstable development borrows motives from both themes changing keys very often and giving the melody to different instruments while a new musical idea is slowly formed. The music builds in a huge climax as if the work was going to repeat the first bars of the work, but the recapitulation is going to be quite different.
While the orchestra restates the first theme, the piano, that in the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as the main theme, played by the orchestra has become an accompaniment. The rest of the recapitulation is quite literal, and the piece ends in C minor fortissimo.
Adagio sostenuto: C minor ? E major
The second movement opens with a series of slow chords in the strings which modulate from the C minor of the previous movement to the E major of this movement. The piano enters, playing a simple arpeggiated figure. A flute then introduces the main theme. The motif is passed between the piano and other soloists before the music accelerates to a short climax centered on the piano. The original theme is repeated, and the music appears to die away, finishing with just the soloist in E major.
Allegro scherzando: E major ? C Minor ? C major
The last movement opens with a short orchestral introduction that modulates from E (the key of the previous movement) to C, before a piano solo leads to the statement of the agitated first theme. After the original fast tempo and musical drama ends, a lyrical theme is introduced by the oboe and violas. This second theme maintains the motif of the first movement's second theme. After a long period of development tension is built up considerably. Near the end, Rachmaninoff restates the second theme in loud, fortissimo orchestration. After this, a fast, ecstatic coda draws the piece to a close, ending in C major.
In popular culture
Use in films
The following films have made use of the concerto:
Other
- The songs "Space Dementia", "Butterflies and Hurricanes", "Megalomania" and "Ruled by Secrecy" by the band Muse all contain quotes from the moderato.
- The concerto, especially the last movement, is mentioned favorably by the heroes of Ayn Rand's novel The Fountainhead.
- The adagio sostenuto is the basis for the melodic theme of the 1976 pop/rock hit "All by Myself" by Eric Carmen.
- The adagio sostenuto is also the basis for the popera song "Nostalgia" by Amici Forever.
- The moderato theme is the basis for Frank Sinatra's "I think of you".
- The allegro scherzando theme is the basis for Frank Sinatra's 1945 "Full Moon And Empty Arms".
- The concerto was played by a character on the TV series Smallville.
- The concerto was featured in Nodame Cantabile (anime and drama version), with the piano solo played by Shinichi Chiaki, and the orchestra conducted by Franz von Stresemann.
- The concerto was featured in the anime Gankutsuou: The Count of Monte Cristo, with the piano solo played by Eugenie Danglars
- The adagio sostenuto and allegro scherzando movements appear during the second to last dance scene of the ballet movie Center Stage.
- The flute from the adagio sostenuto is used often in the first OVA of the anime Samurai X.
- The drum solo section of X Japan Concert in Dahlia Tour-Last Live was used the First movement of this concerto as BGM.
- The piano solo was featured in Susy Blue, a Mexican stop motion short film, played by Susy, the main character.
- The adagio sostenuto is the basis for the song "Life on Mars" by David Bowie.
- The last two lines in the third verse of "All the Way" sung by Frank Sinatra uses a melody from the beginning and ending of the 'allegro scherzando'.
Media
Glasvegas: Stabbed
Further reading
- W.R. Anderson: Rachmaninov and his pianoforte concertos. A brief sketch of the composer and his style. London 1947
- So-Ham Kim Chung: An analysis of Rachmaninoff's Concerto No. 2 in C Minor opus 18. Aids towards performance. Dissertation Ohio 1988
External links
- An analysis of Rachmaninoff's Works for Piano and Orchestra including the Piano Concertos and the Paganini Rhapsody
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