Rachmaninoff 2nd pianoconcerto - Musical analysis

[nicco]

I have to do a very detailed analysis of this concerto. Does anyone know where one might find some help?

[Bob]

Google has a scholar search function.

[pianistimo]

'A History of the Concerto' by Michael Thomas Roeder - Amadeus Press (Reinhard Pauley, General Editor) @1994 pp 302-303

'The story of the success of Concerto No. 2 in C minor, Op 18 (1900-1901), and its role in restoring the composer's self-confidence following the disastrous premiere of his First Symphony in 1897, is probably as well-known as the Second Concerto itself.  The poorly prepared performance of the symphony and its disappointing reception pluged Rachmaninov into a deep depression that lasted almost three years.  During this time he composed nothing.  Following treatment by Dr. Nikolay Dahl, who used hypnosis, the composer eventually shook off his depression and began to work on the C minor concerto.  Rachmaninov composed the second and third movements in 1900, and he performed them in Moscow in December of that year.  By May 1901, he completed the entire work, performing it the following November, with the conductor Siloti.

This concerto, one of the best loved and best known of all those for piano, has a most original opening.  A typical nineteenth-century concerto introduced the solo instrument by using it to present a theme, or to provide a virtuoso flourish.   But, here, starting in the darker subdominant region, the solo instrument plays soft, low, dark chords alternating with deep bass notes, establishing a somber, weighty mood.  This opening is  also one of the few places in the first movement where the piano is unaccompanied -- there is no cadenza.  Throughout most of the movement, the piano plays decorative figuration against the thematic statements presented by the orchestra; in so doing it carries on the Russian tradition of decorative variation fromt he outset of the exposition.  The close ensemble playing necessitated by this effective integration of piano and orchestra makes the C minor concerto an extremely difficult work to perform, despite the fact that it is pianistically less demanding than the concertos that bracket it.  The solo piano's presentation of the grand second theme (mm 83-89) at the beginning of the second key area, E-flat, is oneof the few places in which the piano is clearly exposed with thematic material.

The intense development section, starting at the moto precendente, first focuses on the main theme as well as on a new, powerful, rhythmic figure (mm 162-163) of which the notes marked with a bracket are particularly important.  The climax of the development builds around the lyrical second theme, which is carried upward sequentially while accelerating to Allegro, as the piano plays a powerful, chordal version of the rhythmic figure.  At the Allegro this figure is transformed into fortissimo, quarter-note triplets, against ever-rising sequences of a portion of the second theme in the high strings.  This climax, with its rising sequences and increasing volume, is engineered like those in Tchaikovsky's music.

(con't)

[pianistimo]

The treatment of the two central thematic ideas in the recapitulation is gripping.  The orchestra transforms the main theme into a march in a maestoso tempo, while the piano accompanies with its powerful chordal version of the rhythmic motive from the development.  The second theme returns first in A-flat major, augmented by horns, over pianissimo tremolando strings--emblematic of Rachmaninov in his quiet, mysterious, and introspective mood.

The adagio sostenuto in E major opens in a manner reminiscent of the slow movements of Rachmaninov's First Concerto and Tchaikovsky's B-flat Minor Piano Concerto; that is, with a short orchestral transition from the key of the first movement to that of the second.  The flute and, especially, the clarinet are given important thematic material.  The more animated middle section of the ternary form centers in A major.

The allegro scherzando finale is a type of rondo form in which the first, faster theme alternates with a more moderate, more tuneful, second theme, creating an ABABAB form, with the final B transformed into a climactic version of the theme.  A tends to stay in the home key, while B occurs in other keys before finding its home in C major.  A stimulating fugal exchange occurs during the second A section.'

[nicco]

Google has a scholar search function.

Yes i know, but sometimes google doesent find the best pages.

[shoenberg3]

Yes i know, but sometimes google doesent find the best pages.

Google scholar is pretty respectable.

[pianistimo]

i found something at the 'flying inkpot' i think you'll really like.  scroll down a ways to where it says 'the concerto.'
https://inkpot.com/classical/rachpfc2.html

[nicco]

thanks suzie

[pianistimo]

i felt badly that i didn't find the detailed analysis - but guess what!  i forgot about this book that i happened across this morning that is out of print, i think.  it's entitled 'the concerto' edited by ralph hill published by penguin hill, baltimore, md, first copyright 1952.  on pp294-297:

'First movement, Moderato.  Eight solemn, dramatic chords gradually increasing in volume, and intensity are played by the soloist, and lead to the first theme, con passione, on the strings accompanied by swirling piano arpeggios. This, like so many of Rachmaninov's melodies, uses the tonic note as a pivot and generally avoides the wider melodic intervals; it requires fourty-five bars for its complete statement.  The final phases are taken over by the piano until a rapid treble passage culminating in a series of heavy chords signifies the end of the first subject group.

(con't)

[nicco]

Do you have this book? How much info on the Rach 2 is there? Just looked at some stores online, is it the 450 page one? That was really expensive.

[pianistimo]

i can give you what i have right now.  i don't thinks it's been reprinted since 1961.

[nicco]

i can give you what i have right now.  i don't thinks it's been reprinted since 1961.

That would be fantastic, thanks!

[pianistimo]

A brief viola phrase accompanied by clarinet chords prepares for the second subject - another lyrical melody, played by the soloist (give example  - key of Eb - quarters move from G to Bb to Eb to F - to G to A -half note- G F Eb D Eb C D Cb Db B -dotted half) .   The tune is developed modestly until the tempo quickens and a brief cadenza marks the end of the exposition.  The development is concerned mainly with the first subject in association with a rhythmic figure, first played by the bass strings and later elaborated by the woodwind and piano:  (eighth notes EEEFDE - A)  It derives, incidentally, fromt he outline of the crotchet group in the eighth bar of the introduction to the movement.  When the piano enters at Section 8 (phrase above - EEEFDE - A- quarter) it adopts this rhythmic figure and varies it extensively until the violas introduce a transformed version of the second theme, which gradually passes to the full orchestra accompanied by pounding rhythmic phrases, derived from example 8 , on the solo instrument.  A powerful climax is built, leading directly to the recapitulation of the first theme Maestoso All Marcia on the strings accompanied by another piano variation of ex. 8.  (con't)

[pianistimo]

The second part of the theme then becomes the property of the soloist, though the strings and woodwind join in at the eighth bar.  At section 13 a solo horn reintroduces the second subject, whose closing phrases are treated rhapsondically by the piano in one of the most inspired passages of the whole work.  A coda, starting at section 16, is based on the rapid treble phrase with which the exposition of the first subject concluded.  It should be noted that there is no conventional cadenza, and that the whole movement is remarkable for its sustained tension ; the only passage of essentially rhapsodical character is to be found in the very free recapitulation of the second subject.  In terms of the relationship between form and content it is evident that rachmaninov never surpassed this movement. (con't)

[pianistimo]

Second Movement, Adagio Sostenuto.  Four introductory bars serve as a prelude to the slow movement, and act as a transition from C minor to E major.  The piano enters at the fifth bar with a very beautiful accompaniment figure, above which a solo flute and a solo clarinet introduce the principal theme:  (E major - B E E# - E#half-note - F# A - D half-note - E G C half-note E F - then time sig changes to 3/2 G# G# tie eighths G#F#G #G#A F# E - time sig to Common time - G#)

[pianistimo]

The latter is then stated by the piano, while the strings and clarinets take over the original accompaniment figure.  Nine bars after section 19 the piano plays a variant based on the 3/2 bar of the main theme; this is extended and developed until a brief cadenza passage leads to a section in more lively tempo, followed by a larger and more powerful cadenza.  The final trill of the cadenza turns itself into the original accompaniment figure while the strings play the principal melody for the last time.  The exquisite coda is based on a stately variant of the theme divided between the strings and the piano, while the woodwind make reference to an altered version of the accompaniment figure.

[pianistimo]

Third Movement.  Allegro Scherzando.  The orchestral introduction suggests the rhythm of the forthcoming main theme, and in twelve bars takes us from the E major to the original C minor.  A brilliant piano cadenza leads to the first theme (Ab G Ab G - quarters then to eighths FG F EbF Eb).  This is followed by a series of attractive but structurally unimportant subsidiaries.  Sixteen bars after section 30 the piano prepares for the famous second subject, first stated by the oboes and violas and then repeated in more extended form by the piano:  F Bb (half-note tied to quarter) Ab F Eb F (whole note tied to quarter) D Eb D Gb F Eb D F Eb D C F (whole note ending on this F).

[pianistimo]

A passage of piano figurations in triplets, accompanied by brushed cymbals, serves as a transition leading to the return of the main theme, which is then subjected to various treaments and at section 34 becomes the basis of a brief fugato episode.  The second subject then returns in D-flat major, followed once again by the triplet bridge passage.  The final episode begins with an orchestral statement of fragments from the main theme, together with a mysterious, veiled suggestion of ex. 6 from the first movement. (The latter, however, was composed after the second and third movements had had their first performance).  Soon after the entry of the piano there is a climax and a short cadenza, leading to a statement of the second subject, maestoso in C major, by the piano and full orchestra, thus bringing the Concerto to an effective conclusion.  The form of the finale might therefore be described as A B A B A B , the scherzando theme A recieving the most varied treatment while the second theme B is mainly static and lyrical.'

[nicco]

Susan...wow. Maybe there is a God.

[pianowelsh]

The Ralph HIll is ok. What level do you need it for ?? A kind of in depth programme note or a phd thesis?!?! If the later I would suggest Ralphs book might not be sufficietly detailed or comprehensive??? You could however use it as a basis for conducting your own analysis.. Thats by far the best way. Get a score out of the library and listen to it (photocopy it and scribble your observations all over it with highlighters etc) It may sound daunting but actually its great fun and an anaylsis all ways is more interesting to read if its your own..personal response to the music.

[nicco]

Actually, ive played it myself. Its for a university paper, about 10-15 pages long, so this gave me a good start.

[pianistimo]

pianowelsh is right about making it more detailed, probably.  a good place is the college library music journal section on the periodical floor.  you can find really detailed stuff there.  i forget some of the names of journals that i found there - but there are theory/composition ones.  also, onthe main floor - to look in the theory/analysis section of the music library - and also in the BOOKSTORE. sometimes you can (without even buying the book) scan a book for the information you need - write down the details and quote the booksource/publisher/copyright date/page numbers - and obtain good information that is up-to-date.

for instance, ralph hill - segmented this all into 'sections.'  i have another teacher who does this - but calls it 'points of articulation' where something changes.  i find it very effective - but you have to sort of explain the 'sections' there - because i couldn't copy and paste the musical examples (sorry about that).  susan