Sergey Rachmaninov Rhapsody on a Theme of Paganini, Op. 43
(1873-1943)
for piano and orchestra
When Rachmaninov introduced his Fourth Piano Concerto in 1927 it made a disappointing impression in contrast to his earlier concertos, and for the next five years the composer-pianist added no more new works of his own to his repertory, In 1932, however, he composed the Vdriations on a Theme of Core/li for piano solo, and the public response was so encouraging when he performed this on his concert tours that two years later he followed it with a work which soon came to rival the Second Piano Concerto in popularity. The 'Paganini Rhapsody', as it came to be known is another set ofvariations on a theme, the theme in this instance being that of the last of Paganini's 24 Capricci for solo violin (on which Brahms and Schumann, among others, also wrote variations). It was a success from the moment of its flrst performance at Baltimore on 7 November 1934, with Rachmaninov as soloist and the Philadelphia Orchestra conducted by Leopold Stokowski.
Instead of stating the theme at the outset, Rachmaninov follows a brief nine-bar Introduction with his first Variation for orchestra alone. Only then is the Paganini theme heard in full, played by the violins in A minor (the key of the original Cdpriccio), and rhythmically punctuated by the piano, There are 24 variations altogether, and they fall into three groups which correspond to che three movements of a concerto, but played without a break.
Entwined with the Paganini theme in some variations is the ancient plainchant setting of the Dies irue (Day of Wrath), credited by some scholars to Thomas de Celano, who was both a disciple and a biographer of St. Francis of Assisi. This plainchant evidently had some significance for Rachmaninov, who incorporated the theme into other works, notably a symphonic poem, The IJle ofthe Dead, and the next two compositions after the Rhapsody (which were also his last): the Third Symphony and the Symphonic Dances.
In general the Rhapsody is less concerned with breaking down or elaborating Paganini's theme than with presenting it in different rhythmic and harmonic contexts. The Dies irae chant is first added in Variation 7, and remains prominent through the next three Variations. Jn all but a few of them the piano is used percussively more than lyrically, the composer adopting a laconic musical manner in place of his earlier romanticism. The exception is the sumptuously scored Variation 18, which recalls che composer's earlier style and forms the climax of the slower central part of the Rhapsody.
The next Variation begins an increasingly brilliant final section with toccata-like writing for the piano, and the orchestra makes grandiose comments in support of the keyboard bravura. The Rhdpsody is the most inventive, concise and well-proportioned of Rachmaninov's concerto works, its overall design that of mounting intensity of expression from the outset to a scintillating ending, which flnally brushes aside any last threat from the menacing Dies irae with a nonchalant little quip from Paganini.
(C) Nobl Goodwin
Interval: A warning gong will be sounded for five minutes before the end of the interval.
