RACHMANINOV Piano Concerto No. 3

Prince Rostislav

Band Glemser, Piano National Symphony Orchestra of Ireland

Jerzy Maksymiuk, Conductor

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Sergei Rachmaninov (1873 - 1943) Piano Concerto No. 3 in D Minor, Op. 30 Prince Rostislav, Symphonic Poem

Sergei Vasilyevich Rachmaninov was born at Semyonovo in 1873. His family, one of strong military traditions on both his father's and mother's side, was well-to-do, but the extravagance of his father made it necessary to sell off much of their land. Rachmaninov's childhood was spent largely at the one remaining family estate at Oneg, near Novgorod. The reduction in family circumstances had at least one happier result. When it became necessary to sell the estate at Oneg and to move to St. Petersburg, the expense of education for the Imperial service proved too great. Rachmaninov could make use, instead, of his musical gifts, entering St. Petersburg Conservatory at the age of nine with a scholarship.

Not a particularly industrious student and lacking the attention that he needed at home, in 1885 Rachmaninovfailed his general subject examinations at the Conservatory and there were threats that his scholarship would be withdrawn. His mother, now separated from his father and responsible for the boy's welfare, arranged that he should move to Moscow to study with Zverev, a teacher of known strictness. In Zverev's house, however uncongenial the strict routine, he acquired much of his phenomenal technique as a pianist, while broadening his musical understanding by attending concerts in the city. At the age of fifteen he became a pupil of Zverev's former student Ziloti at the Conservatory, studying counterpoint and harmony with Sergei Taneyev and Arensky. His growing interest in composition led to a quarrel with Zverev and removal to the house of his relations, the Satins.

In 1891 Rachmaninov completed his piano studies at the Conservatory and the composition of his first piano concerto. The following year he graduated from the composition class and composed his notorious Prelude in C sharp minor, a piece that was to haunt him by its excessive popularity. His early career brought initial success as a composer, halted by the failure of his first

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symphony, conducted badly by Glazunov, apparently drunk at the time, and reviewed in the cruellest terms by Cesar Cui, who described it as a student attempt to depict in music the seven plagues of Egypt. Rachmaninov busied himself as a conductor, signing a contract with the Mamontov opera company. As a composer, however, he suffered from the poor reception of his symphony and was only enabled to continue after a course of treatment with Dr. Nikolai Dahl, a believer in the efficacy of hypnotism. The immediate result was the second of his four piano concertos.

The years before the Russian revolution brought continued successful activity as a composer and as a conductor. In 1902 Rachmaninov married Natalya Satina and went on to pursue a career, that brought him increasing international fame. There were journeys abroad and a busy-professional life, from which summer holidays at the estate of Ivanovka, which he finally acquired from the Satins in 1910, provided respite. All this was interrupted with the abdication of the Tsar in 1917 and the beginning of the revolution.

Rachmaninov left Russia in 1917. From then until his death in Beverley Hills in 1943, hewasobliged to rely largely onperformanceforaliving. Nowtherewas very much less time for composition, as he undertook demanding concert tours, during which he dazzled audiences in ~ u r o p e and ~mer i ca withhis remarkable ~owersasaoianist. His house at lvanovkawasdestroved in the Russiancivil war. and in 1931: the year of thecorelli Variations, his music was banned in Russia; to be permitted once more two years later. He spent much time in America, where there were lucrative concert tours, but established a music publishing house in Paris and built for himself a villa near Lucerne, where he completed his Paganini Rhapsody in 1934 and his Third Symphony a year later. In 1939 he left Europe to spend his final years in the United States.

Rachmaninov gave the first performance of his technically demanding Third Piano Concerto in New York on 28th November, 1909. Towards the end of his life he wasto refuse toplay the work, which he preferred to entrust to the younger pianistsvladimir Horowitz and Walter Gieseking, surprising diffidence in aplayer

of his calibre. The first performance under Damrosch was followed by a Carnegie Hall performance in January, 1910, under Gustav Mahler, to be greeted with critical reservations about its length and excessive difficulties. Rachmaninov had written the concerto during the course of the previous summer at Ivanovka, an estate that his uncle had given him and where he was to find a respite from concert activities until deprived of it by the Revolution of 1917.

The principal theme of the first movement is announced at the beginning of the concerto bv the soloist. a melodvwhich one writer has traced to the Russian ~rthodoxliturgy. This opening theme isof considerable importancesince much that follows isderived from it;in one way or another. here is an expressive second subiectandacentral developmentthatis the heart of thewhole movement. followed by an extended cadenza and a much abbreviated recapitulation. he second movement Intermezzo contains a central section in the mood of a Scherzobased on the principal theme of the first movement. The Finale follows at once, its opening theme a rhythmic derivative of the opening subject, followed by the gradual appearance of the theme that is to dominate the movement. It should be added that however familiar the concerto may now seem to us, it is in its way a work of remarkable harmonic and structural originality, vastly superior to the feeble and empty popular imitations that have followed it.

Rachmaninov wrote his symphonic poem Prince Rostislav in 1891 and dedicated the workto his teacher Arensky. Prince Rostislavis based on a poem by Alexei Konstantinovich Tolstoy. The prince of the title, killed in battle, lies forgotten on the bed of the River Dnieper, its depths suggested in the opening motif for lower strings. Rostislav, represented by the string section, is heard, and water nymphs, with another appropriate theme, comb his yellow hair.

There are three cries of despair, heard from trombone and tuba, as Rostislav calls on his wife, who is now to marry another, on his brother, who has forgotten him, and on the priests of Kiev, whose thoughts have turned to other things. In despair he sinks back into oblivion, forgotten by those dear to him, but now comforted again by the water nymphs of the great river.

Bernd Glemser A prize-winner on no less than seventeen occasions in international

competitions, the young German pianist Bernd Glemser was born in Durbheim and was still a pupil of Vitalij Margulis when he was appointed professor at the Saarbrucken Musikhochschule, in succession to Andor Foldes, himself the successor of Walter Gieseking. In 1992 he won the Andor Foldes Prize and in 1993 the first European Pianists' Prize. With a wide repertoire ranging from the Baroque to the contemporary, Bernd Glemser has a particular affection for the virtuoso music of the later nineteenth and earlier twentieth centuries, the work of Liszt, Tausig, Godowski, Busoni, and especially that of Rachmaninov. His career has brought appearances at major music festivals and leading concert halls throughout Europe and further afield.

National Symphony Orchestra of Ireland The RTE Symphony Orchestrawas founded in 1947 as part of the Radio and

Television service in Ireland. With its membership coming from France, Germany, Britain, Italy, Hungary, Poland and Russia, it drew together a rich blend of European culture. Apart from its many symphony concerts, the orchestra came to world-wide attention with its participation in the famous Wexford Opera Festival, an event broadcast in many parts of the world. The orchestra now enjoys the facilities of a fine new concert hall in central Dublin where it performs with the world's leading conductors and soloists. In 1990 the RTE Symphony Orchestrawasaugmented and renamed the National Symphony Orchestra of Ireland, quickly establishing itself as one of Europe's most adventurous orchestras with programmes featuring many twentieth century compositions. The orchestra has now embarked upon an extensive recording project for the Naxos and Marco Polo labels and will record music by Nielsen, Tchaikovsky, Goldmark, Rachmaninov, Brian and Scriabin.

Jerzy Maksymiuk Jerzy Maksymiuk was born in Grodno and studied violin, piano, conducting

and composition at the Warsaw Conservatory. In 1964 he won first prize in the ~aderewski Piano Competition but soon turned his attention principally to conductina. in articular in the establishment and extensive tourina throuahout Europe of"the'~olish Chamber Orchestra. From 1975 to 1977 6e wasalso Principal Conductor of the Polish National Radio Orchestra and in 1984 was appointed Chief Conductor of the BBC Scottish Symphony Orchestra with which he has toured extensively and made a number of commercial recordings. Jerzy Maksymiuk has worked with many of the major orchestras in Europe, the United States of America and Japan, and in 1990 made his debut at the English National Opera with performances of Mozart's Don Giovanni.

Sergej Rachmaninoff Klavierkonzert Nr. 3 Fiirst Rostislaw

Sergej Rachrnaninoff ist wohl einer der "russischsten" Komponisten aus der Zeit der Jahrhundertwende. Am 1. April 1873 in Oneg geboren, entstarnrnte er einer Pianistenfamilie - sein GroRvater war Schuler des irischen Kornponisten John Field gewesen, und auch sein Vater konnte es auf dern Instrument zu einigern Ansehen bringen.

So lag es fur den iunqen Sergej nahe, das "Farnilieninstrurnent" zu erlernen. Und dement~~rechendnirnrnt d ie~usik fur Klavier solo und mitorchester einen groOen Raurn in seinern eigenen kornpositorischen Schaffen ein.

Nachdern erseine musikalische Ausbildung in Moskau absolviert hatte, wurde er- inzwischen schon ein gefeierter Konzertpianist (der einerder groRtendes 20. Jahrhunderts werdensollte) - irn Jahre 1909 erstrnals in die USAeingeladen, wo man ihrn sogar die Leitung des Boston Symphony Orchestra antrug. Doch Rachrnaninoff kehrte nach Moskauzuruck, urn hierweiterzuarbeiten. Erstnach der Oktoberrevolution verlieR er seine Heirnat und gelangte uber Skandinavien wiederindie Vereiniaten Staaten, woersich 191 8niederlieR. Serqei Rachmaninoff starb am 17. ~ e b i a r 1943 in Beverly Hills - wenige ~ a ~ e - v o r seinern 70. Geburtstag.

Dasdrittederinsgesamtvier Klavierkonzerte schrieb Rachmaninoff inder Zeit seiner Arnerika-Tournee (1909) als ein pianistisches Bravourstuck. Seine technischen ~nforderungen sindso extrem, daR esals "Konzertfijr Elefantennin die Musikgeschichte einging - und selbst die anspruchsvollen Klaviersatze der drei Schwesterwerke (und der Rha~sodie uber einThernavon Paqanini ausdern Jahre 1943) weit ubehrifft.

Deutlich wird in Rachmaninoffs op. 30 die Suche nach der musikalischen Einheitder drei Satze. die er durch die immerwieder neue Beleuchtuna weniaer einfacher Gedanken gewinnt - so erweist sich etwa das raffinierte ~ G l e c h t i e r zwei ersten Takte als eine Fundgrube irnmer neuer Thernen. Dabei spielt es letztlich keine Rolle, ob der Kornponist bewuRt vorgegangen ist oder ob zum Beispiel der erste Hauptgedanke aus einern Akt der reinen Inspiration entstand: "Esschrieb sich einfachselbst! ... Wenn ich irgendeinen Plan beim Komponieren dieses Themas hatte, dann dachte ich nur an Klang. Ich wollte die Melodie am Klavier 'singen', so wie ein Sangersie singen wurde ..." - ein Vorhaben, das ihm ohne jeden Zweifel gelungen ist. Das Klavier ist im ersten Satz eingebettet in einen Orchesterklang, dessen satte, dunkle Farben charakteristisch sind fur Sergej Rachmaninoff - ein Markenzeichen, das man in den Konzerten wie auch inden Syrnphonien und Symphonischen Dichtungen ("Der Fels", "DieToteninsel") finden kann.

Das "Adagio" hat der Kornponist selbst als Intermezzo bezeichnet. Und so erscheintdersatzwie eine gesangliche Verbindung zwischen den groRformatigen, explosiven Ecksatzen.

Das Finale wird zu einem spannungsgeladenen Fest virtuosen Klavierspiels. Dabei kornrnt es am Ende wiederzu einern jener Aufschwunge, in denen sich die wahrend der bisherigen Entwicklung aufgestauten Impulse hymnisch befreien - Solist und Orchester vereiniaen sich zu einem breiten. weit sich aussinaenden Melodiestrom, der schlie~l'kh noch einrnal uber einige Klippen s&zt und wuchtig abreiRt.

Im Herbst 1891 war der junge Sergej Rachmaninoff schwer erkrankt. AuBerdern litt er unter Depressionen, die bis Jahresende anhielten. Dann allerdings prasentierte er eine neue Komposition: die Symphonische Dichtung "Fiirst Rostislaw", die er seinern Lehrer Anton Arensky widmete. Dem programmatischen Werk voraufgegangen waren ein erster Satz zu einer Symphonie und - bereits 1887 - ein Scherzo fur Orchester, das noch ohne jegliche kompositorische Ausbildung entstanden war. Jetzt aber, in der neuen

Schopfung, spurt man deutlichdieleitende Hand Arenskys und Sergej Tanejews, die Rachmaninoff am Moskauer Konservatorium unterrichteten. Das Orchestrieren geht besser von der Hand, die Organisation zwischen Spannung und Entspannung ist uberzeugender, formal und harmonisch hat der 18jahrige dazugelernt.

"Furst Rostislaw" geht zuruck auf ein fruhes Gedicht von A.K.Tolstoi. Darin wird von dem Fursten erzahlt, der, nachdem er in einer Schlacht getotetwurde, nun auf dem Grunde des Dnjepr liegt. Rachmaninoff verbindet die tragische Titelfigur mit einem Erkennungs- (oder: Leit-) Motiv, das erstmals am Anfang des Stuckes in den tiefen Streichern zu horen ist und den ganzen ersten Abschnitt beherrscht. Unterdessen symbolisieren die Streicher das Wogen des Flusses.

Im Mittelteil zeigt sich der Lyriker Rachmaninoff: Nymphen sorgen fur den Fursten und kammen sein goldenes Haar. Ein dreifacher Verzweiflungsschrei des Versunkenen zerreil3t den Frieden (Posaunen und Tuba): Er ruft nach seiner jungen Frau, dann nach seinem Bruder und endlich nach den Priestern von Kiew - doch seine Frau ist mit einem anderen verlobt, man hat ihn vergessen, und seine Stimme ist zu schwach, als dal3 man sie horen konnte. Es folgt die Resignation des Fursten, der sich in sein Schicksal fugt, getrostet allein von den Nyrnphen.

"Furst Rostislaw" wurde zu Lebzeiten des Komponisten nie aufgefuhrt, blieb bis 1947 unveroffentlicht und gehort noch heute zu den unbekannten Werken des beruhmten russischen Komponisten und Pianisten.

O 1994 Cris Posslac

Serge Rachmaninov Concerto Pour Piano N03 Op. 30 Le Prince Rostislav

Serge Rachmaninov (1873 - 1943) a souvent ete I'objet de jugements a I'emporte-piece, aussi bien de lapartdeses thuriferairesquedesesdetracteurs: porte aux nues sans reserves ni clairvoyance par les uns (dont les apprenti- pianistes et le grand public), envisage avec une condescendance teintee d'un certain mepris par les autres (les historiens, les musicologues), le compositeur ne semble pas avoir trouve la place qui est reellement la sienne au sein du grand arbre genealogique des compositeurs-interpretes, oh il prend place a la suite de Bach, Mozart, Chopin ou Liszt, entre autres. Cet engouement comme ce rejet, illustrant un rare divorce entre amateurs et professionnels, ont pourtant une origine commune : I'ignorance. En effet, la soi-disant "connaissance" de Rachmaninov ne passe guere, aupres des uns comme des autres, que par quelques oeuvres : le court Prelude op. 3 n02, tres prise car tres accessible d'ecoute et d'execution, par la sobre Vocalise dont le seul tort est d'6tre plus souvent jouee dans les restaurants que dans les salles de concert, ou par le PConcerfo dont le meilleur titre de gloire est d'avoir semi pour I'illustration sonore de nombreux films ("Breve rencontre", "Sept ans de reflexion", "Partir reveni r"... ). Oeuvres magistrales s'il en est, mais incapables a elles seules de permettre la comprehension, encore moins l'analyse; de I'art et de la nature d'un com~ositeur, aui s'illustrent bien mieux dans des Daaes meconnues, telles les oeuvies symdhoniques dont certaines temoignent d<ne science immense de l'orchestration (2" ~yrn~honie, Danses syrnpfioniques), mais egalement les creations chorales montrant une maitrise oriainale et sincere du sentiment [eligieux orthodoxe (les Vepres), comme dark I'oeuvre chambriste (Sonate pour violoncelle etpiano, Trio "elegiaque") ou s'illustrent un classicisme forrnel d'une grande purete, voire dans I'opera inacheve (Monna Vanna), recernment redecouvert, d'inspiration raffinee et de construction recherchee.

Ecrit en 1909 dans laperspectived'une tourneeamericaine de Rachrnaninov, et cree par le compositeur la meme annee, le 3" Concerto op. 30, en re mineur, est un merveilleux pivot entre les oeuvres celebres et meconnues mentionnees ci-dessus, et pourrait etre I'artisan d'une souhaitable reevaluation de la musique de Rachmaninov, par la popularite qu'il semble acquerir depuis quelques annees en meme temps que par sa richesse intrinseque : d'une ecriture pianistique redoutable pour le soliste ("Un concerto pour les elephants" disait son auteur en forme de boutade!), d'une longueur peu commune, d'une ampleur orchestrale monumentale, d'une invention melodique jaillissante, il reunit les qualites d'inspiration et de construction, de style et de structure, qui se font I'echo de la psychologie personnelle de I'auteur - et pourrait bien reconcilier profanes et puristes.

Des trois mouvements, le 1"' (Allegro non tanto) est certainement le plus ample. Son premier theme, extremement simple sur les plans melodique et pianistique, est d'un depouillement desarmant, laissant ma1 augurer des nombreux developpernents qu'il connaitra par la suite; plus ostensiblement lyrique, le second theme a un r6le pourtant beaucoup plus discret. Car c'est bien ce premier theme qui est a lui seul le support de tout le mouvement, amenant un premier point culminant veritablement tourmente, et surtout la cadence, puis enfin une longue coda decroissante. A propos de la cadence, precisons qu'il en existedeuxvariantes : I'une"courte"quoiquedejaextr~mement virtuose, I'autre "longue" et d'une difficulte pianistique accrue et d'une invention melodique beaucoup plus poussee.

Le 2" mouvement (Intermezzo) pt'esente une forme tripartite originale, d'abord constituee d'une serie de variations du piano sur un theme douloureusement expose par I'orchestre, et ensuite d'une partie centrale aux allures de Scherzo tres vif, qui debouche enfin sur une courte transition se servant du theme initial pour amener le finale (Alla breve), directement enchaine. Celui-ci possede egalement une forme a trois volets, dont les contours sont moins apparents, en raison d'un mouvement de chevauchee

energique et brillante, egalement a cause de la grande concentration des idees musicales et la profusion des themes, ou I'on distinaue la reaooarition des deux themes du mouvement initial, le tout sous le couv& d'une vihosite rarement atteinte.

Acheve en 1891, le Prince Rostislav figure parmi les toute premieres realisations orchestrales de son auteur et devance donc de quatre ans la composition de la Symphonic n o l en re mineur. Le musicien russe ne vit cependant jamais la creation de son poeme symphonique car la premiere execution en fut donnee a Moscou en novernbre 1945, deux ans et demi aprbs sa disparition.

Rachmaninoff s'y inspira d'un poeme d'Alexis Tolsto1 (1817 - 1875). Cargument en est simple: le corps du prince Rostislav repose au fond du Dniepr, entoure de sirenes. La ternpgte fait rage; le prince ce reveille et decouvre qu'il a disparu de la memoire des vivants.

Le theme du prince, confie au cor, joue un r6le central dans cette partition, oeuvre d'un jeune admirateur de TchaTkovski. L'ecriture du musicien gagnera en rnaitrise par la suite, mais on savoure dejh ici son de la couleur orchestrale, fruit d'une parfaite maitrise des timbres instrumentaux.

O 1994 Etienne Moreau

RACHlMANINOV Piano Concerto No. 3

Playing Time: 60'14" Prince Rostislav '

Bernd Gleinser, Piano Nartiond Symphony Orebestra of Ireland

J a y Mabymi&, Condnctar -

Piano Concerto No. 3 in D Minor, Op. 30 Allegro ma non tanto , (17:33)

1121 Intermezzo: Adagio (2052) ,

1131 Finale: Alla breve

B Prince Rostblav, Symphonic Poem (16:22) 1 8

h c ~ r d e d at the Natiohal C o r n Hd. DUbh, q~ 17th and I&h .thwhe~, 19fn. Prduae~: Chris cdksr Engine: David H&es Milsie Notes: KC* Aodemoe Ihblishet: EM1 I Bdwin Mills (Tw& 4)

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