Introduction
One of the most iconic pieces of classical music, Rachmaninov’s second piano concerto was first intended for a London concert in 1899. However, in that same year, Rachmaninov had suffered a mental breakdown and was suffering a creative block after the disastrous premiere of his first symphony.
His confidence as a composer was severely impacted, and he became a patient of Russian physician Nicolai Dahl.
To him, the second piano concerto was dedicated.
The first movement of the concerto was completed in 1901, while the other two had been written in 1900.
Rachmaninov at the piano, early 1900s
Rachmaninov piano concerto n.2: an analysis of the 1st movement
Exposition: first theme
The structure is a sonata form, beginning with an introduction of the piano. The first 8 bars are essentially rooted around the subdominant (the F) with chromatic alteration on each chord. Until the last of these 8 bars, when we finally get the dominant leading to C minor
The piano accompanies with arpeggios the warm and dramatic theme played in unison by the violins, violas, and clarinet. Notice the orchestration: the violins are playing in the lower register, while the violas and clarinet add the warmth and dark quality to the entire phrase.
Technical tip
It goes without saying but leave the pianist alone in the introduction.
Once you start conducting, your arms should be around your waist level: body position and baton placement are really important as they add the proper weight and character to the music.
The second part of this main theme is signaled by the cellos, with a beautiful phrase continuing the same tone
Oops...
This content is available for free with all memberships.
Already a member? Login here.
Not a member yet? Subscribe today and get access to more than 80 videos, scores analysis, technical episodes, and exercises.
Second theme
The second theme is introduced by the clarinets, with these pulsating thirds, over the violas
Naturally, the piano then takes over with this gorgeous melody
This second theme can be split into 3 blocks:
- mm 83-103
- mm 104-113
- mm 114-125
On mm 103 we can see the cellos entering with the rising motive of the second theme
In all 3 blocks, it’s very interesting to notice the phrase structure: it’s always irregular. This adds restlessness and drama to the music, pushing the curiosity of the audience, waiting for a point of release.
The oboes and clarinets enter on bar 125, echoed by the piano on 126, forming a duet for the following 8 bars. Be particularly careful in balancing this section.
Closing in on the exposition, we hear the motive played by the violas in the transition between the first and the second theme, this time played by the horn.
Development
The development is introduced by a brass chorale on bar 151
This section can be split into 5 parts:
- mm 151-177
- mm 178-193
- mm 194-208
- mm 209-216
- mm 217-244
In the first block, notice the first theme, played by oboe, clarinet, and violas
And a new rhythm, appearing in the lower strings: this rhythm will come back in the recapitulation (and in the last movement as well)
In the second block, the piano enters with this secondary theme, while the horn carries out an inverted first theme
The third block is built with 4 4-bars phrases, using a motive from the second theme
The 4th block begins with the poco a poco accelerando (which means moving faster little by little): clarinets and violas play the second theme while the piano keeps its arpeggios on top of them
Finally, the 5th block begins with an accelerando, preparing for the recapitulation: there’s a tremendous climax, reaching its highest point at the A tempo.
The piano sweeps up a fortissimo chord, leading to the 4-bars block, on the dominant, that prepares the recapitulation
you can find the analysis of the second movement in the bonus material section
Recapitulation
Notice the tempo marking: Maestoso, alla marcia. While the strings play the first theme, the piano hammers away in powerful chords with that same material we earlier saw in the development
The recapitulation proceeds normally until Rachmaninov tricks us: on bar 296 there’s a dominant 7th chord. While in the exposition this led to the transition, here it resolves to an Ab6 chord.
The transition is cut altogether and we’re taken directly to the second theme, played, with a rhythmic variation, by the solo horn.
Like in the exposition, the phrase structure is irregular here as well. The progression at the Meno Mosso marks the beginning of the Coda. The first part of the coda sees the piano flurrying over staccato rhythms of the strings
The second part begins at the Poco a poco accelerando on bar 361, taking the movement to a quick conclusion.
In conclusion
Accompanying a soloist is an art in itself. Especially in this kind of repertoire, where the solo and orchestra parts often overlap and interchange, you need to know when it’s time for the conductor to lead and when it’s time for the soloist to take the reins.
The trickiest, and perhaps most important thing, is to learn how to breathe with the soloist so that you can anticipate the orchestra and create a homogeneous performance.
Note
There is a great thesis here on all Rachmaninov’s piano concertos.
0 Comments