PROGRAM NOTES
PROGRAM NOTES
TCHAIKOVSKY PIANO CONCERTO
is interrupted by an intense contrasting middle that is full of quick , playful rhythms . The movement concludes with a restatement of the delicate first theme .
The third movement is a rondo in seven parts ( ABACABA ) with thematic material that returns in each statement of the “ A ” section . This repeated march-like theme is initially presented in an intricate texture of interweaving lines between the piano and orchestra . The “ B ” and “ C ” sections of the rondo feature contrasting material , most notably an aria-like melody that soars in the upper strings at the onset of “ B .” A lengthy , virtuosic coda triumphantly concludes the concerto and shows off the pianist ’ s technical prowess .
Instrumentation Soloist : Piano
Sergei Rachmaninoff
Born : April 1 , 1873 , Starorussky Uyezd Died : March 28 , 1943 , Beverly Hills , CA
RACHMANINOFF SYMPHONIC DANCES [ 1940 ]
This year , the classical music world celebrates the 150 th anniversary of the birth of the renowned Russian-American composer , pianist , and conductor Sergei Rachmaninoff . After demonstrating significant musical abilities at a young age , Rachmaninoff studied at the Moscow Conservatory , graduating before his 20 th birthday . He and his family relocated to New York City in 1918 , after the Russian Revolution . Rachmaninoff then worked extensively as a pianist and conductor , which allowed him very little time to compose . In fact , he only wrote six major works between 1918 and 1943 , one of which is the Symphonic Dances . Written in 1940 , this was Rachmaninoff ’ s last major composition and the only work he composed in its entirety while he was living in the United States . The orchestral version of the piece was premiered by the Philadelphia Orchestra in January 1941 , and the next year , Vladimir Horowitz and Rachmaninoff debuted the composer ’ s arrangement of the work for two pianos .
Symphonic Dances musically symbolizes Rachmaninoff ’ s nostalgia for the Russia of his childhood and portrays his deep love of liturgical chants . The piece exemplifies many characteristics of Rachmaninoff ’ s late compositional style , including his use of quickly-changing harmonies , intentional moments of grotesqueness , breathtaking silences , colorful orchestration , and an intense rhythmic drive . Rachmaninoff ’ s orchestration often features unique instrumental timbres , and Symphonic Dances is no exception . Of particular significance is the extensive use of the alto saxophone , which is quite unusual for orchestral works at the time . Indeed , some of Rachmaninoff ’ s colleagues even encouraged him to rewrite the orchestration and eliminate the saxophone .
The first movement of Symphonic Dances quotes the primary theme from the composer ’ s own Symphony No . 1 , which was written in 1895 . This theme is composed of several chant motifs , including excerpts of the Dies irae (“ Day of Wrath ”), a chant that is included in many Requiem masses . When Rachmaninoff left Russia , the only music by another composer that he brought with him was Rimsky-Korsakov ’ s opera The Golden Cockerel . Some have suggested that the opening three-note motif in Symphonic Dances is based on the Queen of Shemakha ’ s theme in The Golden Cockerel . In early sketches of Symphonic Dances , Rachmaninoff called the second movement “ dusk ”. Much of this twilight-like movement alternates sharp dotted rhythms and dense harmonic textures with lyrical melodies . The third dance also includes quotations from two liturgical chants : the Dies irae and “ Blagosloven yesi , Gospodi ” ( Blessed art thou , Lord ), a chant that Rachmaninoff also used in his setting of the All-Night Vigil .
Instrumentation Three flutes , three oboes , three clarinets , three bassoons , four horns , three trumpets , three trombones , tuba , timpani , bass drum , cymbals ( pair ), suspended cymbal , tambourine , xylophone , chimes , orchestra bells , snare drum , tam tam , triangle , harp , piano , stings and alto saxophone .
Musical Terms Cadenza : An improvised or written-out ornamental passage played or sung by a soloist or soloists , usually in a " free " rhythmic style , and often allowing virtuosic display . Rondo : A musical form that contains a principal theme ( sometimes called the " refrain ") which alternates with one or more contrasting themes . Aria : A self-contained piece for one voice , with or without instrumental or orchestral accompaniment , normally part of a larger work . Coda : A passage that brings a piece ( or a movement ) to an end .
Maximilian Franz
18 OVERTURE / BSOmusic . org