Program Notes }
Ch r is Lee
The BSO
sincere are its themes, and so naturally
and spontaneously do they develop.”
Indeed, the Second draws its power and
popularity from Rachmaninoff’s talent
for creating ardent, emotionally compelling melodies. “Music must first and
foremost be loved,” he once said. “It must
come from the heart and it must be directed to the heart. Otherwise it cannot
hope to be lasting, indestructible art.”
The first movement grows from its
opening phrase, played quietly by cellos
and basses. This motto idea — an upward sigh of a half step, sinking back into
a curling four-note tail — spawns all this
movement’s themes and also underpins
the entire symphony. The violins immediately spin it into a swirling melody. The
music of this slow introduction reaches a
peak of emotional ardor before the English horn leads smoothly into the main
Allegro section. Above rocking clarinets,
the violins introduce the principal theme,
itself more lyrical and expansive than
most symphonic first themes. A dramatic
transitional passage provides necessary
contrast before Rachmaninoff presents
his even more lyrical second theme, with
melancholy woodwind sighs and a soaring violin melody. Solo violin launches
the development section, which explores
the dramatic potential of the opening
motto idea. We only realize we are safely
home from this turbulence when the
woodwind-violin second theme reprises
its tender melancholy.
The second-movement scherzo is
as vigorous as the first movement was
languorous. Throughout his career,
Rachmaninoff used the stark, downand-up “Dies irae” chant theme from the
Catholic rite for the dead as a leitmotive;
here, it is hidden in the horns’ boisterous
opening theme. Yet in the midst of this
movement’s manic energy, there is time
for another luxuriant Rachmaninoff tune
for the violins. The middle trio section
features a ferocious string fugue, so testing it is included on orchestral auditions
for aspiring violinists and violists. The
remarkable ending has a demonic edge, as
the brass intone a sinister chorale, derived
from the “Dies irae” and the symphony’s
opening motto idea.
The Adagio third movement is luscious, heartfelt melody from beginning
to end. The most famous is the violins’
upward sighing phrase at the beginning.
But this is only introduction to the solo
clarinet’s long-spun-out melody. A plaintive dialogue among solo oboe, English
horn, and strings fills the middle section;
this music recalls nostalgically the themes
of the symphony’s slow introduction.
Rachmaninoff opens the finale with
a wild tarantella dan