Piano Concerto No. 2 (Rachmaninoff)

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Rachmaninoff in the early 1900s

The Piano Concerto No. 2 in C minor, Op. 18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between June 1900 and April 1901. The piece established his fame as a concerto composer and is one of his most enduringly popular pieces.

After the disastrous 1897 premiere of his First Symphony, Rachmaninoff suffered a psychological breakdown and depression that prevented composition for three years. In 1899, he was supposed to perform the Second Piano Concerto in London, which he had not composed yet, and instead made a successful conducting debut. The success led to an invitation to return next year with his First Piano Concerto; however, he promised to reappear with a newer and better one. After an unsuccessful meeting with Leo Tolstoy meant to revoke his writer's block, relatives decided to introduce Rachmaninoff to the neurologist Nikolai Dahl, whom he visited daily from January to April 1900. Rachmaninoff dedicated the concerto to Dahl for successfully treating him by restoring his health and confidence in composition.

From the summer to the autumn of 1900, he worked on the second and third movements of the concerto, with the first movement causing him difficulties. Both movements of the unfinished concerto were first performed with him as soloist and his cousin Alexander Siloti conducting on Template:OldStyleDate. The first movement was finished in 1901, and the complete work had an astoundingly successful premiere on Template:OldStyleDate, again with the same duo. Gutheil published the concerto the same year.

History

Background

Sergei Rachmaninoff had been working on his First Symphony from January to September 1895.Template:SfnTemplate:Sfn In 1896, after a long hiatus, the music publisher and philanthropist Mitrofan Belyayev agreed to include it at one of his Saint Petersburg Russian Symphony Concerts. However, there were setbacks: complaints were raised about the symphony by his teacher Sergei Taneyev upon receiving its score, which elicited revisions by Rachmaninoff, and Nikolai Rimsky-Korsakov expressed dissatisfaction during rehearsal.Template:SfnTemplate:Sfn Eventually, the symphony was scheduled to be premiered in March 1897.Template:Sfn Before the due date, he was nervous but optimistic due to his prior successes, which included winning the Moscow Conservatory Great Gold Medal and earning the praise of Pyotr Ilyich Tchaikovsky.Template:Sfn The premiere, however, was a disaster; Rachmaninoff listened to the cacophonous performance backstage to avoid getting humiliated by the audience and eventually left the hall when the piece finished.Template:Sfn The symphony was brutally panned by critics,Template:Sfn and apart from issues with the piece, the poor performance of the possibly drunk conductor, Alexander Glazunov, was also to blame.Template:SfnTemplate:Refn César Cui wrote:

Rachmaninoff in 1897, after the premiere of his First Symphony

If there were a conservatoire in Hell, if one of its talented students were instructed to write a programme symphony on "The Seven Plagues of Egypt", and if he were to compose a symphony like Mr Rachmaninoff's, then he would have fulfilled his task brilliantly and delighted the inmates of Hell.Template:Refn

Rachmaninoff initially remained aloof to the failure of his symphony, but upon reflection, suffered a psychological breakdown that stopped his compositional output for three years.Template:Sfn He adopted a lifestyle of heavy drinking to forget about his problems.Template:Sfn Depression consumed him,Template:Sfn and although he rarely composed, he still engaged in performance, accepting a conducting position by the Russian entrepreneur Savva Mamontov at the Moscow Private Russian Opera from 1897 to 1898.Template:Sfn It provided income for the cash-strapped Rachmaninoff; he eventually left as it didn't allow time for other activities and due to the incompetence of the theater, which turned piano lessons into his main source of income.Template:SfnTemplate:Sfn

At the end of 1898, Rachmaninoff was invited to perform in London in April 1899, where he was expected to play his Second Piano Concerto. However, he wrote to the London Philharmonic Society that he couldn't finish a second concerto due to illness.Template:SfnTemplate:Refn The society requested he play his First Piano Concerto, but he declined, dismissing it as a student piece. Instead, he offered to conduct one of his orchestral pieces, to which the society agreed, provided he also performed at the piano. He made a successful conducting debut, performing The Rock and playing piano pieces such as his popular Prelude in C-sharp minor.Template:Sfn The society secretary, Francesco Berger invited him to return next year with a performance of the First Concerto. However, he promised to return with a newer and better one,Template:SfnTemplate:Sfn although he did not perform it there until 1908.Template:Sfn Alexander Goldenweiser, a peer from the same conservatory, wanted to play his new concerto at a Belyayev concert in Saint Petersburg, thinking its consummation was inevitable.Template:Sfn Rachmaninoff, who had thoughts of composing it three years earlier, sent a letter to him stating that nothing had been penned so far.Template:Sfn

For the rest of the summer and autumn of 1899, Rachmaninoff's unproductiveness worsened his depression.Template:Sfn A friend of the Satins (relatives of RachmaninoffTemplate:Sfn), in an attempt to revoke the depressed composer's writer's block, suggested he visit Leo Tolstoy.Template:SfnTemplate:Refn However, his visit to the querulous author only increased his despondency, and he became so self-critical that he was rendered unable to compose.Template:Sfn The Satins, anxious about his well-being, persuaded him to visit Nikolai Dahl, a neurologist who specialized in hypnosis, with whom they had a good experience. Desperate, he agreed without hesitation.Template:Sfn From January to April 1900, he treated him daily free of charge using hypnotherapy. Dahl restored Rachmaninoff's health and his confidence to compose. Himself a musician, Dahl engaged in lengthy conversations surrounding music with Rachmaninoff, and would repeat a triptych formula while the composer was half-asleep: "You will begin to write your concerto ... You will work with great facility ... The concerto will be of an excellent quality".Template:SfnTemplate:Sfn Even though the results were not readily evident, they were still successful.Template:Sfn

Composition and premiere

Alexander Siloti (left) with Rachmaninoff (right)

In June 1900, after receiving an invitation to perform Mefistofele in La Scala, Feodor Chaliapin invited Rachmaninoff to live with him in Italy, where he sought his advice while studying the opera. During his stay, Rachmaninoff composed the love duet of his opera Francesca da Rimini and also began working on the second and third movements of his Second Piano Concerto.Template:Sfn With newfound enthusiasm for composition, he resumed working on them after returning to Russia,Template:Sfn which for the rest of the summer and the autumn were being finished "quickly and easily", although the first movement caused him difficulties.Template:SfnTemplate:Refn He told his biographer Oscar von Riesemann that "the material grew in bulk, and new musical ideas began to stir within me—far more than I needed for my concerto".Template:Refn

The two finished movements were to be performed in the Moscow Nobility Hall on Template:OldStyleDateNY at a concert arranged for the benefit of the Ladies' Charity Prison Committee.Template:Sfn On the eve of the concert, Rachmaninoff caught a cold, prompting his friends and relatives to stuff him with remedies, filling him with an excess of mulled wine;Template:SfnTemplate:Sfn he didn't want to admit his desire to cancel the performance.Template:Sfn With him as soloist with an orchestra after an eight-year hiatus and his cousin Alexander Siloti making his conducting debut, it was an anxious event, but the concert was a great success,Template:Sfn easing the worries of his close ones.Template:Sfn Ivan Lipaev wrote: "it's been long since the walls of the Nobility Hall reverberated with such enthusiastic, storming applause as on that evening ... This work contains much poetry, beauty, warmth, rich orchestration, healthy and buoyant creative power. Rachmaninoff's talent is evident throughout."Template:Sfn The German company Gutheil published the concerto as opus number 18 the following year.Template:SfnTemplate:Refn

Before continuing composition, Rachmaninoff received financial aid from Siloti to tide him over for the next three years, securing his ability to compose without worrying about rent.Template:Sfn By April 1901, while staying with Goldenweiser, he finished the first movement of the concerto and subsequently premiered the full work at a Moscow Philharmonic Society concert on Template:OldStyleDateNY, again with him at the piano and Siloti conducting.Template:SfnTemplate:Sfn Five days before the premiere, however, Rachmaninoff received a letter from Nikita Morozov (his Conservatory colleagueTemplate:Sfn) pestering him regarding the structure of the concerto after receiving its score, commenting that the first subject seemed like an introduction to the second one. Frantic, he replied, writing that he concurred with his opinion and was pondering over the first movement. Regardless, it was an astounding success, and Rachmaninoff enjoyed wild acclaim.Template:SfnTemplate:Sfn Even Cui, who previously scolded his First Symphony, displayed exuberance over the work in a letter from 1903.Template:Sfn The piece established Rachmaninoff's fame as a concerto composer and is one of his most enduringly popular pieces.Template:Sfn He dedicated it to Dahl for his treatment.Template:Sfn

Subsequent performances

The popularity of the Second Piano Concerto grew rapidly, developing global fame after its subsequent performances.Template:Sfn Its international progress started with a performance in Germany, where Siloti played it with the Leipzig Gewandhaus Orchestra under Arthur Nikisch's baton in January 1902.Template:Sfn In March, the same duo had a tremendously successful performance in Saint Petersburg;Template:Sfn two days preceding this, the Rachmaninoff-Siloti duo performed back in Moscow, with the former conducting and the latter as soloist.Template:Sfn May of the same year saw a performance at the Queen's Hall in London, the soloist being Wassily Sapellnikoff with the Philharmonic Society and Frederic Cowen conducting; London would wait until 1908 for Rachmaninoff to perform it there.Template:Sfn "One was quickly persuaded of its genuine excellence and originality", The Guardian wrote of the concerto following the performance.Template:Sfn England, however, had already heard the work twice prior to the London premiere, with performances by Siloti in Birmingham and Manchester.Template:Sfn Rachmaninoff—enhanced by success from repossessing the ability to compose again, coupled with no more financial worries—repaid the loan from Siloti within one year of receiving the last installment.Template:Sfn

After marrying his first cousin Natalia Satina, the newly-wed Rachmaninoff received an invitation to play his concerto with the Vienna Philharmonic under the direction of Vasily Safonov in December. Although the engagement guaranteed him a hefty fee, he was anxious that accepting it would show ingratitude towards Siloti.Template:Sfn However, after seeking his help, Taneyev reassured Rachmaninoff that this did not offend Siloti.Template:SfnTemplate:Sfn That was followed by concerts in both Vienna and Prague the following spring in 1903 under the same engagement.Template:Sfn In late 1904, Rachmaninoff won the Glinka Awards, cash prizes established in Belyayev's will, receiving 500 rubles for his concerto.Template:Sfn Throughout his life, Rachmaninoff soloed the concerto a total of 143 times.Template:Sfn

Early reception

After he fulfilled his 1908 London concert engagement at the Queen's Hall under Serge Koussevitzky,Template:Sfn a flattering review by The Times emerged: "The direct expression of the work, the extraordinary precision and exactitude of Rachmaninoff's playing, and even the strict economy of movement of arms and hands which he exercises, all contributed to the impression of completeness of performance."Template:Sfn

An advertisement for Rachmaninoff's debut with an American orchestra at the Philadelphia Academy of Music, where he gave the US premiere of his concerto

His debut with an American orchestra occurred on 8 November 1909, performing the concerto at the Philadelphia Academy of Music with the Boston Symphony Orchestra under Max Fiedler's baton, including repeat performances in Baltimore and New York City.Template:Sfn Critics since the first performance were chiefly dismissive, echoing Philip Hale's program notes for the debut stating that "The concerto is of uneven worth. The first movement is labored and has little marked character. It might have been written by any German, technically well-trained, who was acquainted with the music of Tchaikovsky".Template:SfnTemplate:Refn Richard Aldrich, who was a music critic for The New York Times, murmured about the overperformance of the work in proportion to its worth, but complimented Rachmaninoff's playing, stating that, with the assistance of the orchestra, "he made it sound more interesting than it ever has before here".Template:Sfn His last concert during the American tour was on 27 January 1910, performing the Isle of the Dead and his concerto under Modest Altschuler with his Russian Symphony Society,Template:Sfn who farewelled the homesick Rachmaninoff with appraisal of his Isle of the Dead but dismissal of the concerto as "not in any way comparable to Rachmaninoff's third concerto".Template:SfnTemplate:Sfn Rachmaninoff played the concerto eight times during the tour.Template:Sfn Despite the concerto's popularity, its critical reception has often remained poor.Template:Sfn

Following the 1917 October Revolution, Rachmaninoff and his family escaped Russia, never to return, seeing the US as a haven for remedying his financial situation; they arrived there one day before Armistice Day, following their temporary stay in Scandinavia.Template:Sfn Reginald De Koven praised a Rachmaninoff concerto performance under Walter Damrosch, writing that he rarely saw a New York audience "more moved, excited and wrought up".Template:Sfn A 1927 Liverpool Post article called the concerto a "somewhat catchpenny work though it had plenty of rather cheap glitter".Template:Sfn Rachmaninoff's last performance of the Piano Concerto No. 2 was on 18 June 1942 with Vladimir Bakaleinikov leading the Los Angeles Philharmonic at the Hollywood Bowl.Template:Sfn<ref>"Rachmaninoff Performance Diary – Concerto Soloist", Scott Davie</ref> Reviewing the performance in Los Angeles Evening Citizen News, Richard D. Saunders opined that the work is of a "songful quality, imbued with haunting melodies all tinged with sombre pathos and expressed with the graceful refinement characteristic of the composer".Template:Sfn

Modern reception and legacy

No other concerto by Rachmaninoff was as popular with audiences and pianists alike as his Second Concerto;Template:Sfn the musicologist Glen Carruthers attributes this popularity with "memorable melodies [which] appear in each movement".Template:Sfn Rachmaninoff's biographer Geoffrey Norris characterized the concerto as "notable for its conciseness and for its lyrical themes, which are just sufficiently contrasted to ensure that they are not spoilt either by overabundance or overexposure."Template:Sfn Stephen Hough on an article with The Guardian posits that the composition is "his most popular, most often performed and, arguably, the most perfect structurally. It sounds as if it wrote itself, so naturally does the music flow".Template:Sfn Another article by John Ezard and David Ward calls it one of the "most often performed concertos in the repertoire. Its emergence – in each year so far of the new century – as the British classical listening public's favourite tune indicates Rachmaninov's position as perhaps the most popular mainstream composer of the last 70 years."Template:Sfn In 2023, 2024 and 2025, the piece was voted number one in the Classic FM annual Hall of Fame pollTemplate:SfnTemplate:Sfn and has consistently ranked in the top three.Template:Sfn

Numerous films—such as William Dieterle's September Affair (1950), Charles Vidor's Rhapsody (1954), and Billy Wilder's The Seven Year Itch (1955)—borrow themes from the concerto.Template:Sfn David Lean's romantic drama Brief Encounter (1945) utilizes the music widely in its soundtrack,Template:Sfn and Frank Borzage's I've Always Loved You (1946) features it heavily;Template:Sfn this has further popularized the work.Template:Sfn Steve Pemberton's Inside No. 9 heavily utilized its soundtrack in the episode "A Quiet Night In", with almost the entire episode being devoid of speech, and the audio almost entirely following the concertos soundtrack. The concerto has also inspired numerous songsTemplate:SfnTemplate:Refn and is frequently used in figure skating programmes.Template:Sfn

Instrumentation

The concerto is scored for piano and orchestra:Template:Sfn

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Structure

Template:More citations needed Template:Listen The piece is written in three-movement concerto form:Template:Sfn Template:Ordered list

I. Moderato

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The opening movement begins with a series of chromatic bell-like tollings on the piano that build tension, eventually climaxing in the introduction of the main theme by the violins, violas, and first clarinet.Template:Sfn The piano starts to play very low notes during the theme introduced by the strings and clarinet.

File:Orchesterwerke Romantik Themen.pdf

In this first section, while the melody is stated by the orchestra, the piano takes on the role of accompaniment,Template:Sfn consisting of rapid oscillating arpeggios between both hands which contribute to the fullness and texture of the section's sound. The theme soon goes into a slightly lower register, where it is carried on by the cello section, and then is joined by the violins and violas, soaring to a climactic C note. After the statement of the long first theme, a quick and virtuosic "piu mosso" pianistic figuration transition leads into a short series of authentic cadences, accompanied by both a crescendo and an accelerando; this then progresses into the gentle, lyrical second theme in [[E-flat major|ETemplate:Music major]], the relative key. The second theme is first stated by the solo piano, with light accompaniment coming from the upper wind instruments. A transition which follows the chromatic scale eventually leads to the final reinstatement of the second theme, this time with the full orchestra at a piano dynamic. The exposition ends with an agitated closing section with scaling arpeggios on the ETemplate:Music major scale in both hands.

The agitated and unstable development borrows motifs from both themes, changing keys very often and giving the melody to different instruments while a new musical idea is slowly formed. The sound here, while focused on a particular tonality, has ideas of chromaticism. Two sequences of pianistic figurations lead to a placid, orchestral reinstatement of the first theme in the dominant 7th key of G. The development furthers with motifs from the previous themes, climaxing towards a BTemplate:Music major "più vivo" section. A triplet arpeggio section leads into the accelerando section, with the accompanying piano playing chords in both hands, and the string section providing the melody reminiscent of the second theme. The piece reaches a climax with the piano playing dissonant fortississimo (Template:Serif) chords, and with the horns and trumpets providing the syncopated melody.

While the orchestra restates the first theme, the piano, that on the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as in the main theme, the arpeggios in the piano serve as an accompaniment. This is followed by a piano-solo which continues the first theme and leads into a descending chromatic passage to a pianississimo ATemplate:Music major chord. Then the second theme is heard played with a horn solo. The entrance of the piano reverts the key back into C minor, with triplet passages played over a mysterious theme played by the orchestra. Briefly, the piece transitions to a C major glissando in the piano, and is placid until drawn into the coda based on the first subject, marked Meno mosso, in which the movement ends in a C minor fortissimo, with the same authentic cadence as those that followed the first statement of the first theme in the exposition.

II. Adagio sostenuto

The second movement opens with a series of slow chords in the strings which modulate from the C minor of the previous movement to the E major of this movement.

File:Orchesterwerke Romantik Themen.pdf

At the beginning of the A section, the piano enters, playing a simple arpeggiated figure.Template:Sfn This opening piano figure was composed in 1891 as the opening of the Romance from Two Pieces For Six Hands.Template:Sfn The main theme is initially introduced by the flute, before being developed by an extensive clarinet solo. The motif is passed between the piano and then the strings.

Then the B section is heard. It builds up to a short climax centered on the piano, which leads to a cadenza for the piano.

The original theme is repeated with various inversions of chords and lower arpeggios on the piano. The orchestra mainly plays very legato and sweet, however the flutes play staccato chords for most of the ending. After a climactic phrase with piano and strings together, the music starts to die away losing more instruments and focusing more on the piano over time, slowly descending to a finish with just the soloist in E major.

III. Allegro scherzando

The last movement opens with a short orchestral introduction that modulates from E major (the key of the previous movement) to C minor, before a piano solo leads to the statement of the agitated first theme.Template:Sfn

File:Orchesterwerke Romantik Themen.pdf

After the original fast tempo and musical drama ends, a short transition from the piano solo leads to the oboe and violas introducing a second lyrical theme in BTemplate:Music major. This theme maintains the motif of the first movement's second theme. The exposition ends with a suspenseful closing section in BTemplate:Music major.

After that an extended and energetic development section is heard. The development is based on the first theme of the exposition. It maintains a very improvisational quality, as instruments take turns playing the stormy motifs.

In the recapitulation, the first theme is truncated to only 8 bars on the tutti, because it was widely used in the development section. After the transition, the recapitulation's 2nd theme appears, this time in DTemplate:Music major, half above the tonic. However, after the ominous closing section ends it then builds up into a triumphant climax in C major from the beginning of the coda. The movement ends very triumphantly in the tonic major with the same four-note rhythm ending the Third Concerto in D minor.

Recordings

Commercial recordings include:

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Transcriptions and derivative works

Score cover of the concerto arranged for 2 pianos by the composer

In 1901, Gutheil published the concerto along with the composer's two piano arrangement.Template:Sfn Austrian violinist and composer Fritz Kreisler transcribed the second movement for violin and piano in 1940, named Preghiera (Prayer).Template:Sfn In 1946, Percy Grainger made a concert transcription of the third movement for piano solo.Template:SfnTemplate:Refn The Classical Jazz Quartet's 2006 arrangement uses thematic sections derived from each movement as grounds for jazz improvisation.Template:Sfn

Two songs recorded by Frank Sinatra have roots in the concerto: "I Think of You", from the second theme of the first movement, and "Full Moon and Empty Arms", from the second theme of the third movement.Template:Sfn Eric Carmen's 1975 ballad "All by Myself" is based on the second movement.Template:Sfn

The English rock band Muse have interpolated elements of the Moderato movement within their 2001 song "Space Dementia", and incorporated musical elements of the Adagio movement within their 2004 song "Butterflies and Hurricanes".Template:Cn

Notes

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References

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Sources

Books and journals

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Other

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Further reading

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