Building a Collection #17
Piano Concerto no. 2
By Sergei Rachmaninoff
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“Do not waste your time with music that is trite or ignoble. Life is too short to spend it wandering in the barren Saharas of musical trash.”
-Sergei Rachmaninoff
Thank you for your readership as we continue to make our way through the top 250 classical works of all-time. We are up to #17 in the Building a Collection series, and for this post we are covering Russian composer Sergei Rachmaninoff’s ever-popular Piano Concerto no. 2 in C minor, Op. 18.
Sergei Rachmaninoff
Sergei Rachmaninoff was born in Semyonovo, Russia in 1873 and died in Beverly Hills, California in 1943. Rachmaninoff was one of those rare artists who excelled as both a performer and a composer. During his lifetime, he was known as one of the greatest pianists of all time and also the last great composer of the Russian Romantic tradition. Sergei was raised in a music-loving, aristocratic family and his mother fostered the natural ability he showed by giving him piano lessons. It was clear early on that Sergei possessed prodigious talent, and when the family fortunes declined they moved to St. Petersburg, where the boy entered the conservatory. Eventually as he continued to impress, he was sent to the Moscow Conservatory. There he received lessons from the strict Nikolay Zverev and his own cousin Alexander Siloti. As he grew in maturity and musical prowess, Rachmaninoff also made the acquaintance of many important and influential contacts in the music world.
Rachmaninoff became friends with Tchaikovsky along the way, and the elder Tchaikovsky eventually became an important advocate for the young pianist. While at the conservatory, Rachmaninoff also displayed significant compositional gifts, eventually winning the gold medal in composition for his opera Aleko in 1892. Rachmaninoff was prone to depression, and when his Symphony no. 1 was received poorly in 1897, he went into an extended depression and withdrew from composing for several years. Later it was revealed that the orchestra for the premiere had been very poorly rehearsed and the conductor Alexander Glazunov had likely been intoxicated while on the podium. Rimsky-Korsakov remarked after hearing a rehearsal, “Forgive me, but I do not find this music at all agreeable.”
The assessment from Russian composer and critic Cesar Cui was the most cutting:
“If there were a conservatory in Hell, and if one of its talented students were to compose a programme symphony based on the story of the Ten Plagues of Egypt, and if he were to compose a symphony like Mr. Rachmaninoff's, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. To us this music leaves an evil impression with its broken rhythms, obscurity and vagueness of form, meaningless repetition of the same short tricks, the nasal sound of the orchestra, the strained crash of the brass, and above all its sickly perverse harmonization and quasi-melodic outlines, the complete absence of simplicity and naturalness, the complete absence of themes.”
A later reassessment of the symphony would redeem it from its dismal initial reception, but the blow would haunt Rachmaninoff for the rest of his life. He fell into such a deep depression, he gave up composing for quite a while and began to drink heavily.
Piano Concerto no. 2
At the end of 1898, Rachmaninoff was invited by the London Philharmonic Society to travel to London to play his Piano Concerto no. 2 in April 1899. The problem was he had not yet composed it! When they asked if he would come to perform his Piano Concerto no. 1, he declined because he dismissed it as no more than a student piece. Eventually he did go to London to conduct his orchestral work The Rock and some solo piano pieces. But he promised he would return the following year with a new and better concerto (as it happens Rachmaninoff would not return to London perform his new concerto until 1908).
Still depressed, it was suggested to Rachmaninoff that he visit Leo Tolstoy, the renowned author, because it may lift his spirits. However, the visit only made things worse. Some of his extended family suggested he go to see Nikolai Dahl, a neurologist specializing in hypnosis. Willing to try anything at that point, Rachmaninoff went and indeed his mood improved as did his composing. One of the topics raised in hypnosis was the new concerto, which Dahl suggested would be of an excellent quality.
After some time in Italy during the summer of 1900, and with a renewed sense of purpose, Rachmaninoff began composing what would become his Piano Concerto no. 2, finishing the second and third movements by the end of autumn. The first movement continued to give him some trouble, but since he told his publisher that many musical ideas were stirring in him, he knew he had more than enough ideas to complete the first movement as well. In December of that year, Rachmaninoff premiered the last two movements in Moscow with himself on piano and his cousin Alexander Siloti conducting. Apparently, before the concert Rachmaninoff had caught a cold and was given copious amounts of mulled wine to ease the symptoms and his anxiety. Despite probably being inebriated, the concert was a huge success. In early 1901, he completed the first movement and the premiere of the full concerto was given in Moscow on November 9, 1901 with Rachmaninoff again at the piano and Siloti again conducting. It was a tremendous success, with even Rachmaninoff’s most fervent critics agreeing that it was a work of genius. Indeed, with its large romantic melodies and virtuosic piano runs and climaxes, the work solidified Rachmaninoff’s fame as a great concerto composer, and it has enjoyed enduring popularity ever since. In popular culture, Frank Sinatra used themes from the first and third movements respectively for his songs I Think of You and Full Moon and Empty Arms. Themes from the concerto have appeared in many movies, but perhaps most familiar is Eric Carmen’s 1975 ballad All by Myself, based on music from the second movement of the concerto.
His career resurrected, and after marrying his first-cousin Natalya Satina in 1902, Rachmaninoff would go on in the first decade of the new century to compose some of his most well-known and enduring works: Isle of the Dead (1907), Symphony no. 2 (1907), and his Piano Concerto no. 3 (1909).
The concerto is in three movements as follows:
Moderato
Adagio sostenuto
Allegro scherzando
There are some controversies over the tempos that should be taken, particularly in the opening piano only section. Rachmaninoff recommended a tempo that would stay constant throughout, but you will notice when you listen to various recordings that there is a wide range of tempos taken by pianists and orchestras. The composer himself takes a relatively quick tempo, but over the years the speeds have slowed down and for a long time the tradition has been to take a slower pace than Rachmaninoff himself. More recently, some pianists and orchestras have returned to speeds closer to Rachmaninoff’s own. Is faster or slower better? It really depends on your personal preference. But Rachmaninoff did suggest flexibility in speeds and phrasing in order to lean into the emotional variations in the music.
The concerto’s rich and memorable melodies have made it a hugely popular work with audiences, but the concerto also contains enough variety and development that keep it from spilling over into complete schmaltz. In the third movement Allegro scherzando, the big chord that leads to the final repeat of the second subject and the headlong run to the conclusion is among the most spine-tingling moments in all of music.
Recommended Recordings
I have loved this concerto for decades, and because I have listened to it for so long and have listened to so many different interpretations, I have inevitably formed my own biases in how things should sound. But in the recordings I have highlighted below, I have attempted to listen anew to a variety of different approaches to the concerto.
I remain disappointed that two of my favorite pianists, Vladimir Horowitz and Martha Argerich, never recorded this concerto. While they both recorded Rachmaninoff’s Piano Concerto no. 3 to great acclaim, for various reasons neither of them recorded the Piano Concerto no. 2. Fortunately we have many other outstanding recordings to enjoy.
Top choice
Russian-born pianist Vladimir Ashkenazy might very well be the best interpreter ever of Rachmaninoff’s piano music on record. Although he has recorded the concerto three times commercially, his superb early 1970s analog recording with the London Symphony Orchestra conducted by Andre Previn remains at the top of the list for all recordings of Rachmaninoff’s Piano Concerto no. 2. The high quality of the music-making is matched by vintage warm and detailed Decca sound. Listening to this again recently, I was struck by Ashkenazy absolute mastery of this music, both in faster, more athletic passages as well as the softer, more tender sections. There is an ideal balance between fiery intensity and tender lyricism. Ashkenazy’s earlier recording with the Moscow Philharmonic and Kirill Kondrashin on Decca is also quite fine, but this London version is all the more impressive due to better sound and a more balanced approach from Ashkenazy. Ashkenazy puts a certain Russian stamp on the piece, with the proper feeling of brooding and melancholy that sounds so natural with him at the keyboard. Previn also had a great way with Rachmaninoff, with further evidence being his fine recording of the composer’s Symphony no. 2, also with the LSO. Here, Previn gives the music a freshness and focus that keeps the listener’s attention from start to finish. Ashkenazy’s later recording of the concerto with Bernhard Haitink and Amsterdam’s Concertgebouw Orchestra is also very good, though a bit more laid back and therefore not as gripping overall.
Other recommended recordings
The recordings listed below are in chronological order, from earliest to most recent.
Perhaps the most important recording of Rachmaninoff’s Piano Concerto no. 2 is from 1929 with the composer himself, Sergei Rachmaninoff, at the piano with The Philadelphia Orchestra led by Leopold Stokowski. Released by RCA/BMG, and variously reissued by other labels, this remarkable historical document gives us a real taste of why Rachmaninoff became famous as a pianist. Of course, the sound is compromised by being nearly a century old, but considering its age, it is amazing. We are given a window into how the composer himself would play the piece, what tempos he would choose, as well as his phrasing and rubato. Rachmaninoff had famously large hands, which perhaps aided his ability to make it all sound so effortless. Not one to be showy in his virtuosity, Rachmaninoff displays the kind of subtlety, tonal color, and control most pianists can only dream of possessing. In his hands, the concerto is not over-romanticized, as he and Stokowski allow the music to continue to flow and speak for itself without self-consciousness. It is a truly important recording in the history of music.
The tragic death in 1953 of the tremendous American pianist William Kapell at the age of 31 in a plane crash while returning from a concert tour in Australia robbed the musical world of a rising star. We are fortunate that many of his recordings survive, and his 1950 recording of Rachmaninoff’s Piano Concerto no. 2 with the Robin Hood Dell Orchestra of Philadelphia (formerly the name of the summer incarnation of The Philadelphia Orchestra) is one of the best examples of his artistry. Recorded by RCA Victor, the concerto shows how carefully Kapell had studied Rachmaninoff’s score, but more importantly it shows how adept Kapell was at using rubato and varying his speeds as the music dictated for maximum effect. The sound is not the best, but is considerably cleaned up from earlier remasterings. Fortunately the piano is captured somewhat better than the orchestra, and what is revealed is Kapell’s brilliant and sparkling keyboard technique. Timings are overall on the somewhat quicker side as was common at the time, but there is never a feeling of rushing through passages. I was not terribly familiar with Kapell’s playing before hearing this, but I am left with the impression of a very thoughtful artist. Kapell was up for all the technical challenges to be sure, but also sensitive to the depth of feeling this music should elicit. This is highly enjoyable.
Soviet pianist Sviatoslav Richter (Richter was actually born in modern-day Ukraine) was one of the greats, and his 1959 recording on the Deutsche Grammophon label of Rachmaninoff’s Second Concerto with the Warsaw Philharmonic Orchestra directed by Stanislav Wislocki is rightly considered a classic. Richter’s mastery and overwhelming virtuosity is evident throughout this recording, and indeed there are times when Richter plays with what I would call “aggressive bravado”. The piano is rather spotlit in the sound picture, and at times this projects Richter’s playing as thundering. Fortunately Richter’s consummate artistry means he knows just when to pull back with a more restrained tone, and his playing in the softer, more intimate passages is simply marvelous. Similar to Ashkenazy, Richter is able to bring a darker, almost melancholy tone to several key moments which enhances the listening experience. But also, Richter does not fall into any self-conscious or overly sentimental excesses, which means he delivers a straightforward but ultimately quite satisfying reading.
Another classic recording comes from the American pianist Byron Janis and the Minneapolis Symphony Orchestra under conductor Antal Dorati, a recording made by Mercury Records in 1960 in Northrop Auditorium in Minneapolis. Even though Vladimir Horowitz never recorded this concerto, we may get an idea of how he would have played it by listening to Janis. As the story goes, Horowitz was in attendance at one of Janis’ concerts in Pittsburgh in 1944 where Janis played Rachmaninoff’s Second Concerto. Subsequently, Horowitz offered to take on Janis as his first ever pupil, and so Janis studied with Horowitz until 1948. By the time this recording was made in 1960, Janis was a major star. On this recording, Dorati is really at the service of Janis. Tempos are on the quicker side in the first movement, again as was rather common at the time, and Janis nicely balances his prodigious Horowitz-like virtuosity with an admirable sensitivity to the emotion inherent in Rachmaninoff. The middle slower movement is among the finest ever put down, with Janis using a lightness of touch that brings out great tenderness and warmth. The final movement is fleet, exciting and brings a rousing conclusion. If the Minneapolis strings are a tad raw sounding, there is no lack of electricity and verve. Typical of most Mercury Living Presence recordings from the era, the sound is boxy and lacks depth. However, I really hope you will choose to hear this recording as it pays so many dividends. Janis’ career came to a premature end in the 1970s due to severe arthritis, and Janis would become well-known as a spokesperson for the Arthritis Foundation. Janis wrote his autobiography in 2010, and reports are that Martin Scorcese is developing his story into a biopic for Paramount Pictures.
For a long time my favorite recording of this concerto was the one by the renowned Russian child prodigy Evgeny Kissin made in the late 1980s when he was a teenager. He was joined by the London Symphony Orchestra and conductor Valery Gergiev, originally recorded by RCA Red Seal (now reissued by Sony) in London’s Watford Town Hall. I love this recording, and it has a sentimental place in my heart because it was really my introduction to the piece. This is a grand reading, full of Russian heaviness and pathos. Kissin is the star here, with playing that is thrilling and mature beyond his years. The acoustic is somewhat over-reverberant, leading to some thickness in textures. Personally I don’t mind that at all, and I would still argue the sound is quite good. Climaxes are full-bodied, and Kissin brings his own fireworks. This was made before Gergiev became in my opinion a rather boring conductor, and at the time he was on his way up. Putting this recording in perspective now with others, it may never be a top choice, but it still gives me goosebumps. On a side note, Kissin has been quite outspoken in his opposition to the Russian invasion of Ukraine, putting him at odds with his fellow countryman Gergiev, a long-time supporter of Putin.
Polish pianist Krystian Zimerman recorded the concerto with Seiji Ozawa and the Boston Symphony Orchestra in 2003 for Deutsche Grammophon. In purely pianistic terms, this is the most spectacular recording of Rachmaninoff’s Second Concerto on record. Zimerman’s playing is sparkling, precise, clear, and unbelievably expressive. For those reasons, this recording is being recommended. Zimerman is extraordinary. Unfortunately he is let down by Ozawa’s pedestrian accompaniment and poor sound engineering which places the orchestra at too much of a distance. Climaxes don’t have the necessary impact, and it almost feels as though the orchestral part has been patched on later. The choice was made to record the piano part closely, which gives Zimerman’s playing a wonderful focus. However, it sounds like that was done at the expense of capturing the orchestra clearly. It pains me to admit that the BSO, my favorite orchestra in the world, was subpar on this occasion. Even having said that, Zimerman’s performance is not to be missed.
The very talented Norwegian pianist Leif Ove Andsnes, well known for the excellence of his recent Beethoven and Mozart recordings, also recorded the Rachmaninoff concertos with the Berlin Philharmonic Orchestra and conductor Antonio Pappano, recorded in 2005 by EMI (now Warner). Andsnes has a reputation for rather “cool” interpretations, more detached and clinical than passionate. But I don’t hear that on this occasion, as Andsnes is fully involved and especially expressive in the final movement. Pappano’s reputation is that he is an excellent accompanist, and so he proves to be here. The Berliners produce superb string sound and the warmth of the brass is quite satisfying. In the final movement, when the yearning second subject returns for the last time before the coda, the note is projected with a heart-stopping blast along with a timpani thwack that is absolutely thrilling. The sound is detailed and well-balanced. Highly recommended.
The only female pianist to appear on the recommended list is the Ukrainian pianist Anna Federova in a 2022 release on Channel Classics, recorded with the Sinfonieorchester St. Gallen (Switzerland) conducted by Modestas Pitrenas. This recording was such a pleasant surprise because Federova takes a more poetic and lyrical approach to the concerto than many others, and this works very effectively. Federova has plenty of power too, but her sense of how the emotional core of the work fits within the overall structure is more highly developed than in other recordings. In her comments in the liner notes Federova says, “Playing the 2nd Piano Concerto, however, makes me think of a phoenix. It represents rebirth and resurrection of the spirit, hope and light”. Federova is less interested in virtuosity and making a big sound than she is in drama and expression. There is melancholy and suffering projected, but also hope and exuberance. The St. Gallen musicians prove more than competent for their part, and Modestas Pitrenas follows Federova’s lead in creating a dreamy world of colors and emotions. Of course Federova supplements her vision of the work with plenty of precision finger work and power, but not at the expense of the emotional core. It is a wonderful new recording of this familiar work.
The Russian piano phenom Daniil Trifonov recorded the Second Concerto as part of his complete Rachmaninoff piano album with The Philadelphia Orchestra under Yannick Nezet-Seguin, recorded in 2018 for Deutsche Grammophon. The Philadelphia Orchestra has a special relationship with Rachmaninoff going back to the days of Stokowski and continuing through Eugene Ormandy’s tenure. Trifonov and Nezet-Seguin form a powerhouse team that brings a strong extroverted performance. Following on Rachmaninoff’s own suggestions, Trifonov changes tempo and dynamics seamlessly and effectively. This works especially well in the second movement, where Trifonov slows down to emphasize certain phrases. In the third movement, there is no slowing down for the romantic second subject, and it is delivered in a pointed way without being overly sentimental. There is plenty of buildup and excitement at the end, and if Trifonov and Nezet-Seguin are not completely in sync, it really doesn’t detract from the overall impact. The sound is good.
That brings us to the conclusion of this post. Thank you again for reading, and I hope you will stay tuned for the next post when we will discuss Gustav Mahler’s epic Symphony no. 9.
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Notes:
Bertensson, Sergei; Leyda, Jay (1956). Sergei Rachmaninoff – A Lifetime in Music. New York: New York University Press. ISBN 978-0-253-21421-8.
Drobnicki, John. (2011). "Janis, Byron," in The Polish American Encyclopedia. Ed. James S. Pula. Jefferson, NC: McFarland & Co., 201-202.
Harrison, Max (2006). Rachmaninoff: Life, Works, Recordings. London: Bloomsbury Publishing. ISBN 978-0-826-49312-5.
Martyn, Barrie (2017). Rachmaninoff: Composer, Pianist, Conductor. Aldershot: Routledge. ISBN 978-0-859-67809-4.
McNary, Dave. Variety, January 7, 2016
Norris, Geoffrey (2001). Rachmaninoff. Oxford: Oxford University Press. ISBN 978-0-198-16488-3.
Quanjer, Adrian. A Review of Anna Fedorova’s Rachmaninoff Piano Concertos 2 & 4. https://www.nativedsd.com/dsd-reviews/a-review-of-anna-fedorovas-rachmaninoff-piano-concertos-2-4/.
Riesemann, Oskar von (1934). Rachmaninoff's Recollections, Told to Oskar von Riesemann. New York: Macmillan. p. 112. ISBN 978-0-83695-232-2.[38]
Scott, Michael (2007). Rachmaninoff. Cheltenham: The History Press. ISBN 978-0-7524-7242-3.
Seroff, Victor Ilyitch (1950). Rachmaninoff: A Biography. New York: Simon & Schuster. ISBN 978-0-836-98034-9.
Steinberg, Michael (1998). The concerto: a listener's guide. New York: Oxford University Press. ISBN 978-0-19-510330-4.
"Leading Russian Musicians Sign Appeal Condemning Putin's Invasion of Ukraine". The Violin Channel. March 2022.
https://en.wikipedia.org/wiki/Piano_Concerto_No._2_(Rachmaninoff)