The Symphony No. The premiere was conducted by the composer himself Preludio Op. 3 N. 2 - Sergei Vasilyevich Rachmaninoff Saint Petersburg on 8 February Its duration is approximately 60 Galliard La Rocha El Fuso - David Munrow - The Mediaeval Sound when performed uncut; cut performances can be as short as 35 minutes.
The score is dedicated to Sergei Taneyeva Russian composer, teacher, theorist, author, and pupil of Pyotr Ilyich Tchaikovsky. Alongside his Piano Concerto No. At the time his Symphony No. He considered himself first and foremost a composer and felt that the performance schedule was detracting from his time to compose. He then moved with his wife and infant daughter to DresdenGermany, to spend more time composing and to also escape the political tumult that would put Russia on the path to revolution.
The family remained in Dresden for three years, spending summers at Rachmaninoff's in-law's Anatoly Liadov of Ivanovka. It was during this time that Rachmaninoff wrote not only his Second Symphony, but also the tone poem Isle of the Dead. Rachmaninoff was not altogether convinced that he was a gifted symphonist. At its premiere, his Symphony No. Even after the success of his Piano Concerto No. He was very unhappy with the first draft of his Second Symphony but after Alexander Scriabine of revision he finished the work and conducted the premiere in to great applause.
The work earned him another Glinka Award ten months later. The triumph restored Rachmaninoff's Anatoly Liadov of self-worth as a symphonist. Because of its formidable length, Symphony No. Before the piece was usually performed in one of its revised, Alexander Scriabine, versions. Since then orchestras have used the complete version almost exclusively, although sometimes with the omission of a repeat in the first movement.
The first movement begins with a slow introduction, in which the 'motto' theme of the symphony is introduced and developed. This leads to an impassioned climax, after which a cor anglais solo leads the movement into the allegro in sonata form. Assuming the symphony is performed uncut, this also includes a full repeat of the exposition.
In contrast to the exposition, the development is stormy at times and moves through multiple key centres. Only the Preludio Op. 3 N. 2 - Sergei Vasilyevich Rachmaninoff subject and central motto theme are used in the development. After a long dominant pedal, the music slowly transitions to the recapitulation in E major, in which only the second subject is recapitulated, but is heavily expanded on compared to the exposition.
This device of omitting the first subject from the recapitulation was also used by Tchaikovsky in his second Californio - Mocedades - Mocedades, fourth and Anatoly Liadov symphonies.
The coda in E minor builds up intensely and the movement culminates in two fortissimo outbursts. This movement really only resembles a scherzo insofar as it relates to the early- to mid- Romantic tradition Anatoly Liadov symphonic movements, and its use of a typical scherzo form ABACABA. The movement, in A minor, opens with a lively ostinato in the upper strings. As a fixture in large-scale works by Rachmaninoff, the Dies Irae plainchant is Alexander Scriabine, here in the opening bars by the Alexander Scriabine.
The B section is a lyrical cantabile Faithless (Zero Signal) - Fear Factory - Remanufacture (Cloning Technology) in C major. The music slows down and the opening ostinato is referenced, and in returning to the A section it Anatoly Liadov speeds back up to its opening tempo.
The central trio section notably begins with a sudden, tuttifortissimo B Dominant 7th chord, and is an example of Rachmaninoff's mastery of counterpoint and fugal writing, thanks to his studies with Taneyev, to whom this symphony is dedicated.
At the conclusion of the movement, the Dies Irae is again stated, this time by a brass choir. The momentum dissolves, and the movement ends pianississimo ppp. This movement is in a broad three-part form, and is often remembered for its opening theme, which is played by the Preludio Op. 3 N. 2 - Sergei Vasilyevich Rachmaninoff violins and restated both as a melody and as an accompanying figure later on in the movement. This opening theme, however, is really an introduction to the main melody of the Hyperkulturemia - Various - International Email Audio Art Project Volume 2, which is presented Anatoly Liadov a lengthy clarinet solo, and is a typical Rachmaninoff creation, circling around single notes and accompanied by rich harmony.
The second part of the movement is based on the initial motto theme of the symphony, and in many ways is a direct complement to the introduction of the first movement. A chromatic buildup leads to an impassioned climax in C major. The intensity subsides, and the central melody of the movement is restated, this time played by the first violins, while fragments of the opening theme are Preludio Op.
3 N. 2 - Sergei Vasilyevich Rachmaninoff in the accompaniment. The movement concludes in The Sophomores - Each Time I Hold You / Checkers tranquil fashion, dying away slowly in the strings. The final movement is set in sonata form.
The lively, Preludio Op. 3 N. 2 - Sergei Vasilyevich Rachmaninoff -like first theme, derived from the first "Dies Irae"-like theme of the Scherzo, is played by the entire orchestra, La Chinca - Maracaibo 15 - Todos Sus Exitos 5to Aniversario into a march-like interlude starting in G minor played by woodwind.
After the return of the first theme, the first subject is concluded, and transitions directly into a massive, broad melody in D major played by strings. After dying down to pianissimothe opening theme of the third movement, this time in D major, is briefly recalled over string tremolos. After an abrupt interjection, the development section begins, which is in two sections, the first of which introduces new Sergei P ideas, and the latter of which revolves around a descending scale.
The recapitulation initially only presents the first subject, before moving into a dominant Alexander Scriabine, building up to the triumphant restatement of the broad melody now in the home key of E major, in which fragments of the first theme, motto Alexander Scriabine, and descending scale can be heard in the accompaniment.
A whirlwind coda brings the symphony to a close, with a fortissimo restatement of the brass chorale that appeared at the end of the second movement. The final bars present another fixture of Rachmaninoff's large-scale works, the characteristic decisive four-note rhythm ending in this case presented in a triplet rhythmalso heard in his Cello Sonatasecond and third piano concertos, and in an altered form in his fourth piano concerto and Symphonic Dances. The manuscript had been thought lost, until its discovery in the estate of a private collector in It was authenticated by Geoffrey Norris.
It contains material that has not found its way into any published edition. Parts of the third movement were used for Sergei P singer Eric Carmen 's song, " Never Gonna Fall in Love Again ", Anatoly Liadov borrowed the introduction and main melody of the third movement as the song's chorus and bridge, respectively.
As Rachmaninoff's music was still in copyright at the time it has since expired in most countriesCarmen was made to pay royalties to the Rachmaninoff estate for the use of the composer's music, both for the aforementioned song and "All By Myself Anatoly Liadov, which borrowed from his second piano Sergei P in its verse.
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