I. Largo; allegro moderato
II. Allegro molto
III. Adagio
IV. Allegro vivace
The composition is a long one; it lasts about an hour. The first two
movements seem by far the strongest, architecturally and emotionally.
The third movement seems insufferably long drawn out and sentimental.
The fourth movement gains on a second hearing—has a more decided
profile, and seems less episodic.
The reasons for the popularity of this symphony are not far to seek. The
themes are eminently melodious, and some of them are of singular beauty;
there is rich coloring; there are beautiful nuances in color; there is
impressive sonority; there are frequent and sharp contrasts in
sentiment, rhythm, expression; there is stirring vitality. Mr.
Rachmaninoff in this symphony is romantic in the old and accustomed
forms. He does not surprise or perplex by experiments in harmony; his
form is essentially academic and traditional. Here is another case of
new wine in old leather bottles, but first of all the bottles were put
in thorough order, patched, strengthened, cleaned.
Instantaneous popularity often indicates some weakness in a composition.
It will be interesting to watch the life of this symphony. There was a
time when Raff’s _Lenore_ was as rapturously applauded. The most
extravagant things were said about it. Raff too had uncommon
contrapuntal skill; he too was a fecund melodist; he too had a pretty
sense of color in his day. And what, pray, has become of Raff’s
_Lenore_? It is in the great cemetery of orchestral compositions buried
snugly with its heroine and her Wilhelm.
Let us enjoy, however, the gifts the gods give us and not indulge
ourselves in gloomy thoughts. Mr. Rachmaninoff has written beautiful and
eloquent music in this symphony. He has shown technical skill and
revealed an emotional side that he has concealed in other compositions.
Whether he would show inspiration outside of traditional forms; whether
he has imagination in sufficient degree to shape wondrous thoughts in a
freer form and be a law not only to himself but to his hearers—these
questions we shall call unnecessary.
* * *
This symphony, composed at Dresden, was played at Moscow at a concert of
the Imperial Russian Music Society in the course of the season of
1908-09. The composer conducted.
The symphony, dedicated to S. Tanéïev, is scored for three flutes (and
piccolo), three oboes, English horn, two clarinets, bass clarinet, two
bassoons, four horns, three trumpets, three trombones, bass tuba,
kettledrums, snare drum, bass drum, cymbals, glockenspiel, and the usual
strings.
There is an introduction, _largo_, 4-4, to the first movement.
Violoncellos and double basses give an indication of the chief motive.
Sustained chords of wind instruments follow, and over them appears the
leading thought of the symphony (violins). The solo for the basses is
repeated a third lower, and again chords for wind instruments follow.
(These passages for wind instruments are used reminiscently in the
second movement.) The violin theme is now more broadly developed, and
after a short _crescendo_ a phrase for the English horn leads to the
main portion of the first movement, _allegro moderato_, E minor, 2-2.
The first theme, _molto espressivo_, of the first movement, enters after
four measures of prelude and is given to the violins. A motive in
triplets for basses, _poco a poco più vivo_, is added. This leads to a
section, _moderato_, in which, after preluding, a theme in G major is
sung by violins. This becomes more passionate, and leads to a close in G
major with a melody for violoncellos. The chief theme of the symphony is
developed in the working out, by solo violin, by the rest of the strings
and by wood-wind instruments. There is a noticeable rhythmic figure for
violas, and this slackening of the pace brings the return of the chief
theme of the movement with an elaborate _crescendo_. There are fanfares
for the brass, and a horn-call is freely used. There is an agitated
_coda_.
Second movement, _allegro molto_, A minor, 2-2. The theme begins with
horns and is carried out by violins, while there are characteristic
figures for wood-wind instruments. The first section is constructed
simply and clearly from portions of this theme. There is a melodious
section, _moderato_ (violins in octaves, violas, and violoncellos
_cantabile_), and then the energetic rhythmic figure brings in the
repetition of the first portion of the movement. The trio, _meno mosso_,
begins with a design for second violins, and its development includes
march-like harmonies for the brass. There is a free repetition of the
_scherzo_ portion, and at the end a reminiscence of the theme for brass
in the introduction.
The third movement, _adagio_, A major, 4-4, is in song form, and there
are three leading melodies in succession. The chief one is given to the
first violins; the clarinet has an expressive air; the third melody is
for oboes and violins. In the middle section there is a return to the
chief theme of the symphony. It occurs in dialogue form, and it also
appears at the end of the repetition of the first section.
The _finale_, _allegro vivace_, begins with a lively introduction which
is rhythmically developed out of the first jubilant motive for full
orchestra. There is a march theme for wind instruments. The second theme
is for strings, D major, and is in lyric mood. Many of the melodic
figures heard before enter in the _finale_. The climax of passion is
reached when the brass sounds forth the bass motive of the introductory
_largo_, and at the end the _adagio_ theme is sung against the dance
motive of the _finale_.