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.