CONCERTO NO. 2, IN C MINOR, FOR PIANOFORTE WITH ORCHESTRA, OP. 18
I. Moderato II. Adagio sostenuto III. Allegro scherzando
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. The adagio and the finale have more racial spirit and are well designed to win the favor of the crowd; the adagio by its agreeable sentiment, the finale by the sharply defined themes, the hustle and rush, the crescendo of excitement, with the apotheosis, full vigor of the orchestra with a long, sweeping cantilena, an obvious tune—truly an ad captandum finale.
This concerto was performed for the first time at a concert of the Philharmonic Society of Moscow, October 14, 1901, when the composer was the pianist. The concerto gained for the composer, in 1904, the Glinka prize of 500 roubles, founded by the publisher Belaïev. Published in 1901, it is dedicated to N. Dahl.
The orchestral portion of the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and bass tuba, kettledrums, bass drum, cymbals, and the usual strings.
Rachmaninoff has composed four pianoforte concertos: No. 1, F sharp minor, Op. 1, was written in 1890-91 and revised in 1917; No. 2, in C minor, 1900; No. 3, in D minor, 1909; No. 4, in G minor, 1927.
There follows a description of the Second concerto:
I. Moderato, C minor, 2-2. Introductory chords for the pianoforte lead to the exposition of the first theme, which is given to the strings while the pianoforte has an arpeggio figure in accompaniment. There is a short orchestral interlude, and the second theme, E flat major, is announced by the pianoforte. The presentation of this subject ends with a coda in which there is passage-work for the pianoforte while there is a suggestion of the first theme in the brass choir. The section of development begins with a working out of the first motive, at first in the orchestra. In the recapitulation, maestoso, alla marcia, the chief theme is given to the strings, while there are chords for the brass and a counter theme for the solo instrument. The horns take the second theme in augmentation, moderato, A flat major. The material for the coda, meno mosso, is taken from the chief theme, and the pianoforte has passage-work.
II. Adagio sostenuto, E major, 4-4. There is a short introduction with sustained harmonies for strings. These harmonies are soon reinforced by wind instruments. The pianoforte enters with a figure over which the flute and then the clarinet announce the theme on which the movement is built. The opening phrase for the clarinet has much significance in this respect. The pianoforte now has the theme, and the accompaniment of a broken chord figure is given to violins (pizzicato) and clarinets. The pace is quickened for the working out of the subject and for episodic material. There is a cadenza for the pianoforte, after which there is a repetition in part of the opening section. The coda contains a new musical thought for the pianoforte: a progression of chords in the upper part is accompanied by a broken chord figure in the left, and wood-wind instruments play against this in triplets.