Rachmaninoff - Rhapsody On A Theme of Paganini

Sergei Rachmaninoff initially wanted to be a composer, but he had to rely on his abilities as a pianist  to make a living after he left Russia. The revolution of 1917 saw the loss of Rachmaninoff's estate (he was a member of the bourgeoisie), and his way to make a living. He was 44 years old when he left his native country in late 1917 and he never went back.

In 1921 he immigrated to the United States and toured extensively as piano soloist and conductor. He completed only six compositions between 1918 and 1943, the year of his death. His home in the U.S. reflected his homesickness for his native Russia, as the household practiced Russian customs and had Russian servants. He did build a vacation home on Lake Lucerne, Switzerland where he spent his summers. It was there that he wrote Rhapsody On A Theme Of Paganini in 1934.

 Rachmaninoff himself was the pianist at the premiere of the work with the Philadelphia Orchestra, Leopold Stokowski conductor. Rachmaninoff admitted the work was very difficult and that he had to practice it diligently. Paganini's 24th Caprice For Solo Violin is the theme used for the variations, a theme used for other sets of variations by Liszt, Brahms, and other composers. 

Coincidentally (or not) Rachmaninoff writes 24 variations on the theme, the same number as Brahms. The work is played non-stop, but the variations are arranged in three groups that roughly coincide with the usual fast-slow-fast movement plan of a conventional piano concerto.

Introduction : Allegro vivace - A nine bar introduction that uses a fragment of the theme.

Variation 1 (Precedente) - Instead of playing the theme itself, Rachmaninoff plays the first variation on it. Actually a variation on the bass of the theme, as Beethoven did in the last movement of the Third Symphony ‘Eroioca’.

Theme -  The theme is first heard in the strings as the soloist plays a simple outline of the harmony in A minor.  

Variation 2 - It is the piano’s turn to state the theme at the beginning of this variation. The piano then outlines the theme in arpeggios as woodwinds, horn and strings trade off playing fragments of it.

Variation 3 - The piano plays a simple counter melody while the woodwinds and strings chatter amongst themselves.

Variation 4: Piu vivo -  The tempo increases slightly, the piano has each hand in turn take up a fragment of the theme as an accompaniment to the strings and single woodwinds.

Variation 5 - Alternating chords in the piano play chords that soon lead up to a few sparse octaves and snatches of the theme played an octave apart in each hand.

Variation 6 - A quiet variation that has the piano play a part of the theme, and a cadenza-like ritard that ends the phrase. The piano part becomes slightly more complex and louder, and then returns to the quiet of the beginning.

Variation 7 : Meno mosso, a tempo moderato -  While a solo bassoon plays the theme, the piano quotes the ancient plainchant Dies Irae, something of a fixation for Rachmaninoff as it appears in other of his compositions.

Variation 8 : Tempo I - The music grows more intense, the piano part more complex as the variation progresses.

Variation 9 -  Violins and violas are instructed to play col legno, with the wood of the bow. The strange clicking sounds that result are played in triplets with the rest of the orchestra that have the first beat in the triplet as a rest, thus giving an off the beat feel to the music. The piano plays the theme in eighth notes separated by an eight rest, which further adds to a disquieting rhythmic pattern. The dynamic range of the variation stays mostly on the quiet side. All of it adds up to appropriate music after the ‘Day Of Wrath’ of the Dies Irae appearance, as strings played col legno have been compared to the rattling of bones.

Variation 10 - The Dies Irae returns, and the music slowly reaches a quiet conclusion to the variation. From the beginning of the work to the end of the 10^th variation has all been in the key of A minor, and these variations have been considered representing the first movement of a concerto.  

Variation 11 : Moderato - This variation remains in A minor, and is considered to be the start of the slow movement of a concerto.  The tempo has slowed; the mood is more melancholy than fierce. The piano weaves chromatic runs and octaves as the orchestra adds discreet accompaniment. The piano takes off on a fortissimo run of arpeggios and is accompanied by glissandos on the harp, after which the piano winds down and plays a solo.  

Variation 12: Tempo did Minuet to - This variation is in D minor, and as indicated is in the tempo of a minuet - a slow minuet.  The orchestration is very sparse with alternating solos for clarinet and horn, with accompaniment by the harp.

Variation 13 : Allegro - Still in D minor, the music picks up the pace and volume as the strings play the theme while the piano hammers out chords.

Variation 14 - The key shifts to F major, the volume increases, and the piano takes a rest while the orchestra plays the varied theme. When the soloist does enter, it mostly at an accompaniment level.

Variation 15 : Piu vivo scherzando -  The piano plays a rapid, brilliant solo in F major before the orchestra joins in. The piano keeps up its virtuosity until the variation ends with a quiet chord in the piano.

Variation 16 : Allegretto - The key changes to B-flat minor as muted violins and violas softly begin the movement. The oboe and cor anglaise take up the theme while the piano plays a harmonic counter theme.  A solo violin plays while the piano changes to a short chromatic run. After the dialogue between piano and violin, the variation returns to the beginning as the violins lead to the next variation.

Variation 17 -  The piano continues in B-flat minor as it plays slow arpeggios to accompaniment by woodwinds with the violins and violas punctuating with tremolos. The piano makes a wonderful modulation along with the cellos to the next variation.

Variation 18 : Andante cantabile -  The piano begins in D-flat major with the variation that is known all by itself, a variant of the original theme where the 4-note motive of the theme is inverted.  This variation not only shows Rachmaninoff’s mastery of the piano and orchestration, but also shows his gift for melody. The piano plays the variant by itself until the strings take it up. It then plays accompanying chords. The music keeps building until upon the third repetition of the inversion the volume, passion (and rubato) increase as the piano continues to accompany with chords. The music slowly begins to grow quiet until the piano ends the variation pianissimo. The end of this variation suggests the end of the slow movement of the piano concerto.

Variation 19 : A tempo vivace -  The next variation begins with 4 bars of pizzicato strings, and it is back in the key of A minor. The soloist enters and plays in eight note triplet arpeggios that are marked quasi pizzicato.  

Variation 20 : Un poco piu vivo -  The music increases in tempo as the strings race in sixteenth note figures. The soloist skips around the keyboard in single notes for each hand and finally switches to octaves. Clarinets and flutes join in with the running sixteenth notes as the variation builds to a crescendo and then back to quiet at the end.

Variation 21 : Un poco piu vivo - The piano plays in triplets in each hand as the orchestra punctuates the harmony. The music keeps on building in intensity.

Variation 22 : Un poco piu vivo (alla breve) - The piano plays short, clipped chords with an indication of marziale. The accompaniment is light to begin with, but as the soloist grows in volume and intensity, more instruments start to play. The music builds to tremendous climax, after which the piano plays triplets in each hand. The triplets become sixteenth note arpeggios. Soloist and orchestra trade off statements in triplets until the climax is reached. The soloist plays a cadenza that leads to the next variation.

Variation 23 -  The piano plays the theme in A-flat minor (!) before the strings bring it back to A minor.  The soloist has another cadenza and that leads to the finale.

Variation 24 : A tempo un poco meno mosso - The tempo slows slightly as the piano plays another theme variant to a light accompaniment.  Piano and orchestra grow more involved until a final loud appearance of Dies Irae is heard in the brass. The piano is all but drowned out by the orchestra as things are leading up to a big finish that includes a double glissando by the soloist. The volume is fortissimo, the music slips into the key of A major, but after one last outburst, the music ends with the piano quoting the opening of the original theme’s first notes quietly with an equally quiet accompaniment.