I don’t think any other piano concerto comes close to Rachmaninoff. He really managed to get the most out of the instrument together with the orchestra. Truly makes u feel desperate pain when u listen. Constant hope and passion always torn down by a deep sadness.
@@tancreddehauteville764 yes I agree, also maybe Chopin concertos in terms of expressivity and pure emotion? But still I’d say that Tchaikovsky doesn’t unlock what Rachmaninoff unlocks. To me it sounds more superficial in a way, whereas Rachmaninoff really digs deep into the soul. Tchaikovsky’s symphony no.6 on the other hand I think may even be equal to Rach 2 and 3
@@olliemartinelli4034 The Tchakovsky concerto is a bravura showpiece, but still emotionally powerful, though in a different way. The difference is that Tchaikovsky's melodic style is less dark and brooding than Rachmaninov's, but no less intense in my opinion. Tchaikovsky's 6th is a devastating piece of music - it eats the soul and spits it out. In my opinion it is better than anything Rachmaninov wrote and is right up there in the top three or four symphonies of all time. Chopin and Schubert were also great melodists, for sure.
As a person who was born in the late 30's and was around when the 2nd Piano Concerto literally hit the world, younger people do not realize the intensity of emotion that met the introduction of Rach's 2nd Concerto to the world. It found its way into two movies and was played endlessly by people like Arthur Rubinstein in America, Britain, other parts of Europe, etc. Rach should have made a bundle on this, but given the situation in the 40's, I am sure he didn't. In my book Rach's 2nd Concerto is one of the greatest masterpieces of classical music ever. Nothing about the emotions of this piece is fake and everything about it goes directly to the heart. Rach has some kind of "divine" way with his melodies and we are better off having his musical inspiration in our lives.
I'm 13 years old and I'm learning the piano solo version of this concerto and I really feel bad for all my peers my age that can't feel the emotion from pieces like this
I'm 5 years old, I'm learning a simplified version of this piano concerto and even with playing only one note with each hand at the same time, I feel like it conveys emotions which are nowhere to be found in any other concerto.
Rachmaninoff's 2nd piano concerto has always been my favourite piece by him. Since the first time I listened the composer himself playing it I have been hooked by its absolute sincerity. The fact he composed it after a long depression hits very close to home for me, and I think it adds a new dimension to the whole listening experience. Also I was quite shocked when you mentioned he composed his first piano concerto at the age of 18, what a pity he wasn't totally appreciated in his youth.
He was appreciated, that concerto had him graduate from the conservatory with a Great gold medal, the highest honor that almost nobody got (they gave Scriabin the Small gold medal at graduation). It was only after the bungled premiere of his first symphony that he fell out of favor with critics (through no fault of his own).
@@SpaghettiToaster opinions may vary, but Rachmaninov's music has stood the test of time and he is now regarded by many as one of the great 20th composers as well as the virtuoso pianist he was in his lifetime. If you then consider his influence upon a generation or two of Hollywood film music composers and pop/rock songwriters, I think he has been vindicated by history
@@timflatus Yes, but I'm saying he was also by no means unsuccessful in his life, specifically with the first concerto. The only time in his life that his music was unpopular with critics was really after the first symphony (supposedly because Glazunov conducted the premiere drunk) and before the op 17 suite and second concerto, which were of course extremely well received.
Great analysis! I never put two and two together on the first four bars of the second movement mimicking the A section of the first movement. I always just thought of it as a genius modulation. I think Beethoven's 9 really paved the way for composers to go a bit outside of the box and to start developing the first iteration of 'leimotif' as we know it today, instead of having every movement be a completely separate idea altogether. Bringing back melodies from previous movements was almost unheard of at the time, but Rach geniusly snuck it in there for all of us to still be discussing 120 years later! True genius!
The use of the "pivoting figure" is also genius. It's arguably even more pervasive throughout the concerto than the rising line. First, it takes the foreground in the development section of the first movement, where we follow its transformation from a self-conscious and shy melody into a confident march, serving as an accompaniment to the assertive first theme in the recapitulation. The same figure also plays an important role in the coda. In the middle of the second movement, a part of the main melody is revealed to be the same pivoting figure and is explored in length. It can be also spotted in the orchestral introduction, and later in the coda of the finale. Great video!
This is by far my favorite piano concerto of all time. I'm a senior pro pianist (pop) who was trained early in classical. Explanations like what is shown in this video teaches me how much I have yet to learn. Wonderful, instructive video!!
The analysis of the Rach 2 is on point, its not common to have recurring theme in all three movements even thought they are subtle in the 2nd and 3rd mvt there’s nothing i can add besides the climaxes of the 3 mvts the way it gradually builds up to the climax then calms right down. The developments contrast from the Exposition and Recapitulation is well written no surprises but prepares you for something is about to come and the coda…very light with a gradual fire in the end
Nothing to add to this, I'd like to point out that Beethoven also famously retained the "fate theme" throughout the movements of its 5th symphonies, which counts as an other example of masterful theme utilization, not to cite the infamous Clara theme in Schumann works.
My favourite is Rach 3, because I think it really elevates the cyclic unity Rach was trying to achieve in his 2nd PC, both the 1st and 2nd theme of the first movement pervade the subsequent movements, like how the first theme comes back in the 2nd movement, and how the 'Waltz' section is just the first theme but in the Locrean mode. Or how in the 3rd movement's central development section, the scherzando theme shares the same melodic contour of the 1st movement's second theme, and the latter half of the 2nd theme is fully quoted in it, or how the (ossia) Cadenza makes a huge come back at the finale. I consider it a variation as the Cadenza Primo uses the exact harmony but disguised. I have never seen such cross movement planning in a large scale piano concerto before.
Maybe not particularly common but Rachmaninov had already experimented with it in his [initially panned] 1st Symphony. The line of lineage is discernible from Tchaikovsky who used a motto theme most notably in the 5th Symphony.
Oh my god I’ve listened to this a hundred times but missed the appearance in the opening and closing of the 2nd movement oh my god he’s brilliant. I have always found so much feeling in the last 3 measures of the 2nd movement, and now my brain understands why my heart is so moved. Also, motif C is the opening piano G-Ab-F-G bit after the 8 bell chords that start the 1st movement (that also appears throughout all 3 movements of the concerto)
I'm not sure the title is the most accurate. "Analysis of a Rach theme" might be better. As a composer, I was hoping that you had some insights on HOW Rach comes up w these themes. This vid was an analysis of some (mostly one) of his great themes. That's not a 'how' but a 'that'. lol
Thanks for the comment. With titles I'm trying to walk the line between informative and eye-catching, all without being too click-baity. So, apologies if it wasn't quite what you were hoping for. Maybe some of my other videos provide the insight you're looking for? As for HOW Rach comes up with these themes...I don't think anyone knows but him!
@@FrederickViner I kind of read it as 'Common Elements Used in Rachmaninoff's Melodies', guess I thought it would be a more general look at what features/techniques Rachmaninoff frequently uses to construct his melodies. That would not only be a terrible title, but is too broad and not as helpful as this video was, deconstructing one of his famous melodies was a better choice and I really enjoyed this. Subscribed! Now I just need a video on how to grow huge hands and I'll be writing famous concertos in no time
Fair comment. It was such a good analysis I don't really mind. There may not be a huge mystery as to how he came up with these themes. He played the piano a lot, I imagine he improvised. I doubt he ever went to piano with a pre-composed plan, he may have gone with a strong feeling and let his hands wander. From the number of released works, I guess what we have are the edited highlights, the polished gems; the tunes that just nagged him and kept falling under his fingers. I think the formal music theory and precise arrangements came in with the editing phase
Fantastic video! I'm learning this lovely concerto right now and despite the amount of times I've listened to it and played it I've never noticed what you've pointed out. I'll make sure to really accentuate the repetition and many iterations of this beautiful melody throughout. Thanks for the new lens!
@@FrederickViner Not sure if I'll ever get a chance to play it with an orchestra (I'm in high school right now), but who knows when the opportunity may present itself! I listened to your interpretation of the piece and I loved it!
@@owenwhite6396 If you master the piece, I can assure you, you will get the opportunity to perform it at some point. Just don't let it be the only thing you can play well! Keep well-rounded, and perform it as often as you can with a second piano.
I love 4:35 from the bottom of my heart...I just finished this fantastic concerto a few days ago and I almost cry every time I play this part at a grand piano...On Monday 17th, I will play the theme you analysed infront of my music class...can't wait for it! I love Rachmaninoff! He is the best composer! The 2nd Piano Concerto is the most beautiful piece of music! Edit: I uploaded some videos of me playing Rachmaninoff.
You do a great job of highlighting not only Rachmaninov's gift of lyricism but also his grasp and control of musical architecture, which this concerto superbly exemplifies. Thank you!.
What a brilliant analysis! I've performed the concerto several times myself but never appreciated how much the theme permeates all the movements. I first heard this concerto when I was age 10. It worked its magic on me then and still does today, 60 years later. If I had to choose only one piano concerto it would have to be Rach 2.
Great Video! As far as I know, Rachmaninoff first composed the last two movements and then worked on the first movement to complete his concerto. This fact makes his work even more astonishing as he utilized all of the things you mention while he was "reverse-engineering" his own music. Marvellous!
07:06: I think you missed the first two notes of the theme, they are also in the Adagio introduction! I've never heard it before now, and now I can't unhear it! 😁 What a genius, this man!
I can’t tell how satisfying it was when you brought up the second theme of the first movement reoccurring at end of the second movement. It was like you read my mind. Brilliant video about a most beloved work.
I love this! Thank you so much for opening my eyes! 😊 I'm not going to scroll through all the comments to see if someone else pointed this out, but now that you've got me looking and thinking about this, I think this theme is also hiding in more stretched out form in the first subject material in the second movement. The entrance of the flute in bar 17 includes the rising 4th (B to E) from your 'A' motif--same scale degrees and beats in the measure. Even though this new flute theme rises, it doesn't match the 'A' motif exactly, but the back-and-forth between the G and Ab in the second half of the 'A' motif comes a little bit later in ornamented and stretched-out form when the clarinet enters in bars 20-23. (Of course this time it's G# and A.) The pivot motif (motif 'C') is also there, in the piano in the second half of bar 26--though in diminution (both intervalic and rhythmic) and syncopated. What do you think?
Congratulations on an excellent piece of analysis that goes some way to doing justice to the magisterial architecture of this splendid concerto. (BTW I'm sure you are right about the closing phrase of the second movement.)
I also realize that the 2nd movement's opening by the orchestra is called a sort of "rhythmic augmentation of that 2nd subject" previously heard by the piano part in the 1st movement. The "rising motive" part. Later on, as the 2nd movement progresses, the violins do a fragment of that rising motive again, but with new material added this time, while the piano plays legato arpeggiated slow triplets.
So with this, Rachmaninov gets indirectly inspired by Beethoven's use of thematic reinstatement, and finally, if I am correct--Dvorak's use of thematic reinstatement in his "New World Symphony." Being a pianist for so many years, listening and playing Rachmaninov works over the years, and listening to countless classical piano and orchestral pieces, the Rach 2 gives an invoking example of cyclic form within all of its three movements of piano-and-orchestra work.
Frederick, I would love for you to analyze the opening melody of his 3rd Concerto, which Rachmaninoff said “wrote itself”. The closeness to Slavic church music has always struck me. It’s exquisitely simple and perfect.
It’s awesome, my favorite is the syncopated reminiscence of that theme played by the woodwinds at the end of the second movement (fast waltz section). I didn’t recognize it as a reference until my teacher pointed it out, even though I’d played and listened to that section many times.
Shed light you did! That was marvelous! I could watch hundreds of these. I wouldn't mind more on this concerto, either... something tells me you might have more to say about it :)
Frederik, you are wonderfully generous - and talented. Thank you for this video and so many others - each is better than the last (if that's possible).
Wonderful video! I’ve played movements from all four of the Rach concertos, and as I learned concerto 2 first as a younger musician, I never stopped to deconstruct and analyze all the times that motif pops up. In general, the expressive Rach melodies seem like they’re written unconstrained by conventional structure, and as a result feel more ethereal, as if you’re transported to a perfect timeless moment. I do feel he was more structured in his earlier concertos in this regard.
I was never into classical music until I was about fourteen years old. I was about to go out of the house when I heard my father listening to some music on the record player. The music stopped me on my tracks and I asked my dad what is that music playing. He said the Rachmaninoff 2nd Piano Concerto. At the time I didn't quite understand it but that piece of music begun my life-long love affair with the classics.
Thank you, Frederick, I’ve performed this masterpiece a couple of times and shamefully didn’t notice some of these connections in various movements. Your analysis is brilliant. One wonders the extent to which this was conscious in the composer’s mind? We know he wrote this piece in a remarkably short time just after recovering from severe depression.
Thank you for the kind words, Daniel! I performed it too without noticing half of what I cover here!! Goes to show just how subtle and masterful the work's architecture is. Just subscribed to your channel and look forward to hearing your interpretations :)
@@FrederickViner thank you! I have to say that the last time I performed this piece my dear cat had died a few days prior, and on the night of our dress rehearsal. I have not been able to bring myself to listen to it due to the painful emotional connection. I do have a video somewhere. All best regards, your fan, Dan
Don't forget that at 6:18, the piano octaves are playing Motif C (this motif in itself is featured heavily during the 1st movement's development section, and is quoted once at the beginning of Mov 3)
Had to pause only 3 mins in. This is intense! AFAIC he was the master of 20th century melodic invention and a gifted orchestrator. Because he worked in an ostensibly old-fashioned style for the time, people often miss his innovations. In rebellion against 12 tone serialism, he incorporated jazz elements in his later works, like the use of the alto sax in symphonic dances.
I first learned this work before and then began to perform it around the birth of our first child in mid 2003. The theme to me was an expression of gratitude to the Creator for the wonderful gift of life. I had several tremendous opportunities to perform it with orchestras, and it always was such an exhilarating feeling! You did a tremendous job of taking this theme apart for the average listener and highlighting its continuing impact on the work throughout the 3 movements.
@@FrederickViner this is the only complete recording I have, and the symphony in Eastern Ukraine recorded it. It was my first public performance with this work, so it did grow in maturity each time, but I didn't get a copy of those. ua-cam.com/video/Ju2BokOLYkI/v-deo.html
A stunning analysis about Rachmaninoff's music! he is one of my favourite composers. In spite of a lot of music critics, who consider his music a sort of decadent romance, you have shown in this video the "fil rouge" running across one of his most famous works. BRAVO!
What a wonderful video. I heard this concerto first in my early teens and have loved it ever since, particularly the recordings of Rachmaninov himself, but I have never delved into its inner structure which learning of makes it even more poignant.
Excellent analysis of the A motif in the first and third movement. I believe Rachmaninov composed the second and third movement's first, before penning the first movement. He must have had that A and B motif in mind somehow? I'd love to your take on the opening them of Rachmaninov's Third Concerto; it, and the scherzo-like second subject provide a deep well of variations and themes throughout that work. Great video, many thanks, made my day!
Interesting analysis thank you. I always felt the melody in first and last movement were the similar but had not really understood what connected them until until now. Thanks. And I can see that middle movement also has some relation.
Between Chopin, Racmaninoff, and Tchaikovsky, sometimes its hard to pick a favorite as far as melody writing goes. I've learned a lot about melodies just from these three composers and its helped me write my own compositions.
Rach's 2nd is easily my second favorite piece of all time. The musical story telling, combined with the wonderful array of incredible melodies is utterly beautiful, I can't get enough of it. György Cziffra's 1970 studio performance is especially wonderful imo, y'all should give it a listen.
@@FrederickViner Cecil Forsyth's Chanson Celtique. It isn't well known, and the only performance that truly does it justice (Rudolf Barshai's) was recently just nuked off of every streaming service along with many other recordings in the same album, so I haven't listened to it in a while.
The opening melody of Movement 1 of his 3rd Piano Concerto is one of the best melodies every written. I think it's an obvious homage to the opening notes of Brahms' 4th Symphony. Just brilliant, all around.
As some people already commented here, the title of your video is indeed a bit misleading as you are covering how he structured his melody/theme throughout the composition - and it's a great analysis! - just not about how he writes a melody. For that, we would have to look into some music theory and analyze his harmonic progressions, how he built the chords, how the melody is built, how the melody and harmony are related, why he chose certain notes in the melody/harmony over other ones, how he developed his melody from there, etc... Nahre Sol has a video on youtube called How to sound like Rachmaninoff which covers some of these topics
Thanks for the feedback, David. And apologies if you found the title misleading! I'll really try to consider my titles more for future videos. The analysis is hardly exhaustive but I do think the points covered in the video (esp. the discussion on the 3 distinct motifs and how they're arranged into unconventionally structured, asymmetrical phrases) directly address the question of how Rach writes this melody. I do also discuss how its developed through the entire concerto - eg how motif A is isolated from the other motifs and augmented, sequenced and nestled amidst the 2nd subject of Mvt. III etc. Perhaps we just have slightly different expectations when seeing a title like this? There's certainly lots to cover re harmony but I chose not to discuss that so as to keep the video as focussed as possible. Maybe next time :)
@@FrederickViner unfortunately it seems like you're getting a lot of "flak" or at least commentary on the "imprecise" nature of your title...perhaps "How Rachmaninoff Nurtures a Melody", which may be informative, eye-catching, and "more fitting".
@@DanielKRui I don't care about the title. It made me listen--and that's what's important. I don't think the question of how R. wrote the melody is answered here. Rather, the mystery deepens. How did he think of such a versatile set of phrases, that at once come together and can be torn apart to provide structure? Somewhere (and someone will know what I'm thinking) there's an analysis of Beethoven's sketchbooks. It's one of the great music critics, and I don't remember who. We think of Beethoven's Fifth as starting with that great motto (mi-mi-mi-do; re-re-re-ti...), which then generates the whole movement and most of the symphony. But Beethoven struggled with it. He had something really big to say, and it took a lot of effort for him to distill it into four notes. We don't have that kind of analysis here. But I really don't care. It's still a brilliant and thought-provoking analysis.
Despite being a big Rachmaninoff fan I'm surprised I never noticed he used the 2nd theme in the other movements as well! Thank you for making this video :D Also, what's your favorite recording of this concerto or what recording do you recommend? My favorite will be the one played by Alexander Melnikov with the conductor Teodor Currentzis.
Thanks for the comment! I'm so pleased you got something out of the video :) I'll have to check out Melnikov. I really love the performance that I feature in this video - Gimse and Petrenko - but I also adore Sokolov's playing of it. Hope to do a video on Rach 3 at some point too...
Of course you're right about the cameo appearances in movements 2 and 3, I mean the last movement is more of a recap, but yeah it's exactly the kind of thing Rachmaninov would do. Considering the recurrence of the Dies Irae over several different works. More of this sort of thing please, your analysis of melody is particularly useful. Would you do Shostakovitch?
@@FrederickViner I've been comparing Shostakovitch's 1st symphony and concerto to Rachmaninov's 4th concerto because they're roughly contemporary. The 4th & 5th symphonies would be the obvious ones, but obvious isn't necessarily best.
Melodies like this are inspired and are a gift. So if you ask "how" he wrote a melody like this you don't look to analysis and thought, you look to the heart and feeling. As the melody was a gift to him, he in turn makes a gift of the melody to all who understand. Musical literacy helps in the expression but does not create the magic.
Friend - thank you. I am a composer of sorts perhaps you may augment this fine study with a bare-bones analysis of the chordal structure as it helps the melody in question weave through our emotional responses. I am not asking for a musicological treatise, but since you've gone this far already, it might be a treat for all of your listeners to further our understanding. Cheers.
Thanks for your comment, Enrique! That's a really good idea and I've made a note of it. I'm afraid I can't promise if/when I'll get round to it; I'm a PhD student and term will be starting in a couple of weeks, leaving me less time for youtube videos :( I'll keep you posted though!
Am I the only one who loves the first movement more than the second in this concerto? I love the first movement's dark opening theme in the strings against the complimentary dark tumultuous piano accompaniment. And then the recapitulation with the opening theme again in the strings against the chords in the piano above referencing one of the fragments noted in the video!
It's the complete package isn't? Hard to beat the melody in the 2nd mvt though. Then I suppose you could say the 3rd mvt has the best counterpoint in the development section!
Thanks for the great video! Always been my favorite concerto. And I was wondering what is the main instrument at 5:46 When he said horn but which horn specifically?
Love this video so much - thank you for organizing it in such a digestible way!! Is this part of a larger series on your channel? I would love to see Beethoven's Piano Concerto No. 1!!
Thank you for the comment, Mariya! I'm really delighted that you like the video. I'd certainly consider doing more melodic analysis, and Beethoven is conspicuously absent on my channel (except for when I bash 'Fur Elise')... I've just subscribed to your channel and really look forward to exploring it properly soon :)
I appreciate your work so much! I love Rachmaninov from the bottom of my heart and learning new things about his music is so important for me. I am courious if you've heared of Takashi Yoshimatsu. He is contemporary with us and he makes me feel the same Rachmaninov does sometimes. Especially his piano concerto memo flora. He is not covered on youtube that much, it would be interesting project.
Before the so-called war in Ukraine, I was fond of Rachmaninov's concerti - especially the no. 2. Even obsessed. The second movement of the C minor - the E major slow movement - has good melodic lines too like the 1st movement does. Especially for this sesquicentennial anniversary of Rachmaninov's birth coming up on April 1 of this year, this concerto - and all of the other concerti by Rach - will be more important here.
Die Kunst ist es eben mit geringen Mitteln was großartiges zu schaffen. Da kann man alles analysieren wie man will. Komponieren kann man dann noch lange nicht. Das ist eben nur kreativen und wenigen Künstlern gelungen.
This may sound weird, but this concerto has always sounded like the 1930s to me. I don’t exactly know why that decade is evoked in my mind, but I see Art Deco images in my mind when I listen to it. Maybe it’s because he was so ahead of his time and it took the rest of the world thirty years to catch up. Regardless, this is one of the greatest works ever composed.
Great analysis! However considering the first movement was actually the final movement written by Rachmaninoff for the piece, I think it's more likely that, rather than alluding to the first movement throughout the others, he wrote the thematic material in the first movement based on fragments from the others. That or he just loved yearning upward figures.
@@FrederickViner I'd be happy to see some Brahms melodies or magical transitions like in sonatas or g minor quartet. For me he is also a lirycal genius, one of a kind.
In my opinion Rach's most beautiful melody is the recapitulation in the first movement of his 4th Piano Concerto: ua-cam.com/video/5Ym1VjVjD8M/v-deo.html at 10:33
I don’t think any other piano concerto comes close to Rachmaninoff. He really managed to get the most out of the instrument together with the orchestra. Truly makes u feel desperate pain when u listen. Constant hope and passion always torn down by a deep sadness.
The only concerto to come close to his concerto n2 is his concerto n3 😂😂
@@oldbird4601 tbf I’d say there pretty much even haha. Concerto 1 and 4 are the only others that come close haha
Tchaikovsky's first piano concerto comes pretty close.
@@tancreddehauteville764 yes I agree, also maybe Chopin concertos in terms of expressivity and pure emotion? But still I’d say that Tchaikovsky doesn’t unlock what Rachmaninoff unlocks. To me it sounds more superficial in a way, whereas Rachmaninoff really digs deep into the soul. Tchaikovsky’s symphony no.6 on the other hand I think may even be equal to Rach 2 and 3
@@olliemartinelli4034 The Tchakovsky concerto is a bravura showpiece, but still emotionally powerful, though in a different way. The difference is that Tchaikovsky's melodic style is less dark and brooding than Rachmaninov's, but no less intense in my opinion. Tchaikovsky's 6th is a devastating piece of music - it eats the soul and spits it out. In my opinion it is better than anything Rachmaninov wrote and is right up there in the top three or four symphonies of all time. Chopin and Schubert were also great melodists, for sure.
As a person who was born in the late 30's and was around when the 2nd Piano Concerto literally hit the world, younger people do not realize the intensity of emotion that met the introduction of Rach's 2nd Concerto to the world. It found its way into two movies and was played endlessly by people like Arthur Rubinstein in America, Britain, other parts of Europe, etc.
Rach should have made a bundle on this, but given the situation in the 40's, I am sure he didn't.
In my book Rach's 2nd Concerto is one of the greatest masterpieces of classical music ever.
Nothing about the emotions of this piece is fake and everything about it goes directly to the heart.
Rach has some kind of "divine" way with his melodies and we are better off having his musical inspiration in our lives.
I'm 16 years old, I've just finished this fantastic concerto a few days ago and I can only agree with you! You expressed it pretty well!
I'm 13 years old and I'm learning the piano solo version of this concerto and I really feel bad for all my peers my age that can't feel the emotion from pieces like this
I'm 5 years old, I'm learning a simplified version of this piano concerto and even with playing only one note with each hand at the same time, I feel like it conveys emotions which are nowhere to be found in any other concerto.
@@eriksatieofficiel Bravo! Bravo!
@@eriksatieofficiel sorry if I'm wrong, but I don't believe that you are 5 lol
Rachmaninoff's 2nd piano concerto has always been my favourite piece by him. Since the first time I listened the composer himself playing it I have been hooked by its absolute sincerity. The fact he composed it after a long depression hits very close to home for me, and I think it adds a new dimension to the whole listening experience.
Also I was quite shocked when you mentioned he composed his first piano concerto at the age of 18, what a pity he wasn't totally appreciated in his youth.
Thanks for your comment, Ivan. Yes, it's definitely a favourite of mine too! I'd like to discuss the 3rd piano concerto too some day...
@@FrederickViner I will be looking forward to that then. :)
He was appreciated, that concerto had him graduate from the conservatory with a Great gold medal, the highest honor that almost nobody got (they gave Scriabin the Small gold medal at graduation). It was only after the bungled premiere of his first symphony that he fell out of favor with critics (through no fault of his own).
@@SpaghettiToaster opinions may vary, but Rachmaninov's music has stood the test of time and he is now regarded by many as one of the great 20th composers as well as the virtuoso pianist he was in his lifetime. If you then consider his influence upon a generation or two of Hollywood film music composers and pop/rock songwriters, I think he has been vindicated by history
@@timflatus Yes, but I'm saying he was also by no means unsuccessful in his life, specifically with the first concerto. The only time in his life that his music was unpopular with critics was really after the first symphony (supposedly because Glazunov conducted the premiere drunk) and before the op 17 suite and second concerto, which were of course extremely well received.
My personal all-time favorite. My mom played this on our piano when I was young. I will always hold it dear.
Great analysis! I never put two and two together on the first four bars of the second movement mimicking the A section of the first movement. I always just thought of it as a genius modulation. I think Beethoven's 9 really paved the way for composers to go a bit outside of the box and to start developing the first iteration of 'leimotif' as we know it today, instead of having every movement be a completely separate idea altogether. Bringing back melodies from previous movements was almost unheard of at the time, but Rach geniusly snuck it in there for all of us to still be discussing 120 years later! True genius!
The use of the "pivoting figure" is also genius. It's arguably even more pervasive throughout the concerto than the rising line. First, it takes the foreground in the development section of the first movement, where we follow its transformation from a self-conscious and shy melody into a confident march, serving as an accompaniment to the assertive first theme in the recapitulation. The same figure also plays an important role in the coda. In the middle of the second movement, a part of the main melody is revealed to be the same pivoting figure and is explored in length. It can be also spotted in the orchestral introduction, and later in the coda of the finale.
Great video!
This is by far my favorite piano concerto of all time. I'm a senior pro pianist (pop) who was trained early in classical. Explanations like what is shown in this video teaches me how much I have yet to learn. Wonderful, instructive video!!
The analysis of the Rach 2 is on point, its not common to have recurring theme in all three movements even thought they are subtle in the 2nd and 3rd mvt there’s nothing i can add besides the climaxes of the 3 mvts the way it gradually builds up to the climax then calms right down. The developments contrast from the Exposition and Recapitulation is well written no surprises but prepares you for something is about to come and the coda…very light with a gradual fire in the end
Nothing to add to this, I'd like to point out that Beethoven also famously retained the "fate theme" throughout the movements of its 5th symphonies, which counts as an other example of masterful theme utilization, not to cite the infamous Clara theme in Schumann works.
My favourite is Rach 3, because I think it really elevates the cyclic unity Rach was trying to achieve in his 2nd PC, both the 1st and 2nd theme of the first movement pervade the subsequent movements, like how the first theme comes back in the 2nd movement, and how the 'Waltz' section is just the first theme but in the Locrean mode. Or how in the 3rd movement's central development section, the scherzando theme shares the same melodic contour of the 1st movement's second theme, and the latter half of the 2nd theme is fully quoted in it, or how the (ossia) Cadenza makes a huge come back at the finale. I consider it a variation as the Cadenza Primo uses the exact harmony but disguised. I have never seen such cross movement planning in a large scale piano concerto before.
Maybe not particularly common but Rachmaninov had already experimented with it in his [initially panned] 1st Symphony. The line of lineage is discernible from Tchaikovsky who used a motto theme most notably in the 5th Symphony.
@@thelonearchitect There's also the recurring ascending motif in all movements of Beethoven's 8th piano sonata
Couldn't stop playing that first passage you showed for weeks. Absolutely astonishing!
Oh my god I’ve listened to this a hundred times but missed the appearance in the opening and closing of the 2nd movement oh my god he’s brilliant. I have always found so much feeling in the last 3 measures of the 2nd movement, and now my brain understands why my heart is so moved. Also, motif C is the opening piano G-Ab-F-G bit after the 8 bell chords that start the 1st movement (that also appears throughout all 3 movements of the concerto)
I'm not sure the title is the most accurate. "Analysis of a Rach theme" might be better. As a composer, I was hoping that you had some insights on HOW Rach comes up w these themes. This vid was an analysis of some (mostly one) of his great themes. That's not a 'how' but a 'that'. lol
Thanks for the comment. With titles I'm trying to walk the line between informative and eye-catching, all without being too click-baity. So, apologies if it wasn't quite what you were hoping for. Maybe some of my other videos provide the insight you're looking for?
As for HOW Rach comes up with these themes...I don't think anyone knows but him!
@@FrederickViner I kind of read it as 'Common Elements Used in Rachmaninoff's Melodies', guess I thought it would be a more general look at what features/techniques Rachmaninoff frequently uses to construct his melodies.
That would not only be a terrible title, but is too broad and not as helpful as this video was, deconstructing one of his famous melodies was a better choice and I really enjoyed this. Subscribed!
Now I just need a video on how to grow huge hands and I'll be writing famous concertos in no time
Fair comment. It was such a good analysis I don't really mind. There may not be a huge mystery as to how he came up with these themes. He played the piano a lot, I imagine he improvised. I doubt he ever went to piano with a pre-composed plan, he may have gone with a strong feeling and let his hands wander. From the number of released works, I guess what we have are the edited highlights, the polished gems; the tunes that just nagged him and kept falling under his fingers. I think the formal music theory and precise arrangements came in with the editing phase
Many were based on orthodox chants and Russian folk tunes
@@timflatus Clearly you write music the same way I do, Tim!
Rach inspires me the most to write my own compositions
Motif C also appears throughout the concert in the most unexpected places
Fantastic video! I'm learning this lovely concerto right now and despite the amount of times I've listened to it and played it I've never noticed what you've pointed out. I'll make sure to really accentuate the repetition and many iterations of this beautiful melody throughout. Thanks for the new lens!
How exciting! Best of luck with your preparation. Will there be a recording available from your performance?
@@FrederickViner Not sure if I'll ever get a chance to play it with an orchestra (I'm in high school right now), but who knows when the opportunity may present itself! I listened to your interpretation of the piece and I loved it!
@@owenwhite6396 Thanks Owen :) Perhaps when you get to university? Keep me posted on what you get up to!
@@owenwhite6396 If you master the piece, I can assure you, you will get the opportunity to perform it at some point. Just don't let it be the only thing you can play well! Keep well-rounded, and perform it as often as you can with a second piano.
I love 4:35 from the bottom of my heart...I just finished this fantastic concerto a few days ago and I almost cry every time I play this part at a grand piano...On Monday 17th, I will play the theme you analysed infront of my music class...can't wait for it!
I love Rachmaninoff! He is the best composer! The 2nd Piano Concerto is the most beautiful piece of music!
Edit: I uploaded some videos of me playing Rachmaninoff.
8:00 oh my god i never realized this.. just immediately teared up while hearing this.. how did i never notice it?
You do a great job of highlighting not only Rachmaninov's gift of lyricism but also his grasp and control of musical architecture, which this concerto superbly exemplifies. Thank you!.
Thanks, Peter - exactly! He doesn't just write pretty tunes!
What a brilliant analysis! I've performed the concerto several times myself but never appreciated how much the theme permeates all the movements. I first heard this concerto when I was age 10. It worked its magic on me then and still does today, 60 years later. If I had to choose only one piano concerto it would have to be Rach 2.
Great Video! As far as I know, Rachmaninoff first composed the last two movements and then worked on the first movement to complete his concerto. This fact makes his work even more astonishing as he utilized all of the things you mention while he was "reverse-engineering" his own music. Marvellous!
07:06: I think you missed the first two notes of the theme, they are also in the Adagio introduction! I've never heard it before now, and now I can't unhear it! 😁 What a genius, this man!
I can’t tell how satisfying it was when you brought up the second theme of the first movement reoccurring at end of the second movement. It was like you read my mind. Brilliant video about a most beloved work.
I love this! Thank you so much for opening my eyes! 😊
I'm not going to scroll through all the comments to see if someone else pointed this out, but now that you've got me looking and thinking about this, I think this theme is also hiding in more stretched out form in the first subject material in the second movement. The entrance of the flute in bar 17 includes the rising 4th (B to E) from your 'A' motif--same scale degrees and beats in the measure. Even though this new flute theme rises, it doesn't match the 'A' motif exactly, but the back-and-forth between the G and Ab in the second half of the 'A' motif comes a little bit later in ornamented and stretched-out form when the clarinet enters in bars 20-23. (Of course this time it's G# and A.) The pivot motif (motif 'C') is also there, in the piano in the second half of bar 26--though in diminution (both intervalic and rhythmic) and syncopated.
What do you think?
Congratulations on an excellent piece of analysis that goes some way to doing justice to the magisterial architecture of this splendid concerto. (BTW I'm sure you are right about the closing phrase of the second movement.)
I also realize that the 2nd movement's opening by the orchestra is called a sort of "rhythmic augmentation of that 2nd subject" previously heard by the piano part in the 1st movement. The "rising motive" part. Later on, as the 2nd movement progresses, the violins do a fragment of that rising motive again, but with new material added this time, while the piano plays legato arpeggiated slow triplets.
So with this, Rachmaninov gets indirectly inspired by Beethoven's use of thematic reinstatement, and finally, if I am correct--Dvorak's use of thematic reinstatement in his "New World Symphony." Being a pianist for so many years, listening and playing Rachmaninov works over the years, and listening to countless classical piano and orchestral pieces, the Rach 2 gives an invoking example of cyclic form within all of its three movements of piano-and-orchestra work.
Absolutely mesmerizing analysis on my favorite piece of classical music of all time.
Thank you.
Frederick, I would love for you to analyze the opening melody of his 3rd Concerto, which Rachmaninoff said “wrote itself”. The closeness to Slavic church music has always struck me. It’s exquisitely simple and perfect.
Wonderful idea! I'll certainly consider that :)
It’s awesome, my favorite is the syncopated reminiscence of that theme played by the woodwinds at the end of the second movement (fast waltz section). I didn’t recognize it as a reference until my teacher pointed it out, even though I’d played and listened to that section many times.
Shed light you did! That was marvelous! I could watch hundreds of these. I wouldn't mind more on this concerto, either... something tells me you might have more to say about it :)
Thank you! There's certainly much more to say about this concerto - perhaps I'll discuss it again in future :)
I love analyses like this. I really enhances the listening experience.
Frederik, you are wonderfully generous - and talented. Thank you for this video and so many others - each is better than the last (if that's possible).
Thank you so much! I try hard to improve with each video, so your comment really means a lot.
Wonderful video! I’ve played movements from all four of the Rach concertos, and as I learned concerto 2 first as a younger musician, I never stopped to deconstruct and analyze all the times that motif pops up. In general, the expressive Rach melodies seem like they’re written unconstrained by conventional structure, and as a result feel more ethereal, as if you’re transported to a perfect timeless moment. I do feel he was more structured in his earlier concertos in this regard.
I was never into classical music until I was about fourteen years old. I was about to go out of the house when I heard my father listening to some music on the record player. The music stopped me on my tracks and I asked my dad what is that music playing. He said the Rachmaninoff 2nd Piano Concerto.
At the time I didn't quite understand it but that piece of music begun my life-long love affair with the classics.
Thank you, Frederick, I’ve performed this masterpiece a couple of times and shamefully didn’t notice some of these connections in various movements. Your analysis is brilliant. One wonders the extent to which this was conscious in the composer’s mind? We know he wrote this piece in a remarkably short time just after recovering from severe depression.
Thank you for the kind words, Daniel! I performed it too without noticing half of what I cover here!! Goes to show just how subtle and masterful the work's architecture is. Just subscribed to your channel and look forward to hearing your interpretations :)
@@FrederickViner thank you! I have to say that the last time I performed this piece my dear cat had died a few days prior, and on the night of our dress rehearsal. I have not been able to bring myself to listen to it due to the painful emotional connection. I do have a video somewhere. All best regards, your fan, Dan
My very favourite piece, it brings me to tears , it is so emotional. I just love it!!
A great melody. Great.
This made my day
Don't forget that at 6:18, the piano octaves are playing Motif C (this motif in itself is featured heavily during the 1st movement's development section, and is quoted once at the beginning of Mov 3)
Amazing analysis! We need more videos like this!
Love your content. Recently listened to this piano concerto at the Cadogan Hall in London, truly a marvellous composition!
Thanks for your comment! Who was the pianist? :)
@@FrederickViner Roman Kosyakov. Winner of the 2018 Hastings piano competition which is partner with the royal philharmonic orchestra!
Had to pause only 3 mins in. This is intense! AFAIC he was the master of 20th century melodic invention and a gifted orchestrator. Because he worked in an ostensibly old-fashioned style for the time, people often miss his innovations. In rebellion against 12 tone serialism, he incorporated jazz elements in his later works, like the use of the alto sax in symphonic dances.
I first learned this work before and then began to perform it around the birth of our first child in mid 2003. The theme to me was an expression of gratitude to the Creator for the wonderful gift of life. I had several tremendous opportunities to perform it with orchestras, and it always was such an exhilarating feeling! You did a tremendous job of taking this theme apart for the average listener and highlighting its continuing impact on the work throughout the 3 movements.
Thanks for your comment, Jesse! Is there a recording available from one of your performances? I'd love to take a listen :)
@@FrederickViner this is the only complete recording I have, and the symphony in Eastern Ukraine recorded it. It was my first public performance with this work, so it did grow in maturity each time, but I didn't get a copy of those. ua-cam.com/video/Ju2BokOLYkI/v-deo.html
A stunning analysis about Rachmaninoff's music! he is one of my favourite composers. In spite of a lot of music critics, who consider his music a sort of decadent romance, you have shown in this video the "fil rouge" running across one of his most famous works. BRAVO!
Pay no attention to music critics. I've always loved this concerto and other Rachmaninoff pieces. A great analysis here.
What a wonderful video. I heard this concerto first in my early teens and have loved it ever since, particularly the recordings of Rachmaninov himself, but I have never delved into its inner structure which learning of makes it even more poignant.
Thanks, David :)
Brilliant analysis, high quality video production, enjoyed it very much :-)
Thank you very much! So pleased you enjoyed it :)
I'm really glad I found this channel! Underrated fr
Thanks! :)
Excellent analysis of the A motif in the first and third movement. I believe Rachmaninov composed the second and third movement's first, before penning the first movement. He must have had that A and B motif in mind somehow? I'd love to your take on the opening them of Rachmaninov's Third Concerto; it, and the scherzo-like second subject provide a deep well of variations and themes throughout that work. Great video, many thanks, made my day!
Have been listening to this concerto a lot recently. So beautiful. Thanks!
Interesting analysis thank you. I always felt the melody in first and last movement were the similar but had not really understood what connected them until until now. Thanks. And I can see that middle movement also has some relation.
Beautiful, beautiful piece. Thanks for this great analysis.
One of the greats, isn't it? You're very welcome :)
Between Chopin, Racmaninoff, and Tchaikovsky, sometimes its hard to pick a favorite as far as melody writing goes. I've learned a lot about melodies just from these three composers and its helped me write my own compositions.
Rach's 2nd is easily my second favorite piece of all time. The musical story telling, combined with the wonderful array of incredible melodies is utterly beautiful, I can't get enough of it. György Cziffra's 1970 studio performance is especially wonderful imo, y'all should give it a listen.
Have to ask, but what's your favourite? :)
@@FrederickViner Cecil Forsyth's Chanson Celtique. It isn't well known, and the only performance that truly does it justice (Rudolf Barshai's) was recently just nuked off of every streaming service along with many other recordings in the same album, so I haven't listened to it in a while.
@@bananabattlebean4858 It's available on UA-cam, you can download it and listen to it anywhere, anytime.
I just heard it in the background and got crazy goosebumps 😢
The opening melody of Movement 1 of his 3rd Piano Concerto is one of the best melodies every written.
I think it's an obvious homage to the opening notes of Brahms' 4th Symphony. Just brilliant, all around.
Analysis, and actual coming up with stuff like this, are two different things.
Your videos are such a gold. It inspires me so much! Thank you!!
I'll have to check out your channel! :)
The C motive he also used in diminution during the development, and superposed to the first theme in the reexposition.
Thank you for this! Excellent and well-structured video!
Thank you! High praise coming from you ;)
As some people already commented here, the title of your video is indeed a bit misleading as you are covering how he structured his melody/theme throughout the composition - and it's a great analysis! - just not about how he writes a melody. For that, we would have to look into some music theory and analyze his harmonic progressions, how he built the chords, how the melody is built, how the melody and harmony are related, why he chose certain notes in the melody/harmony over other ones, how he developed his melody from there, etc...
Nahre Sol has a video on youtube called How to sound like Rachmaninoff which covers some of these topics
Thanks for the feedback, David. And apologies if you found the title misleading! I'll really try to consider my titles more for future videos.
The analysis is hardly exhaustive but I do think the points covered in the video (esp. the discussion on the 3 distinct motifs and how they're arranged into unconventionally structured, asymmetrical phrases) directly address the question of how Rach writes this melody. I do also discuss how its developed through the entire concerto - eg how motif A is isolated from the other motifs and augmented, sequenced and nestled amidst the 2nd subject of Mvt. III etc. Perhaps we just have slightly different expectations when seeing a title like this?
There's certainly lots to cover re harmony but I chose not to discuss that so as to keep the video as focussed as possible. Maybe next time :)
@@FrederickViner unfortunately it seems like you're getting a lot of "flak" or at least commentary on the "imprecise" nature of your title...perhaps "How Rachmaninoff Nurtures a Melody", which may be informative, eye-catching, and "more fitting".
@@DanielKRui I don't care about the title. It made me listen--and that's what's important. I don't think the question of how R. wrote the melody is answered here. Rather, the mystery deepens. How did he think of such a versatile set of phrases, that at once come together and can be torn apart to provide structure? Somewhere (and someone will know what I'm thinking) there's an analysis of Beethoven's sketchbooks. It's one of the great music critics, and I don't remember who. We think of Beethoven's Fifth as starting with that great motto (mi-mi-mi-do; re-re-re-ti...), which then generates the whole movement and most of the symphony. But Beethoven struggled with it. He had something really big to say, and it took a lot of effort for him to distill it into four notes. We don't have that kind of analysis here. But I really don't care.
It's still a brilliant and thought-provoking analysis.
An absolutely wonderful analyzation
Love this kind of content, keep up the great work 👍
Thanks, Joseph - I'll try! :)
Despite being a big Rachmaninoff fan I'm surprised I never noticed he used the 2nd theme in the other movements as well! Thank you for making this video :D Also, what's your favorite recording of this concerto or what recording do you recommend? My favorite will be the one played by Alexander Melnikov with the conductor Teodor Currentzis.
Thanks for the comment! I'm so pleased you got something out of the video :)
I'll have to check out Melnikov. I really love the performance that I feature in this video - Gimse and Petrenko - but I also adore Sokolov's playing of it.
Hope to do a video on Rach 3 at some point too...
Of course you're right about the cameo appearances in movements 2 and 3, I mean the last movement is more of a recap, but yeah it's exactly the kind of thing Rachmaninov would do. Considering the recurrence of the Dies Irae over several different works. More of this sort of thing please, your analysis of melody is particularly useful. Would you do Shostakovitch?
I'll add him to the list! Any pieces in particular?
@@FrederickViner I've been comparing Shostakovitch's 1st symphony and concerto to Rachmaninov's 4th concerto because they're roughly contemporary. The 4th & 5th symphonies would be the obvious ones, but obvious isn't necessarily best.
@@FrederickViner I guess you can be more generous with examples if you've played the pieces yourself
Melodies like this are inspired and are a gift. So if you ask "how" he wrote a melody like this you don't look to analysis and thought, you look to the heart and feeling. As the melody was a gift to him, he in turn makes a gift of the melody to all who understand. Musical literacy helps in the expression but does not create the magic.
Thank you for this very deep analysis. I'll definitely follow your work
Thank you for the video, i loved it!
Thank you, Zosia! So pleased you liked it :)
The melody is so beautiful, it's almost painful!
It's so beautiful, it IS painful.
Lovely, just lovely.
Great video and analysis on my fav piece :D
Thank you!!
Breathtaking !! Thank you !!
Friend - thank you. I am a composer of sorts perhaps you may augment this fine study with a bare-bones analysis of the chordal structure as it helps the melody in question weave through our emotional responses. I am not asking for a musicological treatise, but since you've gone this far already, it might be a treat for all of your listeners to further our understanding. Cheers.
Thanks for your comment, Enrique! That's a really good idea and I've made a note of it. I'm afraid I can't promise if/when I'll get round to it; I'm a PhD student and term will be starting in a couple of weeks, leaving me less time for youtube videos :( I'll keep you posted though!
@@FrederickViner Thank you for that warm response. First things FIRST! So - ALL the BEST to your studies! ❤
@@enriquesanchez2001 Thank you, Enrique!
Am I the only one who loves the first movement more than the second in this concerto? I love the first movement's dark opening theme in the strings against the complimentary dark tumultuous piano accompaniment. And then the recapitulation with the opening theme again in the strings against the chords in the piano above referencing one of the fragments noted in the video!
It's the complete package isn't? Hard to beat the melody in the 2nd mvt though. Then I suppose you could say the 3rd mvt has the best counterpoint in the development section!
I have the first moment 2nd theme tattooed on my arm!!
All 10 bars of it!? Ouch. Would love to see that 😍
@@FrederickViner I only have 5 measures on my forearm!
Thanks for the great video!
Always been my favorite concerto.
And I was wondering what is the main instrument at 5:46
When he said horn but which horn specifically?
Thanks, Jimmy! It's the French Horn :)
@@FrederickViner thank you!
7:39
How delicate remark.
Great video! Subscribed
Thanks so much!
Swoon💕💕💕
I'd love to see a similar analysis for the 3rd concerto, where the main theme appears in all 3 movements.
It's on my list... ;)
I have been waiting for a new video from you for a long time. But I must say that the thumbnail looks unsettling
Thanks for your comment, Anagh! You're right - he does look a bit like a zombie...sorry about that!
@@FrederickViner np! the excellent video compensates for the creepy thumbnail.
Love this video so much - thank you for organizing it in such a digestible way!! Is this part of a larger series on your channel? I would love to see Beethoven's Piano Concerto No. 1!!
Thank you for the comment, Mariya! I'm really delighted that you like the video. I'd certainly consider doing more melodic analysis, and Beethoven is conspicuously absent on my channel (except for when I bash 'Fur Elise')...
I've just subscribed to your channel and really look forward to exploring it properly soon :)
@@FrederickViner I’m still really new to your channel, so much to discover!! I appreciate the support 🙏 😍 Thank you for the reply!!
Great video! Thanks
Thank you!
He does what all classical composers do. Takes an old folk tune and passes it off as his own.
Oh? Which folk tune did he appropriate?
Uhhh... sure... whatever you say
Bloody legend
Wonderful, intelligent analysis that shed new light on the innate structure of work beloved by millions for many years.
Cheers, Steve!
I appreciate your work so much! I love Rachmaninov from the bottom of my heart and learning new things about his music is so important for me. I am courious if you've heared of Takashi Yoshimatsu. He is contemporary with us and he makes me feel the same Rachmaninov does sometimes. Especially his piano concerto memo flora. He is not covered on youtube that much, it would be interesting project.
Thanks so much! I've been listening to Yoshimatsu this afternoon and I'm really enjoying what I'm hearing :)
@@FrederickViner Thank you for responding! It made me so happy :D
this is very useful to me.
Superb in every way!
Your visuals are topnotch
Thanks Alexis! That's probably the area I'm least confident about, so that means a lot :)
Great video!!! Subbed
Before the so-called war in Ukraine, I was fond of Rachmaninov's concerti - especially the no. 2. Even obsessed.
The second movement of the C minor - the E major slow movement - has good melodic lines too like the 1st movement does.
Especially for this sesquicentennial anniversary of Rachmaninov's birth coming up on April 1 of this year, this concerto - and all of the other concerti by Rach - will be more important here.
Did the war in Ukraine change your perception of Rachmaninoff?
Wtf does Rach have to do with Ukraine
i’ll steal this melody
Die Kunst ist es eben mit geringen Mitteln was großartiges zu schaffen. Da kann man alles analysieren wie man will. Komponieren kann man dann noch lange nicht. Das ist eben nur kreativen und wenigen Künstlern gelungen.
Und Rachmaninow war zweifelsfrei einer der ganz großen Künstler, für mich der Größte!
Einer der Großen auf jeden Fall!
This may sound weird, but this concerto has always sounded like the 1930s to me. I don’t exactly know why that decade is evoked in my mind, but I see Art Deco images in my mind when I listen to it. Maybe it’s because he was so ahead of his time and it took the rest of the world thirty years to catch up.
Regardless, this is one of the greatest works ever composed.
Amazing video! One subscriber more
Thank you!!
Wonderful video!
Thanks, George!
Please do Rach 3!
Maybe one day! 😅
excellent channel;i did suscribe:for those who are interested in jazz,i highly recommand Tony Winston's one;
Great analysis! However considering the first movement was actually the final movement written by Rachmaninoff for the piece, I think it's more likely that, rather than alluding to the first movement throughout the others, he wrote the thematic material in the first movement based on fragments from the others. That or he just loved yearning upward figures.
Could you make one more video wich explain the harmonic structure and harmonic fonctional analysis of this concerto? If it is possible, please...
Thanks for the comment, Aysim! If I find the time, I'd love to revisit this wonderful piece :)
@@FrederickViner Çok teşekkürler 🙏
Make more videos like this please.
I plan to! Any requests in particular? :)
@@FrederickViner I'd be happy to see some Brahms melodies or magical transitions like in sonatas or g minor quartet. For me he is also a lirycal genius, one of a kind.
6:14 That also looks like Motif C in the piano part, no?
In my opinion Rach's most beautiful melody is the recapitulation in the first movement of his 4th Piano Concerto: ua-cam.com/video/5Ym1VjVjD8M/v-deo.html at 10:33
Which section are you referring to specifically? Do you have a link to a video of it?
@@AndrewKierszenbaum Yep, I edited my comment
Thats also my favourite part from the concerto
@@Bevsworld04 That's nice! I also love the second theme of the final movement, but only in Rach's first revision (the video I sent)