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Eppur
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เข้าร่วมเมื่อ 31 ธ.ค. 2020
Great music. Great recordings. Visualized.
Rachmaninoff: Symphony No.2 in E minor, Op.27 (Litton)
It is no secret that Rachmaninoff was a great admirer of Tchaikovsky, and the latter's influence is evident in several respects. Both composers are indeed reputated for their great melodic inspiration, masterful use of color, all in the service of powerful emotional expression. That is not to say that Rachmaninoff's music was a mere emulation of Tchaikovsky. Rachmaninoff incorporated his own unique musical language into the great traditional forms, exactly like Dvořák before him.
As far as musical form is concerned, Rachmaninoff's second symphony offers several fascinating points of comparison with Tchaikovsky's own symphonies.
To begin with, Rachmaninoff's second symphony follows a cyclical form, a feature it shares with Tchaikovsky's fifth. Both works exhibit the use of recurring thematic material, a motto that serves as structural and emotional anchor. Both symphonies trace the journey of their respective mottos, from the brooding introduction to the triumphant finale.
But this formal similarity also underlines a fundamental difference between both composers' styles. Tchaikovsky's motto has a stronger rhythmic shape which makes it instantly recognizable when it comes back, while Rachmaninoff's motto is a lot more fluid and allows for more subtle transformations.
Of course, Rachmaninoff wasn't new to this composing technique, as it was also the main feature of his first symphony. Rachmaninoff's first symphony, I might add, ends in a very similar fashion to Tchaikovsky's second: a huge orchestral climax leads to a big tam-tam crash and fades into the coda. The only difference between the two works is their diametrically opposed characters.
Moreover, the first movement of Rachmaninoff's second symphony makes use of a formal innovation that Tchaikovsky introduced in the first movement of his Pathétique symphony. In both works, the recapitulation of the first subject is embedded in the development section (13:03) rather than appearing as a distinct section, as it would be the case in traditional sonata form. Only the second subject is properly recapitulated (14:56). The structural conflict that naturally emerges from this peculiar feature gives rise to the most pulverizing climax of the entire movement (13:39).
Andrew Litton, particularly at home in Russian music, first recorded Rachmaninoff's second symphony with the Royal Philharmonic, as part of his series of Rachmaninoff orchestral works recorded for Virgin (now on Warner's sub-label Erato).
The interpretation remained largely the same, with nearly identical timings. However, Litton's second installment with the Bergen Philharmonic not only benefits from BIS's usually state-of-the-art sonics, but also attest to the meteoric rise of this orchestra among the so-called "second-rate" ensembles. The playing is in fact world-class throughout this performance. The strings, ever so important in this symphony, project Rachmaninoff's numerous gushing melodies magnificently, and with old-school portamento!
Litton's conception of the work is indeed hyper-romantic. His interpretive choices (like the outsized ritardandos he indulges in before the "big moments") may seem like excesses at first glance, until you realize they never operate against the music's will. What makes this performance particularly gratifying is precisely its unabashed romantic abandon. If you're not convinced, just listen to the buildup to the climax of the Adagio (36:24 to 37:30) which is quite simply orgasmic.
00:00 Intro
00:13 I. Largo - Allegro moderato
19:37 II. Allegro molto
30:01 III. Adagio
45:20 IV. Allegro vivace
The Rachmaninoff playlist: th-cam.com/play/PLpCnVCgOOM15ySGGtC6G76DHm3_A-pA3d.html
The Symphonies playlist: th-cam.com/play/PLpCnVCgOOM14YfnA1rGgcnmuxJhr5YtVQ.html
As far as musical form is concerned, Rachmaninoff's second symphony offers several fascinating points of comparison with Tchaikovsky's own symphonies.
To begin with, Rachmaninoff's second symphony follows a cyclical form, a feature it shares with Tchaikovsky's fifth. Both works exhibit the use of recurring thematic material, a motto that serves as structural and emotional anchor. Both symphonies trace the journey of their respective mottos, from the brooding introduction to the triumphant finale.
But this formal similarity also underlines a fundamental difference between both composers' styles. Tchaikovsky's motto has a stronger rhythmic shape which makes it instantly recognizable when it comes back, while Rachmaninoff's motto is a lot more fluid and allows for more subtle transformations.
Of course, Rachmaninoff wasn't new to this composing technique, as it was also the main feature of his first symphony. Rachmaninoff's first symphony, I might add, ends in a very similar fashion to Tchaikovsky's second: a huge orchestral climax leads to a big tam-tam crash and fades into the coda. The only difference between the two works is their diametrically opposed characters.
Moreover, the first movement of Rachmaninoff's second symphony makes use of a formal innovation that Tchaikovsky introduced in the first movement of his Pathétique symphony. In both works, the recapitulation of the first subject is embedded in the development section (13:03) rather than appearing as a distinct section, as it would be the case in traditional sonata form. Only the second subject is properly recapitulated (14:56). The structural conflict that naturally emerges from this peculiar feature gives rise to the most pulverizing climax of the entire movement (13:39).
Andrew Litton, particularly at home in Russian music, first recorded Rachmaninoff's second symphony with the Royal Philharmonic, as part of his series of Rachmaninoff orchestral works recorded for Virgin (now on Warner's sub-label Erato).
The interpretation remained largely the same, with nearly identical timings. However, Litton's second installment with the Bergen Philharmonic not only benefits from BIS's usually state-of-the-art sonics, but also attest to the meteoric rise of this orchestra among the so-called "second-rate" ensembles. The playing is in fact world-class throughout this performance. The strings, ever so important in this symphony, project Rachmaninoff's numerous gushing melodies magnificently, and with old-school portamento!
Litton's conception of the work is indeed hyper-romantic. His interpretive choices (like the outsized ritardandos he indulges in before the "big moments") may seem like excesses at first glance, until you realize they never operate against the music's will. What makes this performance particularly gratifying is precisely its unabashed romantic abandon. If you're not convinced, just listen to the buildup to the climax of the Adagio (36:24 to 37:30) which is quite simply orgasmic.
00:00 Intro
00:13 I. Largo - Allegro moderato
19:37 II. Allegro molto
30:01 III. Adagio
45:20 IV. Allegro vivace
The Rachmaninoff playlist: th-cam.com/play/PLpCnVCgOOM15ySGGtC6G76DHm3_A-pA3d.html
The Symphonies playlist: th-cam.com/play/PLpCnVCgOOM14YfnA1rGgcnmuxJhr5YtVQ.html
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Monumental!!!!
so thrilled
Such a magnanimous upload I’m speechless to the quality of synthesia uploads today especially on channels like yours
Muchas gracias por permitirme ésto!!!
Schumann dedicated this opera to Chopin; After this, Chopin created his 2º Ballade and dedicated it to R. Schumann
I’m very impressed with Rachmainoff’s 2nd Symphony.
Now this is just Gold. One of the most underrated Symphonies by Rachmaninoff finally in Synthesia form. Thanks for the upload!
What a brilliant recording, glad you were finally able to upload this one! Hopefully someone makes a good MIDI of the Shostakovich symphonies soon, I know you want to tackle those as well 😄
I believe what makes finding MIDI files of Shostakovich works extra difficult is the fact that his scores are still protected by copyright. But one day, who knows...
I love that you picked the Litton recording. Is my favourite too, everything just feels so spot on. Great work by the way! Amazing to follow along this way.
LETS GOO
One of the most beautiful music ever written
One of my favorite moments in this symphony that nobody ever talks about is the short canon between the clarinet and the violas that starts at 39:00. It's so simple, but so unbelievably beautiful, it never fails to give me the shivers.
This upload is yet another landmark for the Synthesia community. Huge respect and many thanks!
AMAZING
Nice work 🙌
Thank you so much for uploading this.. i can't imagine how long this took!
Holy sheet music, what a surprise!
My favorite symphony by Rachmaninoff 🫠
You are a damn legend!!! Thanks ❤️❤️
1882 - master class in film scoring
My favorite fact about the toccata is that the widest handspan you ever need in it is an octave. So people with hands of (almost) all sizes can struggle through it together!
トッカータ…すごい…😂✨大好きなピアニストです！💕
How you find delicious recording like dis
1:10:00 is where the magic happens
The most exciting and finely detailed “Scarbo” I’ve ever heard!
massive props for this amount of insane effort wow
There’s no doubt that you’re both passionate and crazy. Uploading Ozawa would’ve been a great tribute to him. Still can’t believe that he passed away just like Pollini (of whom you’ve never talked about nor uploaded anything). By the way, since you seem to be particularly into orchestral works, any thoughts on Beethoven symphonies for the future? I’d love to see Honeck in this format.
Making a video on Honeck's Eroica has already crossed my mind several times. You will definitely see him on this channel in the future, although at this point I'm not sure if it will be in Beethoven's 3rd, Dvorák's 8th or Brahms' 4th (ideally all of them).
@@EppurMusicHoneck’s B. 3 and 7 are really two of the greatest renditions of those symphonies, if not the best ones. Listening to him and visualizing the MIDI would be a joy.
Undoubtedly one of the most important uploads from the Synthesia community. Huge respect (and a big middle finger in the face of Deutsche Grammophon).
best synthesia version
Thank you for sharing your stunning work for free. What amazes me the most is how Tchaikovsky managed to compose so many nice melodies, beyond the luxurious orchestration, for so many pieces and ever. It’s just like if he had a programmed machine in his mind that could release a tune whenever he wanted. True wonder of wonders.
This is ultimately a pretty accurate description of how it works. It's a gift.
@@EppurMusic Verdi, Tchaïkovski and Dvorak are three best composers concerning this.
One could argue about Schubert too!
As you said, crazy and passionate are one of the same, and I’m glad there are crazy people on this earth
Crazy in a good way !
best video in this year! nice work
Your videos are just marvelous! I always wait for them😊
The determination to remake this entire video is incredible, amazing job Eppur. Christmas is in May now
Unbelievable
What a great upload
Entire ballet?? Damn! 😮
A little bit of context. I started working on the Nutcracker all the way back in November 2023. The video was (not very originally) intended as a Christmas special. However, the copyright owner has decided otherwise. Some of you will remember a community post from earlier this year where I reported that my newest video got blocked worldwide immediately after I set it to public. I was indeed referring to the Nutcracker video, originally made using Seiji Ozawa's stellar recording with the Boston Symphony. Deutsche Grammophon (not to name them) adressed my grievance in the worst way possible: they straight up ignored me. As it turned out, I was essentially left with three options: 1. Splitting the video in several smallers parts to spread out copyright claims and avoid the blocking of the video 2. Giving up on making a video of this particular piece 3. Remaking the video using another recording The first option was favored by PianoCzarX when he faced the same issue (with the same yellow label, BY THE WAY). As far as I'm concerned, I will always remain resolutely opposed to any solution that involves altering my work in any way, shape or form. The Nutcracker is one piece and it shall remain one video. Period. Therefore, the second option appeared as the most logical, although it would mean abandoning that old dream of mine of making a video on the full Nutcracker ballet. So if you are reading this, it means I ultimately settled on the third option. You heard my right, the longest video in the history of my channel had to be made... twice. The line between crazy and passionate is sometimes very thin.
👏
wow, your dedication with your job and with your comunity is incredible, really thank you for bring us the opportunity to now all this different pieces and musicians, I have really discover a lot of music with your channel, and even if a known piece like the nutcracker, its really good to listen your choice of recording, so again, thank you.
How do you make the midi files for this?
With lots of patience.
What edition did he use? The opening RH sequence in Ondine is played differently than the way I learned it
13:39 That part onwards is my favorite - truly amazing. I love the descending bass and the ensemble that the ordinary piano version can't simulate
Great piece, the one that I went to when I wanted to learn how to write for harp in an orchestral context! Until I heard this piece, I hadn't seen the harp utilised very effectively in the orchestra, mainly providing special effects. As soon as I listened to The Bard, it led me down a road of finding good orchestral harp repertoire. Thanks for uploading it, I haven't listened to it for a while!
That's true. French composers in particular had a good understanding of the potential of the harp.
Would love to see more Sibelius, there's so many hidden gems in his work.
Great Sibelius Piece.
amazing work as always!
Honestly, did not know this piece existed, and totally glad I got to hear this from your channel (hi eppur, hope you’re doing fine bud 😁🤝)
A very mysterious piece indeed, you can hardly resist its attraction.
Gotta wonder how many times Koji Kondo listened to this, before writing Bowser themes.
Only in Mozart do you here Woodwinds this beautiful 1:32
Sounds like marry go round of life at some points