Rachmaninoff: Piano Sonata No.2, Op.36 (Lugansky, Kocsis)
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- เผยแพร่เมื่อ 20 ก.ย. 2024
- Two stunning performances of Rachmaninoff’s Second Sonata, a true masterpiece of the form that is tragically underplayed and misunderstood. Reviewers will say some frankly absurd things along the lines of “too full of empty virtuoso transitions”, or “essentially an unending cadenza”, or even describe it as “noisy”. In fact - as I hope the formal analysis beneath will show - the sonata is extremely tightly constructed; almost all the material for the entire sonata is derived from its first 10 seconds, and many of the apparently transitionary passages are closely linked to its themes. The sonata’s form is cyclic - it is bound together by the first theme of the first movement, which recurs in many surprising forms through the entire piece in every movement (its cleverness of construction rivals Liszt’s great B Minor Sonata, which is something you can only otherwise say of Beethoven). And in terms of dramatic power, it’s hard to imagine a more effective sonata: that hair-raising plunge into the deep bass that opens the piece (and which is actually a lot more than a flourish), the chromatic wail of (part of) the first theme, the transfixed lyricism of the second movement, the towering surge of the finale, and the profusion of bell-like sounds throughout the work (trademarks of Rachmaninoff’s style, which I have indicated in the analysis where I could.)
Mvt 1:
EXPOSITION:
24:29 - Mvt 1, Theme 1 (abbreviated T.I-1) [The theme itself is divided into two components. T.I-1A is the downward third at 24:31, and T.I-1B is the snaking line in the LH at 24:34. Note that the opening arpeggio is actually identical to T.I-1B, with the chromatic E natural removed.]
25:14 - T.I-1A, developed
25:36 - T.I-1B, developed (shortened form in RH, long form in LH)
25:49 - T.I-1A in the downward semiquaver-quaver skips in RH, T-I-1B in the long arc of the melody (Gb-F-Eb-Bb etc), variant on opening arpeggio as middle voice.
26:10 - T.I-2 The second theme is itself derived from T.I-1B’s downward chromatic F-E-Eb. Also note how at 26:22 T-I-1B forms part of the LH accompaniment.
27:10 - T.I-1B in RH high voice
27:24 - T.I-1A in high voice
DEVELOPMENT:
27:55 - T.I-1B (counterpoint, in multiple registers)
28:42 - T.I-2, partial statement [BELLS]
29:06 - T.I-1A, RH (most obvious at 29:11 etc. Note how at 29:06 the LH also outlines the head of T.I-1B)
29:49 - BELLS in LH, joined by RH at 30:02. Lead-back to recapitulation.
RECAPITULATION: 30:17 [Note how the recapitulation does not repeat T.I-1 episodically, as the exposition did]
31:52 - T.I-1B, RH
32:01 - T.I-1A, RH
32:22 - T.I-1B, RH (chromaticism)
33:04 - CODA
33:19 - T.I-1B, LH
33:26 - T.I-1B
Mvt 2:
A SECTION
33:44 - Interlude
34:12 - T.II-1
34:36 - T.I-1A (falling third motif in upper voice)
34:57 - contrasting passage, with elements of T.I-1B in LH lower voice
35:45 - T.II-1, with decorative voice [BELLS]
36:04 - T.II-1, climax
36:40 - transition to ‘B’ section, with T.I-1A (falling third at 36:44 in upper voice, etc)
B SECTION
37:10 - development of T.I-1B (RH and LH)
38:19 - development T.I-1B in RH [BELLS in LH]
38:55 - [BELLS] modulation to E
A’ SECTION
39:14 - return to T.II-1, with shift of rhythmic emphasis (a very simple transformation that makes the theme almost unrecognisable)
[Lugansky - at 17:01 the 1931 version ends Mvt 2 with a reference to T.I-2]
Mvt 3
EXPOSITION
40:27 - Interlude, now in ¾
40:53 - T.III-1A, in Bb (downward arpeggio, with reference to T-I-1A at the beginning)
41:02 - T.III-1B, in Gb (with reference to T-I-1B in its melodic contour and a quote from T-I-1A at 41:05, and a quote from T-I-1B in the RH at 41:06. )
41:33 - T.I-1A/T.III-1A, then T.III-1B at 41:36
41:48 - Transition Theme (unusual 3rd group of themes in a Sonata-Allegro movment)
41:56 - Quotation of T.I-1B
42:21 - T.III-2
DEVELOPMENT
43:25 - T.III-1A (repeated)
43:36 - T.III-1B
43:42 - T.I-1B in RH high voice
[pattern of alternating T.III-1A & T.III-1B in different keys continues]
44:06 - combination of T.I-1A and T.III-1B
44:30 - T.I-1B (LH)
44:59 - T.III-1B & T.I-1A (inverted), RH
RECAPITULATION
45:15 - T.III-1A, in D
45:20 - T.III-1A, in Bb
45:27 - Transition
45:51 - T.III-1A, in Bb
45:46 - T.III-2 [climax]
46:50 - CODA [incorporating T.III-1A, I.1A+B]
Lugansky -
00:00 - Mvt 1, Allegro agitato
10:24 - Mvt 2, Non allegro
17:19 - Mvt 3, Allegro molto
Kocsis -
24:28 - Mvt 1, Allegro agitato
33:45 - Mvt 2, Non allegro
40:26 - Mvt 3, Allegro molto
A little note on performance versions: there was perhaps no great composer who suffered as much crippling self-doubt as Rachmaninoff, and amidst a profusion of early (and misguided) reviews that called much of his work emptily virtuosic and extravagant, in 1931 he heavily revised the sonata, thinning many passages and taking a hatchet to many extraordinary transitionary passages, including some which contained important development of the first movement’s themes. (Rachmaninoff compared his own sonata’s length unfavourably to that of Chopin’s second sonata “which lasts nineteen minutes, and all has been said”.)
The 1931 version is pleasingly taut in some places, and disappointingly terse in others; Rachmaninoff never decided if he liked it more than the 1913 original, famously telling Horowitz to come up with his own version to perform.
Lugansky, like Horowitz, largely follows the 1913 original, but includes many passages from the 1931 version (the changes in typeface will alert you to the excerpts); Kocsis plays the 1913 version straight. Both performances are very different: Lugansky is elegant, perfectly voiced, with lots of attention to structural features of the music; Kocsis is white-hot, almost painfully intense. It’d be a sin to only know one and not the other, so I really encourage you to listen to both versions, though doing it back-to-back is a bit much even for me.
It's so beautiful I want to compose music like this some day :D Although my favorite composer is hands down Chopin
I do think this is the first time I have heard this work. This sort of music is rarely played on our two local classical music radio stations. So I really appreciate getting a double-dose.
Nonsense, 10 loops a day minimum is the recommended dosage
The 1931 movement 2 and 3 are unbearably sparse to listen to!
Fun fact: the main descending theme (which first appears as F-E-Eb-Db-Bb-F), labeled by you as T.I-1B, is actually the first numbers of the Fibonacci sequence in terms of half-steps: 1, 1, 2, 3, 5
I've thought of that before, I've never had the thought voiced though 😆 made my day.
Now I have a new way to compose...
... I always wonder how and why that particular sequence got that "mystical" status. Interesting as a composing tool, as anything else, but nothing else? Either the foundations for it's so called "mysticity" allegations are shaky, or I've never been properly introduced to it (researched a bit, but could never find something substantial).
I know how to derive the assymptotic convergence, and understand that's where the "golden ratio" connection comes from, but fail to see why thats musically "relevant" (i'd say it's BS to me now, actually). Still, its interesting to see the way people compose with it. Was it intentional in this case though?
@@Raikaska who knows if it was intentional or not. It's fascinating to hear math concepts translated into sound, but I agree it doesn't mean that it was intentional, nor does it mean that the music has a mystical quality necessarily. Math is maybe the most fundamental of sciences but there's more to music and mystical experiences than just that.
However I do use math all the time in my composing and visual art. As a composing tool it's fantastic, and it's a great way to auto-generate things with certain qualities that I'm looking for.
@@faktablad yep! Agreed.
Also, that's interesting! Do you have an example of what&how you use it that you don't mind sharing? I'd love to hear from experience =D
Time stamp please
The Coda is completely unbelievable. It only lasts about 28 seconds, but it's like Rachmaninoff just put everything he ever had into that one thing and I love it.
Кульминации всех пьес у него такие-очень короткие, но невероятно мощные.
Единственная кульминационная зона, которая длится более 10 секунд-кульминация 1 части 4 концерта.
@@СергейРахманин-б7я Прелюд 13 из оп. 32 имеет долгую кульминацию
@@Ar1osssa Самое странное, что я про это даже и не думал))) хотя это моя любимая.
Я имел в виду все его крупные сочинения и совсем забыл про остальные.
@@СергейРахманин-б7я Бывает
the chromatic/dissonant nature of the runs and the swelling dynamics makes it sound like someone is literally *ripping* the notes out of the keyboard. It's an amazing effect.
12:35 - 13:40 is one of those passages that just sweeps you off your feet and breaks your heart.
Couldn't agree more!
agree
it kills ...
Ridiculously catchy too
I actually like the part from 13:40 even more, no idea why he cut it from the second version... the beautiful dorian passages are heartbreaking and the menacing sextuplets are amazing....
i never realized the relationship between the second theme of the second movement and the “second theme” of the first until i started humming the former and ending up in the latter!! rachmaninoff truly was a thematic genius, i really understand how he can compare to liszt in this regard.
Yeah, he really was one of the most disciplined composers out there, although basically nobody associates that word with him!
@@AshishXiangyiKumar I specifically know baroque specialists who go out of their way to avoid Rach because they don't believe a music of such emotionalism can ever have any thematic or contrapuntal depth. They think he is a Bruckner-type. OK, no shade on Bruckner for the most part, but if any composer is too long-winded, it may be him. In any case, Rachmaninoff is closer to Beethoven or Debussy in terms of originality for me. Cheers.
do you mind pointing out some timestamps?
Daniel Rui notice how the end of the phrase at 26:10 almost anticipates the one at 39:14 (adjusting for tuning of course). its just another smidge of unification that this sonata holds, aside from the obviously very omnipresent opening material.
@@XavierMacX Well they're fools then who don't actually know anything about counterpoint (or music in general, or anything else really).
i listen to this as a piano concerto without the orchestra. that's how great this is.
not many likes for your comment haha
@@nikolai5012 but it’s so true!!!
It’s really great indeed.
@@Dylonely42 indubitably!
@@Dylonely42heheheha
19:33 what a gorgeous melody
Rachmaninoff is my favourite composer by far, but I always struggled to truly appreciate this piece. However, the other day I found myself humming the second movement out of nowhere, and of course, came here immediately to listen to it. It's been at least 10 times since then. I find I can just lose myself in this piece. It's amazing how we can just fall in love with a piece all of a sudden. Thank you for uploading this. I prefer the Kocsis' interpretation but equally respect Lugansky's as well.
Agree. Not the best piece, definitively. Long-winded and unnecessary emphatic.
Now it's time to fall in love with the first sonata ;)
I wish that a Third piano sonata would be discovered. Rachmaninoff s piano writing is so heart felt and yet sublime at the same time. His choral works are to die for!.
Yes! Have you listened to The Bells? It's my favorite Rach piece! His Third Symphony, before his actual Third Symphony
Lugansky's performance is like reading a book that is difficult to read making ease as to comprehending, and Kocsis's performance is like talking about how the reader feels after reading the book for the first time.
It's just my opinion, feeling it several times.
I think 0:32-0:35 is the greatest modulation in music history
Well done rach... well done!
it truly is something
Fucking eargasm!!!!
Magnificently heart wrenching.
39:05 is one of the most beautiful passages ever written. But once I found the original chromatic-descending motif present in the inner voices of this E major section, my mind was truly blown. The chromatic theme is present in the inner voices marked tenuto, but then is even further reduced to just a 3-note chromatic descent through those amazing chords to the end of the mvmt. The fact that that ubiquitous chromatic motif is woven into such beautiful counterpoint with the principal theme of mvmt 2 is astounding.
Beautiful observation! Can't un-hear that chromatic line now.
I really like how 0:59 turns into 22:02 like the same feeling but with other resolution. Instead of drama in the first you get some unexpected development like it is going to be something more ans bigger. Incredible
That “little” tragic turn at 0:33! You know you’re in for an emotional train ride. Such intense beauty throughout-almost beyond criticism. Rachmaninov!
Every time I hear that third movement played by Kocsis, specially the majestic return of the tragic theme at the climax (45:56) , I cannot do anything but sheer a tear, thinking about the loved ones that aren't with us and ultimately about the great mystery of the universe and life.
i don't find that theme tragic at all. its hopeful even. tragic would be the something like the corelli / end of 1st sonata
I think the critic types who wanted to complain about Rach's writing just were thick-headed and maybe anti-Russian. I just listened to Richter play Beethoven's piano sonata 1 and it didn't hit my emotions as this can. But somehow Lugansky elided some parts here I did not like. I know Rach revised this a number of times. I prefer the French pianist, Helene Grimaud on this.
I think the Rachmaninoff 2nd Sonata to be the finest piece of music ever written for piano. For whatever reason, every time this piece is played my mood improves and my soul begins to enjoy life a little better. I cannot believe this hasn't shown up on my feed sooner. Absolutely jaw-dropping. And I love the analysis!
I love this piece too
yes!😉
Do you have any tips on how to understand this music? I'm adept at understanding fugues, most classical music and early Romantic, especially Chopin, but this goes off the deep end a bit for me. I have an inkling that it's really incredible music but I don't know how to interpret.
@@BRNRDNCK what exactly do you find hard to understand?
@@musicalmoments9997 Well it’s hard to say because it’s hard for me to even characterize the music. I find it obscure and enigmatic. I don’t know how this is supposed to be deeply appreciated. It seems a bit random or atonal for no reason.
35:45 - 36:39 Kocsis' interpretation on this passage of the 2nd movement is one of the best I've heard.
I totally agree! Not only this passage, but this whole sonata played by Kocsis simply cannot be surpassed...
The Kocsis performance here is perhaps my favourite piano recording of all time. I've probably listened to it once a month since I was 14 years old. It's miraculous. I was devastated to hear of his death last year. I always imagined I would get to hear him play live.
Aravind Aravind I have a similar experience with a Rach Sonata recording, but mine's Ogdon's take of the D Minor on RCA. Two staggering performances!
Contrapunctus XIV With a *Rachmaninoff sonata.
shut up, even professional musicians say it like that.
David but kocsis’ third movement ....
Check this recording th-cam.com/play/OLAK5uy_kjnhh2SNalCim8HtphnE2E6d8Wao9gYPs.html of Czapiewski's interpretation. This is earlier, bigger version of this sonata. Especially 2nd part is prodigious.
An immaculate composition. One of those works a composer spends his whole life composing for.
His 2nd piano concerto brings one to a place of spiritual ecstasy - sublime....some of his etudes go to dark places and yet retain an utter beauty .....this 2nd sonata takes me to a place that says - "Let your imagination decide where to go."
I've always adored Rachmaninoff and this sonata is a side of him we don't often see. Most people know the accessible Rachmaninoff - the second symphony, second and third concertos, two books of preludes, cello sonata, Paganini Rhapsody, etc. But there are a number of Rachmaninoff works, the Etudes Tableaux, the Corelli variations and this sonata, that show a spikier, more experimental side. This sonata should be better known but I think its intensely chromatic harmony turns off a lot of people familiar with the composer's "big tune" style. Rachmaninoff pushed the tonal envelope about as far as he ever would in the outer movements. The middle movement, of course, is an exquisite return to what I've dubbed the composer's "succulent" style. A neglected masterpiece.
People are such arrogant simpletons at times that anybody that thirsts for more or anything abstract and nuanced is automatically dubiously dubbed as arrogant and such. Nah. At least you and I know we aren't part of the "big club."
the more scriabinist side
its kind of funny how rachaninoff said to scriabin he thought he went off the deep end or took a wrong turn where this piece is just about as avant garde as scriabins works
@@tonytalks9070 your argument is, im not part of the 'big club' im part of my 'elite club' sigh
arrogant much?
@@varsityathlete9927 Human nature, how tragic?! Sorry, could've phrased it better, meant it as a bit of a tease and rebuke towards those obsessed with "my way or the highway" expectations. It's no big deal man. ☮
This piece is the definition of “whenever I go, I see his (the motif’s) face
most underrated comment
I am still amazed by Kocsis' interpretation. Absolutely stunning! RIP maestro.
cool muso q bobaum
every time the time signature changes, take a shot.
I am already hammered after the first mvt.
whoever does this will end up very very drunk lol
Lucas Fred hahahah xD
Lmaoo
Even better saying this for rite of spring sacrificial dance you'd probably die
42:52 Love it how it reaches an emotional peak which continues and flows into a sad quietung melancholy and then again turning into loud determination
Favorite passage of all
This Kocsis recording is astounding. A landmark recording of this piece.
This posting is a stunning contribution to cultural dialogue. Not only do we get to listen to thrilling performances of this sonata but also engage with a highly stimulating analysis of the work in question. Promoting this kind of cultural exchange is a feature of which youtube and its inspiring volunteer contributors can be proud. Bravo Ashish !
12:58 ; 14:54
Gorgeous and brilliant!
22:51 Rachmaninoff always knew how to bring a piece to a stellar ending!
seems our friend Fidel has good taste
@@isaacvandermerwe744 *comrade
@@artemtsarevskiy2785 ahh yes lacks the alliteration of 'friend Fidel' but then I could have gone with 'comrade Castro' so no excuse there ;)
@@isaacvandermerwe744 r/expectedcommunism
22:50 reminds me the climax of Ondine. Similar uprising chord flow there
I always think of the B flat major prelude op 23 no 2 when I hear the main 2 chord motive of the first movement. I love hearing subtle similarities over Rach's music 🎶
Personal timestamps:
19:36 sounds like his second concerto
12:35 "sweeping feet" passage
22:50 emotions realizing
Which part of the 2nd concerto do you mean?
@@mangomerkel2005 it sounded to me a bit like the Bb theme from third movement
36:21 is the most beautiful thing I have ever heard.
Just listen to the coda of the piano concerto No.2 by Rachmaninoff!
another comment here put it very beautifully: "one of those passages that just sweeps you off your feet and breaks your heart"
Kocsis is one of my favorite performers and he really does play Rachmaninov well. RIP Zoltán - gone too soon.
I totally missed that he died two months ago...
Another great human taken by the dreadful year of 2016.
Look at the absolutely incredible linking of 36:21 and 45:56, Rachmaninoff truly was an underrated structural genius.
Indeed indeed indeed
indeed indeed indeed indeed
@@nassera indeed indeed indeed indeed indeed
indeed indeed indeed indeed indeed indeed
@Apostolos Chatz that's a matter of opinion but he is one of the greatest in my opinion
22:50 that's absolutely incredible
So many thanks, and all my respect, for such nice, personal, well-expressed, and captivating comments on the works you are presenting in this channel. Not the least for selecting the interpreters you deam interressant to pick out. I more than often search your presentations when considering an new work from those composers that attract your attention. Whatever the time, knowledge, dedication and energy you put in these documented analyses, receive my/our gratitude ; and please, go on ! thanks to you, we learn more about music, how to listen to it, and play it. A nice playback system is critical to grasp all refinements of these recordings... Respects !
Aside from the astounding performances, the sound of those pianos is incredible! Kudos to the manufacturers and also the sound designers!
the most badass way ever to modulate from b flat minor to b flat major
12:35 - 13:40 Lugansky
35:45 - 36:40 Kocsis
I love this part so much, it is basically what love sounds like, but I prefer the Kocsis version!
Gorgeous
I love how everyone here is mentioning diff memorable moments of this amazing piece.
I have heard this sonata just a few times. My impression was that the slow movement is fantastic and the last movement sounds like a jazz pianist improvising at times. I notice here in the beginning the rhythmic complexity rivals Scriabin and at the 4 minute mark it sounds like middle/late Scriabin. They were classmates and I would imagine they kept up with each others music. I need to study this piece more.
Great analysis! In Mvt 2 at 38:19 it sounds like he combines both T.I-1A and T.I-1B. 1B is as you listed but 1A also appears in the accented RH notes on the beat. Your analysis helped me gain an even deeper appreciation for a piece I already love.
One of the greatest sonatas ever written!
This sonata is just amazing. Each movement is great. The first movement is anxious, very stressful, and yet sooooo beautiful. The second movement is slow and jazzy, very melodious. And the third movement almost seems like a recapitulation of the first movement: stressful and restless, but very unique at the same time. Perfect!
Although it's extremely important to listen to different interpretations of pieces to have different musical perspectives, it's really difficult to listen to other renditions of this piece after listening to Kocsis'. The sheer amount of passion and expression he has behind his fingers is truly awe inspiring!!
Check sultanov
I wish Rachmaninov had ended the sonata the same way he started it: with that fast descending arpeggio and two grand chords (3rd inversion then 2nd inversion), but in B-flat MAJOR rather than minor. He probably considered doing this but may have found it trite. I would’ve enjoyed the circularity and cohesion of that. Regardless, what he wrote is exhilarating enough.
Yeah I was expecting it to end that like the first time I heard it!
I agree!
I love 44:30 and how subtly it develops into the idea from 25:26-it feels like coming out of a fever dream, back to reality. And it takes a master like Kocsis to make it convincing.
Flying Pen and Paper nah
@@diamoz7597 thank you for your insight
@@diamoz7597 A very deep insight.
Getting to know the original versions after knowing Horowitz performances has highlighted to me just what a judicious 'editor' Horowitz was. Although I might be experiencing 'first performance bias' - its the version I knew first.
Thanks for sharing these- Kocsis as expected was especially great.
What a judicious editor Rachmaninoff was, you mean! Horowitz is, by and large, choosing from the edits that Rachmaninoff made in his 1931 revision. His performances are naturally more similar to the original version than Rachmaninoff's revision because he sticks with many original parts that Rachmaninoff later removed.
Good analysis, thanks for sharing. One crucial detail left out is that both of these recordings are Rachmaninoff's Original Version (1913) as opposed to his Revised Version (1931). The Revised Version is surprisingly more often heard, critics calling the Original Version "too virtuosic" etc. because of the challenging and catastrophic nature (in comparison to the less daunting Revised Version where much of the virtuosic sections were completely cut out). There is also a third version, written by Rachmaninoff's good friend and colleague, Horowitz, in 1940.
I didn't leave it out (look at my reply to the pinned comment), and in fact it's not true that both recordings are R's original version -- Lugansky uses sections from the 1931, as you'll notice if you look at the score.
The advertisements which interrupt Lugansky's and Kocsis' performances are criminal! This is my favorite piece of music! I already have two recordings and now I have two more. Listen!
Inside the cocoon of dissonance there lies the sweetest, saddest, most exquisite and tender morsel of music I've ever heard; made tragic by it's brevity. (Section A Interlude 33:44) This piece and Puccini's chorus in Act II of "La Rondine" along with Liu's last aria in "Turandot", on a desert isle, they would be enough to find God. Really! They haunt one and enrich the soul. BTW I recommend comparing Horowitz's and Cliburn's interpretations of this sonata as well.
Kocsis led me listen to this piece carefully for the first time, Lugansky made me love this piece.
Well put.
H Penzio Pow mto legal...mto irado...mto interessante. Maaaaaaaaaaaaassss.........
E o Kiko?
And the Kiko?
H Penzio I think that it is the opposite for me lol
I am SOOOO glad that you uploaded the underrepresented 1st version of this sonata. Incomparably better version in my opinion.
For self reference
4:03 chromatic, harmonic descents
6:05 even crazier descents. insane
Idk why I have put off listening to this piece for so long 😮I’m glad I’m finally listening to this incredible piece now.
0:08 I love how he does not suppress the chords in the right hand completely and, instead, lets them be heard faintly. It sounds somewhat mysterious.
Thank you thank you thank you!!! I'm going to watch this a million times. I'm a huge fan of both pianists you chose as well! :)
I LOVE THE SECOND THEME OF THE FIRST MOVEMENT SO MUCH AHHHHHHH
There's so much about this piece I could say - to the point where I can't actually say anything about it...
Thanks for the upload.
It's very intense from the beginning. So stimulating that I'm already addicted to it..
thank you for your insightful thematic analysis - yes, musicologically the sonata develops as a Russian late romantic piece should. aside from that, this is just an incredible sonic experience with tolling bells, rhythmic motifs bouncing about, and of course, the ennui-redolent sighing chromatic theme!
I wish I had the knowledge to understand his harmonies... there is a beautiful maths behind it but at this stage I just don't understand what I hear. And it's so beautiful.... the opening.... the explosion around 6:17..... Rachmaninoff was a monster....
the harmonic writing in this recapitulation isn't anything special. He just uses different inversions of the tonic and goes to the relative major chord. Sometimes it's not what you have, but how you show it.
@@duqueadriano0081 maybe they were talking about the leadup to the "explosion", which admittedly is much more complicated harmonically.
Why isnt anyone talking about 25:48?? It's wonderful!
Another one of my favorite pieces. Thank you for all the work you do, this is easily one of my favorite youtube channels :)
Merci infiniment pour l'analyse que vous proposez ! C'est une formidable porte d'entrée pour mieux écouter, entendre, comprendre cette sonate, qui est magnifique.
Call it the difference between Central and Orthodox Europe, but over and over again I can 't help but think that Koscis plays like an orchestra and Lugansky like a choir
The best sonata ever written, I'm lucky that I have the capability to learn it. Just started it ❤
Thanks for taking this one apart for us !
beautiful interpretation of a beautiful piece of one of the great composers of all times the beautiful RACH>
Thematic development in this sonata is absolutely extraordinary
i’m glad this video was published on my birthday, a nice present
27:36 is it just me or did I hear an exact passage like this in Liszt’s Sonata in B Minor?
Yep you definitely did lol
Lol my first time noticing the link
Yeaaahhh probably but its a passage and I think liszt did it in octaves and not chords so Im not sure if he took inspiration from it but who knows haha
major goosebumps at like 4 places in this piece. Especially the coda. WOW!
Kocsis is my reference. I wish Lugansky took a full account of the original because I like his Rachmaninoff performances a lot, but I'm a purist for this sonata.
These are good performances but I am surprised you didn't mention the Van Cliburn recording of this sonata. The Non allegro by Cliburn is the most sumptuous and heart wrenching performance I've ever heard. He literally makes the piano sing and cry.
Cliburn’s performance is truly special
i love lugansky but i prefer kocsis intepretation, also both of them are great.
To each their own but in my opnion, Kocsis' playing is much better for this piece than Lugansky's as he captured the spirit of Rachmaninov better. To the untrained or even trained ear, these pianists have 'interpreted' this piece amazingly and I agree they have just done amazing things with the piece and I am definitely impressed. Kocsis in my opinion has played this to a close to perfect standard however he isn't capricious enough in my book and his loudness range tends to stay the same in certain loud passages which dampens the suspense. In the huge scheme of things, many pianists don't have that extra creative power to make this even more special and personal, as well as capturing the true spirit of Rachmaninov. In my personal book, most, despite having attained very close to perfection, have failed my test for playing Rachmaninov.
I fucking love Lugansky but this performance by Kocsis genuinely is my favorite recording of all time, of anything.
What a great job of analisys have you done!. Thank you. I figure if it will be convenient to make the so excelent annotations about the works form (themes, developments, transitions, etc.) in line with the music.
Kocsis: fantastic!
Second movement from Lugansky..... I don't know what to say.
Learning it right now and it takes my breath away from the intensity of the emotions in display
I just love the chord at 32:34. So tragic
Also at 0:33
Horowitz's legendary recording of this blew me away 50 years ago, as a teenager. To say that it spoiled me, is not too far from the truth. ♥
Raminchoff really wrote a whole sonata based on the blues scale
raminchoff
@@duqueadriano0081 When Rach left Russia, he also left parts of his name. Now you know.
Raminchoff?
@@CatkhosruShapurrjiFurabji Raminchoff
@@imlafonz8047 Sergay
It takes a genius to be able to compose such a complex piece
Indeed.
I believe I just got rach rolled
oh dear ...
I cannot Handel this pun
Benjamin Marks you're dead inside
Hahahahaha
Mindblower you’re not maninoff
When I saw that my boy rach ended the fist mvt on the dominant, I jumped out of my bed bc the suspense was ⬆️⬆️⬆️
You just gotta love the dominant suspension ;)
22:57 to 23:44 is one of my favorite sections of music ever, pure pleasure...
An amazing post. Thanks for all the work you did to assemble it. And remind me, when I'm waiting for my next reincarnation, to insist on a span of a twelfth, and at least six fingers on each hand. (Sigh)
WJohnM 😂😆
0:08-0:14 THAT. IS. EPIC.
22:50 to the end is so romantic.
I’m so glad these videos exist
I don't know why, but anytime I hear this beautiful sonata I see myself in a train going through nice and snowy countryside... maybe one of my winter journeys was one of the first times I was listening to this piece of excellence, but anyway I love that vision :)
Kocsic nails perfection here. Landmark performance
25:25 sounds f*cking awesome! The way Kocsis plays this climax, the steady bb octave in the right hand and the changing chords and harmonies in the left just mesmerises me. I have to repeat this section multiple times every time I listen to this masterpiece.
Nikolai Medtner dedicated his "Night Wind" Sonata to Rachmaninov, and I suspect this is the reply. It's not as good as Night Wind, but what performances! I'd sure like to have a Kocsis recording of Night Wind, but it is sadly too late.
Вдохновенно, тончайше глубоко! Благодарю!
I think in general Rachmaninoff is underrated because he wasn't on "the cutting edge" of music, and academic music snobs seem to accord greater value to those composers and their innovations. This was written in 1913, so by that point you had many/most of the great works by Debussy, Ravel, and Scriabin on the piano side and guys like Prokofiev, Stravinsky, Bartok, and Schoenberg working orchestrally. Rachmaninoff doesn't inhabit those soundscapes, except drawing on them perhaps at some points, but damn it, who cares? If he is Post-romanticism, he does it on a Herculean scale. I actually don't like a lot of Romantic music (or let's just say post-Beethoven) and find that there are a lot of extraneous notes or passages that could be cut and the piece would probably be improved by doing so, yet Rachmaninoff seems to make all the notes count and the construction is really tight. He also understands the value of a simple passage/accompaniment before expanding on it, like the second subject here. That's part of what makes great drama. Some of the aforementioned composers, and later ones, could have learned from that (cough, Schoenberg and his serialist followers, cough).
Still not sure if hes underrated, not at all to do with anything he wrote. Just that I always thought that most had heard of rachmaninoff than stravinsky. Although I suppose rachmaninoff has got a bit of a reputation of being a bit more... easy going (harmonically)... than some. I suppose in that respect you may be right
Maestro T! Excellent analysis!
I agree wholeheartedly!
rachmaninoff is a good happy medium between classical tonal music and the 20th century stuff which thought be forward thinking but it gets to a certain point where it gets so abstract that the average listener just tunes out.
Kocsis’ recording is absolutely astonishing.
I've never seen a more detailed description in a music video.
a piece that is even more underplayed is his first sonata.
one day i want to hear a live performance of it but even after three years of living in vienna, looking up concert schedules every single month, i was unable to find it in a program so far.
Love his first sonata. I find it more profound and satisfying than this one, though of course I love parts of this one too.
Alexis Weissenberg played it a lot in the 1980s
When I studied composition at UCLA 50 years ago, a sonata was presented as having three sections (as you also use the nomenclature) Exposition Development. Really this can be a deceptive way of analyzing the sonata it looks at the primary formal element as thematic rather than harmonic. How do you explain many variants of the sonata form that exist even from the masters? I believe that the Exposition is an expression of harmonic stability (frequent use of authentic or half cadences--thus confirming that we are in a key- not necessarily the "home key"). The development section shows a striking change: a relative lack of harmonic stability achieves by not allowing what appears to be a modulation actual complete with a strong cadence. (this creates a feeling of fleetingness or wandering.) Some composers rely more heavily on thematic development than others but sometimes less so. This sonata by Rachmoninooff, while very attractive, does not give an impression (at first listening) of harmonic stability anywhere, Of course, R.'s style using a huge quantity of chromatic passing tones perhaps disguising his true harmonic intentions in this piece. Do you ever sense that we are ever comfortably in a key, even a key arrived at by modulation? This surprises me since I feel R. usually adheres closely to the normal harmonic schema.
I'm by no means an expert on composition, however, I listened to the piece again with what you've said in mind. I considered your suggestions and personally take the stance that the heavy chromaticism does not hide Rach's harmonic intentions. It may in fact be purposefully enigmatic (especially in the 2nd mvt). But who knows?
Your perspective has perhaps added a new layer of depth and consideration to my understanding of this piece. In mvt 1 I do feel that key is clear throughtout, but later on I can't say for sure. My view is influenced by absolute pitch/synethesia.
I love comments like this.
Thank you,
- A Jamaican, teenage classical music lover 😉