Rachmaninoff: Variations on a Theme of Corelli, Op.42 (Kern)
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- เผยแพร่เมื่อ 31 พ.ค. 2024
- From 1917 to 1930, Rachmaninoff composed no original works for piano. Then, in the summer of 1931, he wrote his last piece for solo piano: the Corelli Variations. It’s a masterwork that’s a bit hard to grasp, because unlike the Op.22 Chopin Variations or the Op.43 Paganini Rhapsody, it inhabits a very constricted emotional space. In short: with the possible exception of one variation, it’s very, very sad. Every variation contains something that’s disturbing or off-kilter - chromaticism (even if disguised: Var.20), icebergs of wayward harmony, unsettling changes in meter, and biting motoric movement. In the Paganini or Chopin variations you build up into joyous perorations, but there there isn’t a single triumphant note.
The work is compact (it’s a lot shorter than the other variations R. wrote) and very tightly organised: three clear movements, with a similar tonal structure to the first movement of R.’s D minor sonata. Liszt’s description of the Moonlight’s 2nd movement (“a flower between two chasms”) pretty accurately describes the middle movement here: it’s also in Db, and is a tiny two variations long. R. rigorously applies structural unifying devices in this work: he prepares the Db tonality of the middle movement by introducing Db harmony in Vars. 9, and 11, and a little rhythmic motif he introduces in Var.13 suddenly blossoms into huge proportions in Vars. 18-20 before a magical coda curls the piece inward and folds it closed.
[MVT I]
00:00 - Theme, austere & pure, desolate.
01:03 - Var.1, Poco piu mosso. Lush initially, but with disturbing accents in bass.
01:33 - Var.2, L’istesso tempo. Motoric, built off theme’s melodic shape.
02:01 - Var.3, Tempo di menuetto. Eerie, with rich harmonies.
02:44 - Var.4, Andante. Similar to 13th variation of Op.22. Modal colour.
03:58 - Var.5, Allegro (ma non tanto). Vacant and primitive, with open fifths/octaves providing most of the colour.
04:19 - Var.6, L’istesso tempo. A development of Var.5, with fistfuls of chromatic movement.
04:41 - Var.7, Vivace. Motoric, imitating crossed strings on a violin.
05:10 - Var.8, Adagio misterioso. Oscillating lines, irregular phrases, pungent harmonies.
06:07 - Var.9, Un poco piu mosso. Extraordinary, almost Debussy-like colours prowling in the harmonic movement of the LH.
07:11 - Var.10, Allegro scherzando. Return to harmonic stability. Mendelssohn-like.
07:45 - Var.11, Allegro vivace. Motoric, brutish toccata.
08:10 - Var.12, L’istesso tempo. A compact and dark march, with wrongfooted rhythms.
08:45 - Var.13, Agitato. Convulsive. Frequent metrical changes, with almost all chords 7ths/9ths/11ths. Introduces a galloping rhythm developed in Vars.18-20.
[INTERMEZZO]
09:19 - Var.13+1. An ingenious construction, sounding like a concerto cadenza that leads into a thematic restatement (compare it to Var.11 of the Paganini Rhapsody). Built around the double harmonic minor scale (flattened 2nd and 6th), which gives it an eastern flavour. Washes of coloristic harmony and dense embellishment loosen the piece’s grip on D minor, preparing for next variation.
[MVT II]
10:34 - Var.14, Andante (come prima). Theme restatement. Played alone, this variation might sound warm - but it the context of this set it is world-weary and resigned. The register is lower than the first statement of the theme, and the harmonies are lusher and darker: the theme seems have aged somehow. This might be a function of the Db tonality, a semitone down from D min, but in the second-last bar a D minor chord appears as a reminder of where we are. (NB: R. also exploits the Dmin/Db tension in his first sonata.)
11:43 - Var.15, L’istesso tempo. A radiant nocturne. The only happy moment of the piece
[MVT III]
13:13 - Var.16, Allegro vivace. Sudden shift back to D min. Open fourths/fifths, with Gypsy scale runs for colour.
13:44 - Var.17, Meno mosso. Open fifths remain. Metrical changes, chantlike melody floating over ostinato.
14:52 - Var.18, Allegro con brio. The beginning of the closing triptych. The little rhythmic seed planted in Var.13 sprouts. Schumannesque.
15:26 - Var.19. Rhythm further developed and made more jagged with the addition of snare drum-like figuration (cf: the dramatic vivace passage at the end of R.’s 3rd PC). The end of this variation dissolves into a chromatic whirlwind (note the chromatic line that also emerges in the LH).
15:55 - Var.20. Climax. A wall of sound echoing from all registers, with lots of implied chromatic movement in the outer + inner voices. Some biting harmonic writing (15:21), and an ending like Chopin’s last Op.28 prelude.
CODA
17:04 - Var.20+1, Coda. Smokily chromatic. Melody unfurling in neverending fashion over a D pedal. A kind of weary, improvised extension of the low Ds ending Var.20. (Cf. the Meno mosso in the Op.22 coda). - เพลง
Kern delivers a performance of exhilarating despair (weird set of words to put together, but there it is). The playing is expressive but not indulgent - the tempo of the first two variations is brisk and cold, and some variations that could easily be milked for liveliness are instead given a distant, mechanical take (see Var.6). As a general rule, Kern emphasises the disturbing aspects of the piece in her playing: this is not meant to be a pretty recording, even if it is a great one. So in Var.7, you often hear the melodic line cleanly emphasised, with the other notes forming a kind of dramatic haze, but here all the expressiveness is taken out of the variation, so you hear just a chattering mess. Var.8 is devoid of momentum, Var.11 has tiny pauses inserted to interrupt its flow, Var.12 is frenzied and seizure-like, Var.13 has those clumped dissonances at the forefront of the texture, and even the beautiful Var.15 is taken a very un-languorous pace. This sort of emotional stranglehold persists until the final three variations, when Kern finally lets the piece loose in monumental climax. The Coda, which can often sound resigned or beautiful, is actually quite disturbing - the melodic line has a feverish quality to it at points.
Also the theme here is not in fact Corelli’s, though R. became familiar with it through Corelli’s Sonata for Violin and Continuo Op.5 No.12. It’s the _La Folía,_ a Renaissance-era Portuguese dance so old no-one really knows its precise origin, though it dates back to at least the 16th century. In its early form it was a quick dance, but later evolved into a slow chord progression that a whole bunch of composers used in one form or another. Other places where you hear the _La Folía_ are:
1. Liszt’s Rhapsodie Espagnole, S.254
2. Bach’s “Peasants’ Cantata”, BWV 212 (CPE Bach also wrote variations on it, as did Salieri)
3. Vivaldi’s Sonata Op.1 No.12 for violin and continuo
4. Beethoven’s 5th Symphony, Mvt 2
5. Handel’s Sarabande from the HWV 437
6. Purcell’s Chaconne, Z.730
I always have a feeling that this is the true Rachmaninoff - sad but not sentimental, deep and yet very reserved.
Very insightful comment.
Interesting, it had already been said about his 4th piano comceto
It's interesting how vague and impressionist Rach's melodies get in his later works; this piece and the op. 39 Etudes-Tableaux provide good examples. He stays tonal, but sounds of Scriabin start to creep into his music that weren't there in his early days.
I'm always amazed at how much work you put in the analysis. I read it and understand it clearly. You have the best classical music channel on youtube!
Papi Ashish is back!
Yes, I'm so glad I found this channel!
The quality is crystal clear and there's sheet music while the piece is playing.
There's history context in the description and the movements are timestamped.
Thanks for putting everything together. Instant subscribe!
Yes, this is one of the best classical piano channels in the history of the human species!!
The 14th variation with the 15th variation is beautiful, in both a melancholy and warming way. And the contrasting intermezzo stemming from the 13th variation is excellent as well.
Thanks for the video! I began to tear up during the 15th variation. Then I looked at your description to find that it is supposed to be the only happy moment of the piece. :) I don't think there is anything contradictory in this. It is perhaps just that those fitful recollections of happier days in the midst of a long stint of pain are the ones that really make you aware of your sadness. The second movement of Poulenc's violin sonata does the same thing to me.
I love Chochieva's performance of this but Kern really brings out the unsettling quality of the coda especially and gives another perspective on some of the other variations as well. Thank you also for your enlightening commentary!
Thanks for all the descriptions, songs and scores. I'm the one who really loves Rachmaninoff's work, and this is wonderful!
Ashish, many many thanks for your excellent, insightful commentaries on the best of music for the piano.
Thank you so much for uploading. This is by far my favorite Rachmaninoff work and I simply can't choose a favorite variation because of how sublime each of them are in their own unique ways. Every second of this piece radiates this rich sadness and despair and I simply just can't get enough of it.
Such great crispness of execution on that veloce stuff.
That is a seriously sad ending to a Theme and Variations. Kern pulls it off really well!
Glad to see you're uploading again!
@7:35 sounds insanely similar to the start of Rachmaninoff's own Etude Tableaux op.33 no.4
Nice to see you back!
I saw a performance of this live yesterday, it was wonderful
Oh man--do I love this!! I can play the CPE Bach variations. Though Rachmaninoff is usually above my playing level, I must try this . . .
I love Corelli, and i love Rachmaninov... perfect combo...thank you for sharing, hope you have a nice day
You again? I'm shocked to see you once again mister Sköld.
One of my favorites by Rachmaninoff.
Thanks for uploading!
The ninth variation is sublime !
Louis Mas that’s my favorite variation too!
Regarding the “theme by Corelli,” it is more specifically “La Folia,” one of Europe’s oldest musical themes. It was also arranged by several of Corelli’s baroque contemporaries.
This is truly a beautiful interpretation of this piece. Well done!
Thanks!!! Obrigada pela análise excelente!
the coda may very well be the most depressing thing i've ever heard
Man I was good after like seven... Interesting to see even Rach takes an interest in Corelli 🙂🙂🙃
That theme is the Follia. Basically all the baroque composers had a take on that.
Also Liszt.
Finally, my favourite piece of all time :D!
The off-color embellishments in Variation IV provide an excellent touch.
Var. 13 is my absolute favorite! So convulsive and manic! My only issue is that it's too short, in my opinion 😩😩
Thanks for posting this wonderful work and performance by Olga Kern. But I don't find it all that sad. I think you over-do it by characterizing the theme as "austere & pure, desolate" -- (tho Kern chooses to slow down its Andante). I don't believe that is in Rach's ms (correct me if I'm wrong). But thanks again-- for all your posts -- scores so carefully mounted. You are an A+ TH-cam publisher!
Ashish, do you think that Schumann’s writing (especially on Kreisleriana) may have influenced Rach on any point here?
Schumann influences all my friend. Great q though.
Magnificent
The dynamics are very overstated throughout.
This has been one of the few great piano works I've never really "gotten" to my great shame. When I saw that you posted this, I thought "maybe this will be the time it clicks." We'll see how it goes!
Brava, Ms. Kern, Brava!
Glad you're back. That was quite a long wait haha.
Btw, do you have any plans on uploading Beethoven's 5th Piano Concerto. I really feel that it deserves a place on this channel.
Gotta love La Folia!
cant believe no one is talking about those chords at the end of var 16
13:44 resembles "Le Tombeau de Couperin: Rigaudon"
what do you think of Ashkenazy's interpretation of this? I'm more used to it. how would you compare it with Kern's?
I personally think Ashkenazy’s version is a little too pretty. This is a masterful but kinda ugly piece. Ashkenazy purposely omitted some twisted/disturbing parts of this piece, making his rendition somewhat less expressive
May I be so bold to recommend Ashkenazy's original recording of this piece here? (The one recorded in his youth in the 50's, no less, which is unavailable here on TH-cam as far as I'm aware). It can be found on Spotify though. (his interpretation of the Mephisto Waltz and the Feux Follets is also splendid, on the same record). It is very interesting that both this and the Paganini Rhapsody features a nocturnesque Db major variation as its centrepiece.
the massive sound on 16:32 just so epic
7:35 is a ref to his op 33 in d minor i think
7:35 this sounds like Ravels Toccata from Le Tombeau de Couperin
anyone think Var. X sounds like the opening of the finale of his 3rd Piano Concerto? It sure does to me.
Yeah, it does
Those two notes at 18:18 are so perfect
Brilliant! I really enjoyed this. A question: why does the theme make me think so much of the famous Sarabande?
Because they're both based on LA folia
Always sounded like My County Tis of Thee in minor key to me.
After listening to this piece for the 100th time i just now realized how similar the main theme sounds to the first theme in Liszt's spanish rhapsody...
Because it's the same theme
The intermezzo sounds like cante jondo from flamenco
This work truly embodies his whole style, as if he decided to distill his entire life into a set of miniatures. Breathtaking...
Isn’t this piece where the little whistle tune that Willy Wonka used, in the original film, came from? He does the whistle when Augustus is stuck in the chocolate pipe, and Mike T.V.’s mom looks at Mr. Salt, with a pompous look on her face, informing them that the whistle is, “Rachmaninoff”. This sure sounds like the right piece to me... 😂✌🏼🙏🏼
This sounds like Handel’s Sarabande in Dm
Lucas M they are based on the same theme folies d'espagne
me encanto muchísimo, pregunto quien es el/la pianista?
I have learned a lot of helpful terminologies through the comments. lol
❤
😍❤❤❤❤❤❤❤❤❤❤
15:00
8:59
11:43
I must say, I'm not really a fan of this interpretation. The liberties taken with what's written on the page are just too extreme for my liking. The rubato doesn't feel natural to me and the tempo markings are completely disregarded at times. Especially in the last three variations, the two piu mosso's are ignored and as a result I think the intended idea doesn't come across as well as it should. It also doesn't help that she's playing the rhythm incorrectly in the first part of the last variation (I suspect she does this to make it easier to play the leaps). Additionally, the transition from Var.11 to Var.12 seemed particularly jarring... the tempo marking is "L'istesse tempo" (same tempo) but Var.12 is so much faster than Var.11 it actually made my friend and I laugh out loud when we first heard it. I understand you can take some liberties with the score, but I think this is just pushing it a bit too far.
@@austinhill5772 Well I have my own interpretation in mind, and generally I feel like a lot of the more famous pianists (at least in their TH-cam videos) take too much liberty with the score in a lot of these pieces. My favorite performance of this on TH-cam is probably Lugansky's. His recording isn't perfect either (nobody's can really be perfect), but I like his tempi better and I think he still captures the character well.
Well, it depends on where you set the bar.
It's fine!
Liszt Spanish Rhapsody also uses this theme.
14:52 - 17:00
Liszt spanish rhapsody?
Thanks again for posting and for your wonderful commentary (see my comment on your posting of the Brahms Schumann variations [Barenboim/Biret]). Again--thanks a lot.
반복때 뒤에서 아예 변화를 줄거면 반복 시작은 그대로,
아니라면 좀 차이>뭐 음역,성부..,아예 다르거나 여러가지
Very distinctly lonely.
that var 18
Fantastisch. Kein besserer gespielt.
Rachmaninoff ist manchmal sehr intensiv.
Das Ende ist nahezu mythisch!!!
Ashish noch mal horen, ja. Listen yet again!
Saint-Saens Tarantella
화성이 달라지던가 텍스쳐가 달라지던가
This sounds a lot like the spanish rhapsody by liszt
They're both based on the spanish folia theme which is so old that we don't know who composed it.
When liszt copyrights corelli in spanish rhapsody xd
Liszt never claimed authorship of this melody - he labels it "La Folia of Spain" in the score of the Spanish Rhapsody. The strange thing to comprehend is this: why did Rachmaninov refer to this well-known theme as having been composed by Corelli...? He must have known that the tune pre-dated Corelli by centuries.
because he could xd
@@gergelykiss he didn't know at the time but by the time he found out he didn't care enough to change it.
This plays in hell.
Why did rachmaninoff copy liszt's Spanish rhapsody lol
La folia which liszt Spanish rhapsody was based one of the oldest themes in European music. It goes as far back as the end of the 15th century.
Sorry but this is one of the worst interpretations of this piece.
Just listen how reluctant the pianist's hands in variation XX.
In my opinion, Lugansky is the best performer of this piece.
yeah no