Symphony 2

For those of us who cherish the music of Rachmaninov, it is interesting to note that the establishment used to hold it in little regard. The 1954 Grove's Dictionary of Music and Musicians, in a very brief article on the composer, had this to say: "His music is well constructed and effective, but monotonous in texture, which consists in essence mainly of artificial and gushing tunes accompanied by a variety of figures derived from arpeggios. The enormous popular success some few of Rachmaninov's works had in his lifetime is not likely to last and musicians never regarded it with much favour.” The current Grove, with a fully weighted appreciation, reflects the true importance of Rachmaninov: "He was one of the finest pianists of his day and, as a composer, the last great representative of Russian late Romanticism. The influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers soon gave way to a thoroughly personal idiom, with a pronounced lyrical quality, expressive breadth, structural ingenuity and a palette of rich, distinctive orchestral colours.”

The Second Symphony was probably started as early as 1902 yet only fully drafted in 1906/7 and the orchestration was completed just in time for Rachmaninov to conduct the first performance in St. Petersburg in 1908. The symphony was dedicated to his teacher Taneyev and, unlike the ill-fated First Symphony, was a success with both audience and critics. The Second Symphony has become one of the composer's most popular works - not surprising in view of its epic proportions, passionate outpourings, brilliant orchestration and dynamic rhythms.

The opening of the symphony reveals, even if in embryonic form, most of the thematic ideas which are so skilfully developed later. The sombre mood is linked by a poignant cor anglais solo to a wonderfully constructed Allegro; the rhapsodic second theme is cleverly extended later in the movement before a typically Rachmaninovian build up of tension leads to a storming conclusion. The second movement starts with a riot of rhythmic energy, shows the composer, once again, in romantic but never cloying vein, winds down and then the second violins begin an astonishing and extremely demanding fugue. Having demonstrated his skill in the contrapuntal arena, Rachmaninov returns to the opening contrasts of energy and warm melody. Who could not be uplifted by the glorious slow movement? One of the composer's most beautiful creations, it starts with an urging, rhapsodic melody and a clarinet solo of the deepest emotion - there is not a bar here which fails to move the spirit. The last movement contains some of Rachmaninov's most virtuosic music contrasted expressively with another soaring theme well worthy of this symphonic tour de force.

Some of you might have caught this recent news item: "The manuscript of Rachmaninov's second symphony due to go to auction at London's Sotheby's last month was withdrawn at the last minute, following a dispute of ownership. An injunction was obtained by the composer's grandson, Alexandre Rachmaninov. He is seeking to be recognised as the owner of the score, which was estimated to fetch up to £500,000 under the hammer. The score was found in the estate of a Swiss enthusiast almost 100 years after its genesis. James Ware, head of music and entertainment at law firm Davenport Lyons, said: 'While we are not alleging any impropriety in this case, the manuscript was lost during a turbulent period in history. There is no record of the work having left the composer's estate as a result of sale, deed or gift and so his heirs obviously feel they have the rightful ownership of this property.’”