163 Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30 Allegro ma non tanto Intermezzo (Adagio) - attacca subito Finale (alla breve) Rachmaninov composed the Third Concerto for Piano and Orchestra for his 1909 U.S. tour, when he received numerous contracts as soloist and conductor with some of the most prestigious orchestras in the United States, including those of Boston, Chicago, Philadelphia, Baltimore, and New York. Rachmaninov cleverly marketed the Third Concerto, saying that "it was written especially for America." He dedicated the work to his good friend, Josef Hoffmann, whom some claimed was the best pianist of his generation. However, Hoffmann never performed it, stating that "it was not for him". Rachmaninov performed the concerto in New York with the New York Symphony Orchestra on November 28, 1909. The following January, he appeared with the New York Philharmonic, conducted by Gustav Mahler. For many decades, the concerto was abandoned in favor of the shorter, more structurally compact Second Concerto. The Third Concerto is a deeper work, full of virtuoso pitfalls and long cadenzas. The first reviews were not what Rachmaninov wished for and he thought the concerto may have been too advanced for its time. Like his other works, here too Rachmaninov edited and curtailed various parts, which got it back on stage but ultimately also somewhat undermined its artistic value. However, since the last quarter of the twentieth century, most performances of the concerto have been in the original version lasting about 45 minutes. It regained fame and popularity thanks to the performances of the young Vladimir Horowitz, starting in 1920. Rachmaninov even said that Horowitz played his concerto better than he himself and after that he never played the work again live. Since then, the popularity of the concerto has grown and grown. The concerto begins with a seemingly simple Russian melody, which presents one of the composer's magic tunes. Rachmaninov saves the fireworks and sorcery for later when new ideas are heard and the movement becomes more and more rhythmic and complex until an emotional outburst leads to some relief and a cadenza in the piano solo (there are two alternative versions for the soloist – one is lighter and more energetic while the other is heavier and gloomier). Later, the first theme reappears, followed by a short coda. which ends the movement in a restrained manner. The second movement, the Intermezzo, begins with restraint and pathos that becomes progressively more dramatic even before the piano comes in. The main theme dominates most, with the exception of a quicker, more playful short segment toward the end of the movement. The atmosphere ranges between gloom and large bursts of emotion. A short, brilliant cadenza on the piano leads directly to the colorful, sound-filled final movement, which immediately brings in the fast rhythmic first theme on the piano. A chord section recaptures the original tempo from the beginning of the concerto, and follows it with a tuneful song theme. Later on, there is an extensive, danceable and very airy section, with a reference to the melody from the first movement. The orchestra then continues the increasingly dramatic transition back to the first theme. Later, Rachmaninov builds a tension that grows to a climax in a piano cadenza reminiscent of bells ringing. The piano and the orchestra then join forces in a major theme of majestic shades bursting with emotions resulting in a glorious coda that triumphantly concludes the work. Tal Sacharov Opening Event
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