166 Paganini's Caprice No. 24 inspired many works, including variations by the composer himself, Brahms' piano variations, Liszt's études, works by twentieth-century composers such as Lutosławski, Lloyd-Weber and others. But the most popular work based on this Paganini theme is probably Rachmaninov's Rhapsody for Piano and Orchestra Op. 43. This is one of the last works composed by Rachmaninov but nevertheless it connects the postromantic world with the dynamic melodies such as those composed by Rachmaninov in his second and third piano concerti. Beyond the opening theme, the work is a series of 24 variations. Rachmaninov composed the work in just a month and a half, from July 3 to August 18, 1934, while staying at his summer home in Switzerland. It premiered on November 7, 1934, in Baltimore, with Rachmaninov on piano and Leopold Stokowski conducting the Philadelphia Orchestra. The work can be divided into three parts, the first, up to the 11th variation, the second, up to the 18th variation, which is the slower part of the piece, and the last part, which begins with the 19th variation. It opens with a short introduction leading to the first variation played even before Paganini's original theme, which comes on next, mainly played on string instruments, with the piano adding only a few notes to the melody. Then, the piano takes over in a style reminiscent of jazz. This variation, like the third to the fifth, is light and lively. With the sixth, the tempo slows down but the piano continues playfully. The seventh brings a drastic change of mood, introducing the Dies Irae theme from the Requiem Mass. Paganini's theme is repeated and appears in two more spirited variations. The tenth also incorporates the Dies Irae theme. The 11th variation is, as mentioned, the beginning of a gentler pace; the music becomes abstract and restrained, and remains so until the passionate 13th variation, followed by two more in an improvisational jazz style. The 16th and 17th are somewhat mild and mysterious, culminating in the emotional and expressive 18th, one of the composer's most memorable compositions. Here we witness the great influence of American music on Rachmaninov. The last part of the work actually begins with the 19th variation, reminiscent of an étude. The next two bring more color, although darker elements begin to emerge again in the animated 22nd, followed by the 23rd featuring virtuoso transitions and a short cadenza. The final variation includes renewed references to Paganini's theme and leads to a dramatic, powerful and brilliant conclusion. Concerto No. 1 in F-sharp Minor for Piano and Orchestra, Op. 1 Vivace moderato Andante Allegro vivace Rachmaninov composed his first concerto for piano and orchestra, Op. 1, when he was an 18-year-old student at the Moscow Conservatory. In 1917, more than two decades later, he changed and amended the score, resulting in the version known today, which will be played at the evening's concert. It is a wonderful distillation of the fresh and youthful passion he managed to preserve, together with the rich experience accumulated 26 years later as a composer, by which time he had many major works (such as the Second and Third Piano Concerto, two Symphonies, etc.) to his credit, along with the effects of time and the events that had forced him to leave Russia, his homeland, for good. The first concerto, therefore, reflects the young Rachmaninov who already possessed a distinct compositional style, as well as the mature, open-minded and experienced artist and composer. Opening Event
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