Symphony No. 2 (Rachmaninoff)
The Symphony No. 2 in E minor, Op 27 by Sergei Vasilievich Rachmaninoff was born 1906/1907 for a longer stay of the Dresden composers. The premiere took place in January 1908 held in Saint Petersburg and was conducted by Rachmaninoff himself. He dedicated the symphony Sergei Taneyev. In contrast to the relatively rare listed First Symphony, the Second is comparatively frequently performed, often in abbreviated form.
About the Music
Occupation
Three flutes, three oboes, two clarinets in A and B ♭, bass clarinet in A and B ♭, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, snare drum, bass drum, cymbals, glockenspiel and string instruments.
The full sequence
- I. Largo. Allegro moderato
- Allegro molto
- III. adagio
- IV Allegro vivace
Analysis
The second differs from the first in that each set is rounded and the entire issue per set of routine woven into each other. The issues are much longer (the end of the main theme in the third movement is therefore barely audible ) and very enthusiastic, which reached Rachmaninov alongside the melody lines by the phrasing. Nevertheless, the second not to fire is lacking; it was here simply fine embedded in the surrounding calm contrast subjects and partially obscured by polyphonic structures. An exception to this is the second set, the almost non-stop runs through his stormy, rousing main theme ( possible assignment: rondo form ). Despite its lush (that is, opposite to the first example by English horn extended) orchestration, the strings on much of the action involved. This was already reason to do so, to describe them as " String Symphony ". If you listen more closely, however, we recognize that the strings rarely sound alone - a strength Rachmaninov are finally its tones ( = thought out mixture of individual instrument groups). In addition, the woodwind solos are special highlights in this symphony, such as the lyrical and seemingly endless clarinet solo in the third movement. Rachmaninov's mature sense of counterpoint is evident in the many fugatos that achieve especially in the first and second sets of remarkable (strings - fugal in the Largo of the 1st movement ) effects.