Falling into the abyss of creative crisis and together with more serious existential crisis, that accompanied him throughout his life, could not but affect the work of Rachmaninov.
A sixteen-year-old Sergei, a student at the Moscow Conservatory, began his work on his first concert in 1889. Perhaps his work was influenced by the other great Russian - Petr Tchaikovsky (it’s enough to listen to Elegiac Trio, dedicated to Tchaikovsky, to understand how Rachmaninov was genuinely distressed by his tragic and sudden death in 1893) . Despite the presence of Stravinsky and Schoenberg in the international arena, he remained true to the tone system. In Moscow Conservatory the promising musician was appointed to the piano class, which was led by Alexander Siloti, a student of Franz Liszt. The influence of the Hungarian pianist might feel in the first concert, and then - in the most famous - the Third.
In Rome two evenings were dedicated to Rachmaninov’s art. The program was chosen well: admirers of the Russian composer were able to compare and track his creative evolution. The orchestra of the National Academy of Santa Cecilia, conducted by Alexander Sladkovsky, demonstrated excellent school with the first chords of the First Concerto. It was an excellent idea - to invite maestro Sladkovskiy as a conductor, who could subdue both elements – the soloist and the orchestra, skillfully bringing them into balance. In this concert the soloing piano did not move the orchestra to the background. On the contrary, the dialogue that initially looks like a struggle for supremacy, has become a common goal.
The premiere of the first concert was received, without a doubt, friendly. Unfortunately, the performance of the First Symphony six years later failed. The result was so horrible that Rachmaninov seriously thought about giving up his music career. Only at the urging of family members, he sought the help of a therapist Nikolai Dahl. His second concert the composer dedicated to him. In this work the genuine talent of Rachmaninoff truly manifested.
The pianist Giuseppe Albanese introduces to us these dramatic pages. In the second Concerto everything is brilliant and spontaneous: here there is joy of liberation and overcoming of creative suffering. The balance between the orchestra and the piano is perfect, without sharp contrasts. And this is again Alexander Sladkovsky’s merit. Maestro offered his interpretation of this concert. He left for the orchestra the right of some spontaneity, which is present in the style of the Second Concerto.
Amazing!
In the second night the public was offered the following two Rachmaninov’s piano concertos - № 3 and № 4 and Rhapsody on the Theme of Paganini, completing the complete collection of works of the great Russian composer for piano and orchestra. In these two evenings the best pianists appeared on the stage, accompanied by a magnificent orchestra of the Academy of Santa Cecilia, conducted by Alexander Sladkovsky.
In the first part the pianist Sean Botkin, a New York student of Martin Kanin, masterfully interpreted the Concerto number 4, which was completed in 1926. Concerning this concert, criticism was reserved, perhaps, because it is so rarely performed. Nevertheless, this work is a very valuable work of the composer.
Technical and timber coherence made beautiful tone of the orchestra sound. Botkin reacted sensitively and without delay, his performance perfectly and harmoniously matched the orchestral tutti, and the solos. The audience, who listened to the entire concert, with bated breath, very emotionally asked for an encore performance. It was not difficult to persuade Botkin to do it.
Mariandzhela Vakatello, a young Italian pianist, performed the Rhapsody on the Theme of Paganini. Mariandzhela was gorgeous.
In the second part of the concert the audience listened to Third Piano Concerto, first performed in 1909. The soloist - Nikolai Lugansky is a famous Russian pianist. The concerts number 2 and number 3, according to the critics and the public - one of the best works of Rachmaninov, as well as the most famous late- romantic works, requiring from performers impeccable technique.
The audience heard perfectly accurate, even strict (actually Russian) interpretation of the concert, one of the facts was the coordination between the soloist and the conductor. The audience paused for a few seconds and then applauded to the musicians for a long time, demanding an encore performance. They performed, of course, the majestic finale, playing this time more gently, emphasizing brilliance and perfection of the works, like paying respect to the great composer, who seemed to be present this evening at a concert in Rome.
Adriano Bonanni
ilcorrieremusicale
The offer from the Academy of Santa Cecilia to hear for two evenings all four piano concertos and Rhapsody on the Theme of Paganini by Rachmaninov was greeted with great enthusiasm by the Roman public - the hall was full. And admirers of the Russian composer were not mistaken: the evenings were memorable, they had an opportunity to not only hear the best works, but also to compare the performance of five different pianists, each of whom is unique.
This repertoire turned a great challenge for the orchestra also, asked from it great flexibility. Conductor Alexander Sladkovsky offered his interpretation of Rachmaninov's works: in the beginning of the evening, it was a strong Russian character, melodic and enveloping intonation of certain topics of the orchestration, and the second night seemed more consistent and rigorous.
The evening was opened by the young Russian pianist Dmitri Majboroda, who showed a smooth and elegant sound, but his interpretation may still be immature. Giuseppe Albanese kept the audience in suspense until the last chords of the magic of the Second Concerto, giving no relax to the orchestra also.
The second evening was opened by rarely performed the Fourth Concerto; Sean Botkin played without pathos, with an emphasis on austerity of the works. The audience received enthusiastically Rhapsody on the Theme of Paganini, performed by an Italian Mariandzhely Vikatello. Lugansky showed an elegant and courageous strictness of the Third Concerto, the Russian pianist showed extraordinary sense of rhythm, which has crucial importance in this concert, and extreme confidence that caused endless and enthusiastic applause of the audience at the end.
santa cecilia tris di assi rachmaninoff
24 Variations on a Theme of Paganini Rhapsody (1934) was stormed by an Italian Mariandzheloy Vikatello, that enticed us into the vortex of silver, indestructible, beautiful sound. Her hands literally flew over the keys.
Meanwhile the orchestra under the baton of the Russian conductor Alexander Sladkovsky created its history. Maestro was eager to bring the sound to perfection, alternating accented fast pace and subtle nuances of Rhapsody. That was a clash between the Italian temperament and the Russian character. If Vikatello tried to put intrigue in his performance, using incredibly quiet piano and extremely slow pace, the orchestra strictly followed strict classical canons, completing the first part triumphantly. For an encore, the orchestra performed "Campanella" by Liszt.
Certainly, a brilliant and talented Russian Nikolai Lugansky was the star of the evening with the most complex and the famous Third Piano Concerto. Lugansky performed brilliantly and with incredible ease, each note was like in gold. The lyrical theme of the Concerto number 3 - is incomprehensible sensuality. The orchestra and Sladkovsky merged with the soloist in a perfect ensemble. Arpeggio sounded equally exciting in the fast and in the slow part of the concert. It seemedthe soundpermeatestheair...
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