Russian concert pianist and composer Daniil Trifonov and the Armenian-American concert pianist Sergei Babayan perform Sergei Rachmaninoff’s Suite No. 2, Op. 17, a composition for two pianos. The piece was composed in Italy in the first months of 1901. Recorded during a recital of some of the composer’s more intimate piano repertoire at the Greene Space, a state-of-the-art, multimedia performance space and broadcast studio at WNYC Radio.
Sergei Rachmaninoff’s Suite No. 2
After his highly unsuccessful first symphony, Rachmaninoff did not produce anything for four years because of the following depression and writer’s block. This suite, like his 2nd Piano Concerto, came after that period and marks a joyful and creative resurgence in his career, highlighted by its energetic and lyrical style.
It was first performed on November 24, 1901, at a concert of the Moscow Philharmonic Society, by the composer himself and his cousin Alexander Siloti (9 October 1863, near Kharkiv – 8 December 1945, New York City), the Ukrainian pianist, conductor, and composer).
The Suite No. 2 is known for its lush harmonies and emotional depth, characteristics that define Rachmaninoff’s romantic style. Unlike many of his other compositions, which often include a somber or melancholic mood, this suite is more celebratory and bright, though it still retains moments of the intense emotionality typical of Rachmaninoff. The work is written for two pianos, a format that allows for a rich interplay between the instruments, creating a complex tapestry of sound that is both grand and intimate.
Rachmaninoff’s use of the two-piano setup enables him to explore a wide range of textures and sonorities, from delicate, intertwined melodic lines to powerful, chordal passages. This suite is particularly noted for its intricate counterpoints and the dialogue between the two pianos, which at times engage in a playful call and response, and at others, unite to produce a profound and overwhelming sonic experience. The interaction between the pianos not only highlights Rachmaninoff’s compositional skill but also his deep understanding of piano mechanics and his ability to push the boundaries of traditional piano duet compositions.
Movements
1. Introduction (Alla marcia, in C major)
The first movement of Sergei Rachmaninoff’s Suite No. 2 for Two Pianos, Op. 17, is titled “Introduction: Alla marcia.” This movement sets a grand and somewhat formal tone for the suite, characterized by its march-like, rhythmic precision and dramatic flair. The piece begins with a bold and assertive opening that immediately captures the listener’s attention, establishing a sense of anticipation and excitement.
The Introduction is marked by its robust and stately character, with both pianos playing a significant role in building a rich, layered texture. The music is driven by a strong, marching rhythm that is both commanding and celebratory. As the movement progresses, Rachmaninoff employs a variety of musical techniques to enhance the interplay between the two pianos, including dynamic contrasts, call and response sequences, and the weaving of melodic lines across both keyboards.
This movement is not just about rhythmic drive; it also showcases moments of lyrical beauty and harmonic complexity. Rachmaninoff’s skill in orchestration for the piano is evident as he explores different tonal colors and interactions between the pianos, creating a dialogue that is both compelling and harmonically rich.
2. Valse (Presto, in G major)
The second movement of Sergei Rachmaninoff’s Suite No. 2 for Two Pianos, Op. 17, is titled “Valse: Presto.” This movement is a delightful contrast to the more solemn and martial character of the first. It is a vivacious and spirited waltz that exudes a sense of whimsy and light-heartedness, showcasing Rachmaninoff’s ability to compose in a variety of emotional tones.
The “Valse: Presto” is marked by its quick tempo and rhythmic vitality, giving it a dance-like quality that is both engaging and challenging for the performers. The music flows with a graceful, yet energetic momentum, driven by swirling melodies and swift, delicate articulations. The interplay between the two pianos is particularly playful here, as Rachmaninoff weaves the melodic and harmonic elements seamlessly across both instruments, creating a rich tapestry of sound.
Throughout the movement, there are bursts of virtuosic passages, quick scales, and ornamental flourishes that enhance the festive mood of the waltz. These elements not only demonstrate the technical skill required by the pianists but also contribute to the overall exuberance of the piece. The use of syncopation and unexpected accents adds a sense of surprise and delight, keeping the listener engaged and entertained.
3. Romance (Andantino, in A flat major)
The third movement of Sergei Rachmaninoff’s Suite No. 2 for Two Pianos, Op. 17, is titled “Romance: Andantino.” This movement presents a striking shift in mood from the exuberant and lively waltz of the second movement, delving into a more introspective and tender emotional landscape.
“Romance: Andantino” is characterized by its lyrical and expressive quality, highlighting Rachmaninoff’s ability to craft deeply emotional and nuanced music. The movement opens with a gentle, singing melody that is shared and developed between the two pianos. This melody is poignant and evocative, drawing the listener into a reflective and intimate musical dialogue.
The texture of the movement is notably lush, with the pianos often intertwining in a way that creates a rich harmonic backdrop. The use of soft dynamics and delicate touches enhances the sentimental and somewhat melancholic nature of the music. Rachmaninoff’s signature use of lush chords and sweeping arpeggios adds to the romantic feel, enveloping the listener in a warm sonic embrace.
Throughout the “Romance,” there is a careful balance between the two pianos, with each part contributing equally to the emotional depth and complexity of the piece. The interplay is not just a technical exchange but also a poignant conversation, with each piano echoing and complementing the other’s expressions.
4. Tarantelle (Presto, in C minor)
The fourth and final movement of Sergei Rachmaninoff’s Suite No. 2 for Two Pianos, Op. 17, is titled “Tarantella: Presto.” This movement concludes the suite with a dramatic and energetic flourish, capturing the vibrant spirit of the traditional Italian dance from which it takes its name.
The “Tarantella: Presto” is marked by its fast tempo and rhythmic intensity, embodying the frenetic, almost feverish character typical of a tarantella, which historically was believed to cure the venomous bite of a tarantula through vigorous dancing. Rachmaninoff’s adaptation for two pianos creates a thrilling and dynamic interplay between the performers, with rapid, repeating patterns that build in speed and complexity.
The movement features bold, aggressive melodies and a pulsating rhythm that drives the piece forward with relentless momentum. The pianos engage in a spirited dialogue, with each taking turns to lead with quick, percussive strokes and responding with equally swift passages. This back-and-forth not only showcases the technical prowess required by the pianists but also enhances the wild and untamed nature of the dance.
Rachmaninoff’s use of chromatic scales, rapid arpeggios, and syncopated rhythms adds to the tarantella’s characteristic excitement and urgency. The music swirls and whirls, mimicking the dizzying spins of the dance, culminating in a climax that is both exhilarating and exhausting in its intensity.
Sources
- Suite No. 2 (Rachmaninoff) on Wikipedia
- Suite No. 2, Op. 17 (Rachmaninoff, Sergei) on the International Music Score Library Project website
- Sergei Rachmaninoff, Suite No. 2 for Two Pianos, Op. 17 on the L.A. Phil website
