Piano Concerto No. 3 (Rachmaninoff)

The Piano Concerto No. 3 in D minor, or colloquially the Rach 3, Op. 30 composed in 1909 by Sergei Rachmaninoff has the reputation of being one of the most technically challengingPIANO concertos in the standard classicalrepertoire.
The beginning of the opening theme of the Piano Concerto No. 3==Form==
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2012)Following the form of a standard concerto, the piece is in three movements:
A portion of the original cadenza (ossia)#Allegro ma non tanto (D minor)
#
#:The first movement revolves around a diatonic melody that soon develops into complex pianistic figuration. The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into a slower theme in a major key. The first part of the first theme is restated before the movement is pulled into a loud development section which opens with toccata like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious climaxes, especially in the cadenza. Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the ossia, and a second one with a lighter, toccata-like style. Both cadenzas lead into a quiet solo section where the flute, oboe, clarinet and horn restate the first theme of the exposition, accompanied by delicatearpeggios in the piano. The cadenza then ends quietly, but the piano alone continues to play a quiet development of the exposition's second theme before leading to the recapitulation, where the first theme is restated by the piano, with the orchestra accompanying, soon closing with a quiet, rippling coda reminiscent of the second theme.
#Intermezzo: Adagio (F sharp minor/D flat major)
#:The second movement is opened by the orchestra and it consists of a number of variations around a single lush, heavily romantic melody following one another without a rigid scheme. The melody soon moves to the tonic major which is the second theme. After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is closed by the orchestra in a manner similar to the introduction. Then the piano gets the last word with a short "cadenza-esque" passage which moves into the last movementwithout pause. Many melodic thoughts of this movement allude to Rachmaninoff's second piano concerto, third movement, noticeably the Russian-like, E-flat major melody.
#Finale: Alla breve (D minor → D major)
#:The third movement is quick and vigorous and contains variations on many of the themes that are used in the first movement, which unites the concerto cyclically. However, after the first and second themes it diverges from the regular sonata-allegro form. There is no conventional development; that segment is replaced by a lengthy digression using the major key of the third movement's first theme, which leads to the two themes from the first movement. After the digression, the movement recapitulation returns to the original themes, building up to a toccata climax somewhat similar but lighter than the first movement's ossiacadenza and accompanied by the orchestra. The movement concludes with a triumphant and passionate second theme melody in D major. The piece ends with the same four-note rhythm – claimed by some to be the composer's musical signature – as both the composer's second concertoand second symphony.[1]
Rachmaninoff, under pressure, and hoping to make his work more popular, authorized several cuts in the score, to be made at the performer's discretion. These cuts, particularly in the second and third movements, were commonly taken in performance and recordings during the initial decades following the Concerto's publication. More recently, it has become commonplace to perform the concerto without cuts. A typical performance of the complete concerto lasts about forty minutes.
==History==
Proofing copies of the concerto (1910)Rachmaninoff composed the concerto in the peaceful setting of his family's country estate, Ivanovka,[2]completing it on September 23, 1909. Contemporary with this work are his First Piano Sonata and his tone poem The Isle of the Dead.
The concerto is respected, even feared, by many pianists. Josef Hofmann, the pianist to whom the work is dedicated, never publicly performed it, saying that it "wasn't for" him. Gary Graffman lamented he had not learned this concerto as a student, when he was "still too young to know fear".[3]
Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while en route to the United States.
The concerto was first performed on November 28, 1909 by Rachmaninoff himself with the now-defunctNew York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened theCentury Theater). It received a second performance under Gustav Mahler several weeks later, an "experience Rachmaninoff treasured."[4] Rachmaninoff later described the rehearsal to Riesemann:
At that time Mahler was the only conductor whom I considered worthy to be classed with Nikisch. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important -- an attitude too rare amongst conductors. ... Though the rehearsal was scheduled to end at 12:30, we played and played, far beyond this hour, and when Mahler announced that the first movement would be rehearsed again, I expected some protest or scene from the musicians, but I did not notice a single sign of annoyance. The orchestra played the first movement with a keen or perhaps even closer appreciation than the previous time.[5]
The manuscript was first published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that "I much prefer the Third, because my Second is so uncomfortable to play." Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular.
==Orchestration==
The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, pianoand strings.
==Selected recordings==
Soloist 	Conductor 	Orchestra 	Record Company 	Year of Recording	Format
Vladimir Horowitz 	Albert Coates 	London Symphony Orchestra 	HMV 	1930 	CD, LP
Sergei Rachmaninoff	Eugene Ormandy 	Philadelphia Orchestra 	RCA Red Seal 	1939 	CD, LP
Vladimir Horowitz 	John Barbirolli 	New York Philharmonic 	APR 	1941 	CD, LP
Emil Gilels 	André Cluytens 	Orchestre de la Société des Concerts du Conservatoire	EMI Classics 	1955 	CD, LP
Van Cliburn 	Kirill Kondrashin	Symphony of the Air 	RCA Red Seal 	1958 	CD, LP
Alexis Weissenberg 	Georges Prêtre 	Chicago Symphony Orchestra 	RCA Red Seal 	1968 	CD, LP
Vladimir Ashkenazy 	André Previn 	London Symphony Orchestra 	Decca 	1973 	CD, LP
Alicia de Larrocha 	André Previn 	London Symphony Orchestra 	Decca 	1974 	CD, LP
Martha Argerich 	Riccardo Chailly 	German Symphony Orchestra, Berlin 	Philips 	1982 	CD
Dimitris Sgouros 	Yuri Simonov 	Berlin Philharmonic 	EMI 	1983 	CD, LP
Horacio Gutiérrez 	Lorin Maazel 	Pittsburgh Symphony Orchestra 	Telarc 	1991 	CD
Nikolai Lugansky 	Sakari Oramo 	City of Birmingham Symphony Orchestra 	Warner Music Group 	2003 	CD
Stephen Hough 	Andrew Litton 	Dallas Symphony Orchestra 	Hyperion 	2004 	CD
Leif Ove Andsnes 	Antonio Pappano 	London Symphony Orchestra 	EMI 	2010 	CD
Yuja Wang 	Gustavo Dudamel 	Simón Bolívar Symphony Orchestra of Venezuela 	Deutsche Grammophon	2014 	CD
==In film==
The concerto is one of the main foci of the 1996 film Shine, based on the life of pianist David Helfgott.
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