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Concert Rachmaninoff. Dvorak. Performed by Alexei Chernov (piano) and Pablo Heras-Casado (conductor).
World famous Mariinsky Ballet and Opera Theatre - Opera and Concert Hall


Schedule for Rachmaninoff. Dvorak. Performed by Alexei Chernov (piano) and Pablo Heras-Casado (conductor). 2022

Composer: Antonin Dvorak
Composer: Sergey Rachmaninov

Orchestra: Mariinsky Theatre Symphony Orchestra

PERFORMERS:
The Mariinsky Orchestra 
Conductor: Pablo Heras-Casado


PROGRAMME: 
Sergei Rachmaninoff 
Piano Concerto No 3 in D Minor, Op. 30

Antonín Dvořák 
Symphony No 7 in D Minor, Op. 70

 

 

Sergey Rakhmaninoff's 3rd Piano Concerto was written at a time when his talent had finally been freed of doubts, self-restrictions and external obstacles, had fully matured and strengthened. Starting with the 2nd Piano Concerto in 1901, brilliant new compositions, frequently more than one, appeared every year. This phenomenal burst of creativity was not impeded even by Rakhmaninoff's intensive performing and conducting commitments. The 3rd Piano Concerto was written in the summer of 1909, when the composer was 36 years old. In the music of Concerto one can distinctly hear not only the maturity of a Master, but also a new scope, breadth, freedom... 
The concerto was first performed in New York on 28 and 30 November 1909 during Rakhmaninov's American tour. The Russian premiere, performed by the composer, took place in Moscow on 4 April 1910. The concerto is dedicated to the outstanding Polish pianist Jozef Hofmann, whom Rakhmaninoff met during a tour of Russia (their acquaintance subsequently continued in the USA). Hofmann expressed his feelings for the composer most vividly in this heartfelt epitaph: 
Rachmaninov was made of steel and gold: 
Steel in his hands, gold in his heart. 
I cannot think about him without tears. 
I not only admired him as a great artist, 
But loved him as a man. 
The 3rd Piano Concerto is one of the composer's most "Russian" works. It is often called a "concerto-song" or a "poem about the Motherland". The musical narrative – dramatic, with tragic episodes – is always lyrically painted, and can be likened to a "struggle between light and shade". The "conquest of the world" in the Finale is a genuine hymn of joy that found a particular resonance in the atmosphere of Russia at the end of the first decade of the 20th century. The middle movement, the Intermezzo, is an enigma and, to a large extent, a portent of the future (not only the "denouement" of the Concerto, but also the composer's later works) – a very personal expression, music which is, in a fantastic way, an interweaving of the present and memories of the past. 
Vladimir Goryachikh

The Seventh Symphony opens the triad of Antonín Dvořák’s last symphonies. Although this work does not enjoy the popularity of the subsequent Eighth and Ninth Symphonies it is undoubtedly one of the greatest achievements of Czech and European classical music. 
In the summer of 1884 Dvořák was elected as an honorary member of the London Philharmonic Society. To mark the occasion he was offered the chance to conduct his new symphony in London. By that time the British capital had already seen successful performances of the composer’s Sixth Symphony and his oratorio Stabat Mater. It comes as no surprise that Dvořák accepted the invitation eagerly: for him it represented a brilliant opportunity to declare himself a European and not just a Czech composer. 
The Seventh Symphony is justifiably considered the most dramatic of all of Dvořák’s symphonies. The whole character of the work is set by the tense main theme of the first movement, which introduces low strings against a restrained general tone. The lyrical secondary theme can be heard in the woodwinds and brings partial tranquillity. In the development the dramatic conflict unfolds, and at the end of the movement the tension dies out. The second movement begins as a lighter chorale, though here, too, there are perturbed motifs. In the third movement Dvořák turns to the rhythmic forms of Bohemian folk dance – the furiant. The finale is dominated by unsteady and anxious intonations and it is only in the final bars that the major key comes in – though this does not actually relieve the tension. 
Vladimir Khavrov





Schedule for Rachmaninoff. Dvorak. Performed by Alexei Chernov (piano) and Pablo Heras-Casado (conductor). 2022


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