Program Notes:Rhapsody on a Theme of Paganini (Rachmaninoff)

The Rhapsody on a Theme of Paganini is not, as the title falsely implies, really a rhapsody at all. The term “rhapsody” suggests a loosely organized structure, but in fact, Rachmaninoff’s work follows a very clear, taut design – a set of twenty-four variations. One might, however, associate the piano soloist with the role of the ancient Greek rhapsode, the specially trained singer or reciter of epic poems. Wit, charm, romance, rhythmic verve, and masterly orchestration combine in what many consider to be one of Rachmaninoff’s greatest compositions. It was first performed on November 7, 1934 in Baltimore with Leopold Stokowski leading The Philadelphia Orchestra and the composer at the piano.

The work begins with the curiously “misplaced” first variation; only afterwards do we hear the theme in its original, intact form, played by violins with piano accentuations. Variations 2-5 all retain rhythmic tautness and drive. Only in Variation 6 does a more rhythmically free and sentimental tone creep in. A new theme enters at Variation 7, that old funeral chant for the dead, the “Dies irae,” which Rachmaninoff had incorporated into so many of his previous works. In fact, though, there is a melodic kinship between the chant theme and Paganini’s. The “Dies irae” returns in Variation l0, a grotesque march. In between (Variations 8 and 9), a demonic quality is maintained, especially in Variation 9 with its col legno (string players use the wooden part of their bows) tappings and frenzied rhythmic conflict between orchestra and soloist. Variation ll is essentially a highly florid cadenza with a true rhapsodic flavor to it. Two variations in D minor follow: one a nostalgic, wistful minuet set to Paganini’s fragmented theme; the other a sturdy pronouncement of the theme, still in triple meter, in a more straightforward presentation. Variations l4 and l5 are in F major, with the latter almost entirely for piano alone. Dark, ominous, even ghostly stirrings seem to emanate from Variation l6. The next one does nothing to lighten the oppressive mood.

Suddenly, as if emerging into the light of day, we hear the sounds of an old friend softly intoned, that famous eighteenth variation. This lush, glorious music is no intrusion, for, like the “Dies irae,” it too bears a melodic relationship to the Paganini theme; in fact, it is almost an inverted image of it. The music, from now on in the original key of A minor, proceeds swiftly to its conclusion, each variation more scintillating than the last. The gathering momentum and dazzling passage work for the soloist lead one to expect a conclusion of overwhelming bravura and force. Indeed, this expectation is almost fulfilled, but at the last moment, Rachmaninoff pulls back and, with a wicked chuckle, ends his Rhapsody quietly with a last, lost fragment of the memorable theme.

Andrew Cohen will join the Utah Symphony this weekend (January 11 & 12, 2008) to perform Rachmaninoff’s Rhapsody on a Theme of Paganini. For tickets call (801) 533-6683 0r visit UtahSymphony.org.