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Hyperion Records

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After the Storm (1879) by Arkhip Kuindzhi (1842-1910)
Track(s) taken from CDH55431
Recording details: February 2000
Studio 1, The State House of Broadcasting and Audio-Recording, Moscow, Russia
Produced by Alexander Volkov
Engineered by Alexander Volkov
Release date: October 2000
Total duration: 41 minutes 54 seconds

'Recommended' (BBC Music Magazine)

'Strongly recommended' (The Penguin Guide to Compact Discs)

'Performances characterised by admirable technical fluency and innate musical quality' (The Strad)

'Uniformly fine, sensitive and idiomatic playing and sound that alternately caresses and thunders as the music requires, this disc is a bargain … of all these fine works it would be impossible to imagine more satisfying performances than these … altogether a feast for the ears' (Fanfare, USA)

Trio élégiaque No 2 in D minor, Op 9
composer
begun in response to the death of Tchaikovsky on 25 October 1893 and completed on 15 December; dedicated 'to the memory of a great artist'; the second movement originally used harmonium as well as piano; first performed in Moscow on 31 January 1894

Moderato  [17'20]
Quasi variazione  [17'22]
Allegro risoluto  [7'12]

Introduction  EnglishFrançaisDeutsch
On 30 September 1893 Rachmaninov’s piano teacher, Nikolai Zverev, died aged sixty-one. Many musicians, including Tchaikovsky, attended the funeral, and it was on this occasion that Rachmaninov renewed acquaintance with the famous composer. A day or so later, at Taneyev’s home, Rachmaninov showed Tchaikovsky the score of his Fantaisie-tableaux, and obtained permission to dedicate the work to him. Tchaikovsky had been an important ally in getting Aleko performed at the Bolshoi, and the work’s success on that occasion led to Rach­maninov being invited to conduct a new production in Kiev, in October. Consequently, Rachmaninov missed hearing Tchai­kovsky conduct the premiere of his new Pathétique Symphony in St Petersburg on 16 October. Rachmaninov (making his debut as an opera conductor) directed the first two performances of Aleko, and returned to Moscow to prepare for the imminent first performance of the Fantaisie-tableaux in November. It was fortuitous in one regard that Rachmaninov was unable to travel to St Petersburg, for a cholera epidemic had broken out there. Although there is some doubt as to the exact nature of his final illness, it has long been thought that Tchaikovsky had, incom­prehensibly, drunk some unboiled water during the outbreak and contracted the disease. He died suddenly on 25 October.

Like the rest of the musical world, Rachmaninov was deeply shocked and distressed at this news. On the evening of Tchaikovsky’s death he began a second Trio élégiaque to the memory of the master, completing it on 15 December. It is difficult to remain unimpressed by this work. It is true that the piano part is florid and very difficult (at one point, towards the end of the first movement, it erupts into a quasi-cadenza), and is clearly far more important than those of the stringed instruments. The finale is possibly too short to balance the large dimensions of the first two movements—but what passion and genuine depth of feeling are contained within this work! Rachmaninov’s Op 9, dedicated ‘To the memory of a great artist’, is as worthy a memorial to Tchaikovsky as Tchaikovsky’s A minor Piano Trio Op 50 was to Nikolai Rubin­stein in 1881. The connections between these memorial trios run deeper; structurally, Rachmaninov’s work is strongly based on Tchaikovsky’s—to the extent of having a set of variations as the second movement, and the thematic likeness of both variation themes implies that Rachmaninov based his on Tchaikovsky’s.

The first movement of Rachmaninov’s D minor Trio élégiaque would seem, structurally, to be modelled to some degree on his earlier G minor work, but with a greater level of accomplishment. Thus a broad outline of sonata structure can be discerned, but here the material is even more homo­geneous, and the manner by which the introductory lament is restated and expanded, leading to a wealth of material which appears to be a succession of closely inter-related variations, and the strict manner in which this is recapitulated—along­side the subtle tonal relationships of the movement—show this music to be Rachmaninov’s greatest large-scale achieve­ment up to then.

As noted earlier, variation form is the basis of the second movement, and here the piano assumes possibly greater importance than in the first movement. The piano alone announces the long theme on which the ‘quasi variations’ are based, and the piano also has a long solo variation (the second). However, the eight variations (not so numbered by the composer) are both extensive and quite wide-ranging, although the string writing is such as to place these instruments very much in the musical background.

The finale is quite short and structurally simple. Once again the piano predominates, and begins with a strongly Tchaikovskian idea which dominates the first half of the movement. This builds to a climax, after which the opening lament of the first movement is alluded to before finally re­appearing in full, its chromatically descending phrase bringing the Trio élégiaque full circle. The end of the work is restrained to cello and piano. The violin is absent.

In the original version of the Trio, Rachmaninov called for a harmonium in the second movement. Such is the writing for this instrument that it is virtually impossible for the pianist to play the harmonium as well as the piano. Thus this original version must be the only instance in a piano trio when four instruments, and four players, are required! In 1907 Rach­maninov published a revised edition in which the harmonium is dispensed with and other changes are made, the most important being a new variation in the second movement to replace another discarded solo piano variation. For another performance in 1917, Rachmaninov made several other important changes—principally in cutting quite a few bars to tighten the structure.

The original version of the Trio élégiaque was first per­formed in Moscow on 31 January 1894, in an all-Rachmaninov programme given by the composer with Brandukov and Julius Conus. This also included the Op 2 pieces for cello and piano, the Op 6 pieces (which may have been their public première), and Rachmaninov playing his Op 3 complete and his new Op 10 Morceaux de salon, together with some songs (presumably from Opp 4 and 8).

from notes by Robert Matthew-Walker © 2000

Other albums featuring this work
'Hyperion monthly sampler – August 2013' (HYP201308)
Hyperion monthly sampler – August 2013
HYP201308  Download-only monthly sampler   No longer available
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