Рахманиновтің «Паганини тақырыбындағы рапсодиясы»

Concertante by Sergei Rachmaninoff

The Rhapsody on a Theme of Paganini, Op. 43, (Рапсодия на тему Паганини, Rapsodiya na temu Paganini) is a concertante work written by Sergei Rachmaninoff for piano and orchestra, closely resembling a piano concerto, all in a single movement. Rachmaninoff wrote the work at his summer home, the Villa Senar in Switzerland, according to the score, from 3 July to 18 August 1934. Rachmaninoff himself, a noted performer of his own works, played the piano part at the piece's premiere on 7 November 1934, at the Lyric Opera House in Baltimore, Maryland, with the Philadelphia Orchestra conducted by Leopold Stokowski. Rachmaninoff, Stokowski, and the Philadelphia Orchestra made the first recording, on 24 December 1934, at RCA Victor's Trinity Church Studio in Camden, New Jersey. The English premiere on 7 March 1935 at Manchester Free Trade Hall also featured Rachmaninoff with The Hallé under Nikolai Malko. The best known variation in the piece is the 18th variation, frequently selected in isolation in classical music compilations.

After a brief introduction, the first variation is played before the theme. Paganini's theme is stated on strings with the piano picking out salient notes, after the first variation. Rachmaninoff likely got the idea of having a variation before the theme from the finale of Beethoven's Eroica symphony. Variations II to VI recombine elements of the theme. The pauses and rhetorical flourishes for the piano in variation VI herald a change of tempo and tone. The piano next gravely intones the Dies Irae (of which, to some degree, the Paganini theme is an inversion), the "day of wrath" plainchant from the medieval Mass of the Dead, while the orchestra accompanies with a slower version of the opening motif of the Paganini theme. The piece is one of several by Rachmaninoff to quote the Dies Irae plainchant melody. The slow 18th variation is by far the best known, and it is often included on classical music compilations without the rest of the work. It is based on an inversion of the melody of Paganini's theme. In other words, the A minor Paganini theme is literally played "upside down" in D major, with a few other changes. Rachmaninoff himself recognized the appeal of this variation, saying "This one is for my agent." The 24th variation is more playful in tone than most of the other variations, ending with a glissando sweep of the keyboard, before quoting the original theme in the last bar. Due to the speed and the large leaps on the piano, the 24th and last variation of the rhapsody presents considerable technical difficulty for the pianist. Shortly before the world première performance, Rachmaninoff – a sufferer of performance anxiety – confessed trepidation over his ability to play it. Upon the suggestion of his friend Benno Moiseiwitsch, Rachmaninoff broke his usual rule against drinking alcohol and had a glass of crème de menthe, which he reputedly kept beneath the piano, to steady his nerves. His performance was a spectacular success, and prior to every subsequent performance of the Rhapsody, he drank crème de menthe. This led to Rachmaninoff nicknaming the twenty fourth the "Crème de Menthe Variation".

In 1939, Michel Fokine wrote to Rachmaninoff from Auckland, New Zealand, where he was touring, seeking the composer's approval to use Rhapsody on a Theme of Paganini for his ballet Paganini, which he had almost finished choreographing. Fokine wanted to make a minor change to the score, involving the reuse of 12 earlier measures as a more theatrically effective introduction to the 18th Variation, which he wanted to play in the key of A major, rather than D major. Rachmaninoff agreed to the extra measures, although he said A major would not work and asked that the 18th Variation be played in D major, to provide greater tension. He also wondered why Niccolò Paganini had been turned into a guitar player in Fokine's scenario, but did not object. Paganini was premiered in 1939 by The Royal Ballet at the Royal Opera House in Covent Garden, London. The ballet was a success, which pleased Rachmaninoff, and he wrote his Symphonic Dances in 1940 with Fokine in mind. He played the piano version for Fokine, but both died before the idea got any further. The Rhapsody has also been used for ballets by Leonid Lavrovsky (Bolshoi Ballet, Moscow, 1960), Frederick Ashton (Royal Ballet, London, 1980), and Ivo van Zwieten.

PianoConductorOrchestraRecord CompanyYear of RecordingFormatSergei RachmaninoffLeopold StokowskiPhiladelphia OrchestraRCA Victor Red Seal1934CDBenno MoiseiwitschBasil CameronLiverpool Philharmonic OrchestraNaxos Records1938CDWilliam KapellFritz ReinerRobin Hood Dell OrchestraRCA Victor Red Seal1951CDArthur RubinsteinFritz ReinerChicago Symphony OrchestraRCA Victor Red Seal1956CDLeon FleisherGeorge SzellCleveland OrchestraColumbia Masterworks1957CDLeonard PennarioErich LeinsdorfLos Angeles PhilharmonicCapitol Records1958LP, Rereleased on CD by SeraphimVladimir AshkenazyAndré PrevinLondon Symphony OrchestraLondon Records1971CDDmitri AlexeevYuri TemirkanovSt. Petersburg Philharmonic OrchestraRCA Victor Red Seal1995CDVan CliburnKirill KondrashinMoscow Philharmonic OrchestraRCA Victor Red Seal1972CDYuja WangClaudio AbbadoMahler Chamber OrchestraDG2011CDDaniil TrifonovYannick Nézet SéguinPhiladelphia OrchestraDG2015CD