Even the most intellectual of music critics cannot help but suffer a fondness for this enthralling symphony and its haunting melodies.
The composer Robert Simpson criticized Symphony No. 2 as having “forced climaxes” and “lyrical inflation.” But to criticize Symphony No. 2 for its “lyrical inflation” is like criticizing the Accelerator at Knott’s Berry Farm for its terrifyingly rapid climb followed by a precipitous drop–that is the whole point of riding it. And the emotional rollercoaster of the 2nd Symphony has not been lost on listeners. In their program notes, the Chicago Symphony Orchestra described the symphony as Rachmaninoff’s “ultimate victory.”
The flowing melodies of the first movement, with their dotted rhythms, seem to flap in the wind like an ebullient flag. Their surging ebbs and flows are instantly endearing, and most listeners will find that the main theme is permanently playing through their heads after only several listens.
The second movement’s aggressive first theme, with suggestions of the haunting Dies Irae, somehow melts into a glowing, warm string melody. A repeat of the thrilling A section is followed by a strange, muted celebratory trio, which gives the impression of barely contained ecstasy.
The gorgeous, throbbing third movement easily joins the list of the most beautiful movements ever written. A transcendent opening by the string section gently defers to the solo clarinet, whose breathtaking melody, though simple, is illuminated by heart-wrenching harmonic color from the rest of the orchestra. The violins lead the charge through melodic terrain that is at once stoic, determined and joyful, yet vulnerable, bittersweet and heartbroken. It descends in choking sobs, and rises in a powerful climax that is nothing short of transcendent.
A brilliant quasi-fanfare rouses the listener out of his nostalgic stupor as the symphony celebrates its musical journey to the major key, but not without reminiscing about the indulgent third movement. The major key themes of this movement are serene and majestic, or rowdy and celebratory. At the end, the music reaches its apex, and the brass section peers triumphantly over the peek that the musicians have summited.
(Header photo from Wikimedia Commons)
All the Feels 