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PIANO MUSIC PLAYS | 0:00:02 | 0:00:04 | |
A lugubrious countenance, a life beset by tragedy, | 0:00:09 | 0:00:14 | |
the general consensus is that there's little joy | 0:00:14 | 0:00:17 | |
about the life and music of Sergei Rachmaninoff. | 0:00:17 | 0:00:21 | |
This is a classic tale of right man, wrong time. | 0:00:41 | 0:00:44 | |
Born in Russia in 1873 and dying in America in 1943, | 0:00:44 | 0:00:49 | |
not only did Rachmaninoff weather the false accusation that he was an anachronism, | 0:00:49 | 0:00:54 | |
someone writing gushing sentimental romantic music in a firmly modern age, | 0:00:54 | 0:00:59 | |
he also lived through one of the most abject periods in recorded history. | 0:00:59 | 0:01:03 | |
So why on earth is this called The Joy Of Rachmaninoff? | 0:01:16 | 0:01:20 | |
Well, despite the critical brickbats and a pervasive sense of Slavic gloom in his live, | 0:01:20 | 0:01:25 | |
there remains above all the time-transcending triumph of his music. | 0:01:25 | 0:01:30 | |
In his own words, | 0:01:30 | 0:01:32 | |
"Even with the disaster that has befallen the Russia where I was happiest, | 0:01:32 | 0:01:36 | |
"I always felt that my music remained essentially and spiritually the same, | 0:01:36 | 0:01:41 | |
"unending and obedient, trying to create beauty." | 0:01:41 | 0:01:46 | |
HE TOASTS IN RUSSIAN | 0:01:46 | 0:01:48 | |
Every classical music documentary | 0:02:20 | 0:02:22 | |
ought to have a preposterous statue in it and this will pretty well do the trick. | 0:02:22 | 0:02:26 | |
This purports to be Sergei Vasilievich Rachmaninoff. | 0:02:26 | 0:02:28 | |
Now, in real life, he doesn't really look like this. | 0:02:28 | 0:02:31 | |
He had a kind of Savile Row dapperness and aloofness, | 0:02:31 | 0:02:34 | |
and there's more than the whiff of a Hollywood cowboy about this. | 0:02:34 | 0:02:37 | |
Kind of appropriate, given how much of Rachmaninoff's music ended up on the big screen, | 0:02:37 | 0:02:41 | |
but his life began here in Novgorod in Imperial pre-revolutionary Russia. | 0:02:41 | 0:02:47 | |
CHURCH BELL RESOUNDS DEEPLY | 0:03:05 | 0:03:07 | |
This is one of the defining sounds of Russia, | 0:03:11 | 0:03:15 | |
the bells of the Orthodox Church. | 0:03:15 | 0:03:18 | |
In this case, the astonishing St Sophia's Cathedral in Novgorod. | 0:03:18 | 0:03:23 | |
Rachmaninoff's grandmother took the young boy here | 0:03:23 | 0:03:27 | |
and this very sound had a deep, resounding impact. | 0:03:27 | 0:03:31 | |
BELLS CHIME | 0:03:31 | 0:03:33 | |
Rachmaninoff later wrote, | 0:03:45 | 0:03:47 | |
"The sound of bells dominated all the cities of Russia I used to know. | 0:03:47 | 0:03:52 | |
"They accompanied every Russian from childhood to grave, | 0:03:52 | 0:03:56 | |
"and no composer could escape their influence." | 0:03:56 | 0:04:00 | |
MAN SINGS IN RUSSIAN | 0:04:13 | 0:04:15 | |
An aristocratic child prodigy, | 0:04:20 | 0:04:22 | |
Rachmaninoff entered the Moscow Conservatory at the age of 12 to study piano. | 0:04:22 | 0:04:27 | |
There his focus shifted to composition, | 0:04:27 | 0:04:29 | |
and in 1892 he won the Great Gold Medal with his final work, Aleko, | 0:04:29 | 0:04:34 | |
a one-act opera based on Pushkin. | 0:04:34 | 0:04:37 | |
How does a precocious teenager | 0:04:37 | 0:04:40 | |
follow up the success of winning a prestigious Gold Medal | 0:04:40 | 0:04:43 | |
with his final student composition? | 0:04:43 | 0:04:45 | |
Well, by writing a worldwide, blockbuster, smash hit of course. | 0:04:45 | 0:04:50 | |
In the summer of 1892, having just graduated from the Moscow Conservatory, | 0:04:50 | 0:04:55 | |
Rachmaninoff moved in with the Satin family in Moscow. | 0:04:55 | 0:04:58 | |
And one of the first pieces he wrote there | 0:04:58 | 0:05:00 | |
was A Prelude For Solo Piano In C-sharp Minor. | 0:05:00 | 0:05:04 | |
"I heard the endless tolling of the church bells," | 0:05:11 | 0:05:14 | |
Rachmaninoff wrote, "and it just came out of me with such force. | 0:05:14 | 0:05:18 | |
"And I was still a teenager." | 0:05:18 | 0:05:20 | |
20th-century music... I've struggled with a lot. | 0:05:38 | 0:05:42 | |
And, you know, it was at a time, I guess, as you'd know, | 0:05:42 | 0:05:45 | |
when you're looking at Stravinsky and Schoenberg and these extraordinary phrases, | 0:05:45 | 0:05:49 | |
you know, like, "the emancipation of the dissonance" | 0:05:49 | 0:05:51 | |
and "the tyranny of the bar line". | 0:05:51 | 0:05:53 | |
This kind of activism in music pushing and exploding boundaries. | 0:05:53 | 0:05:57 | |
And then you have Rachmaninoff at the same time, who's just, like, | 0:05:57 | 0:06:01 | |
"I'm just going to write these immense, heroic, | 0:06:01 | 0:06:03 | |
fantastic, lush, romantic melodies." | 0:06:03 | 0:06:07 | |
And that, I just... | 0:06:07 | 0:06:10 | |
I worship him for that. I love him for that. | 0:06:10 | 0:06:12 | |
This is a teenage boy who writes the most extraordinary, visceral, | 0:06:21 | 0:06:27 | |
dark kind of punishing piece of music. | 0:06:27 | 0:06:29 | |
I mean, think about that, | 0:06:31 | 0:06:34 | |
a teenage kid writes something that dark today, | 0:06:34 | 0:06:36 | |
he'd be on Ritalin and in front of a shrink within two hours. | 0:06:36 | 0:06:39 | |
I have a tattoo that says Sergei Rachmaninoff in Russian. | 0:06:48 | 0:06:51 | |
I'm assuming, I don't speak Russian, it looks a bit like Jeremy Paxman. | 0:06:51 | 0:06:55 | |
It's in Cyrillic and it says Sergei Rachmaninoff. | 0:06:55 | 0:06:59 | |
I just... A part of me, I know it sounds pretentious, | 0:06:59 | 0:07:02 | |
but always just wants to carry him around with me a little bit | 0:07:02 | 0:07:05 | |
and just remember just what... what a dude he was. | 0:07:05 | 0:07:08 | |
Geoffrey, we have three amazing artefacts from Rachmaninoff's compositional life in front of us. | 0:07:27 | 0:07:32 | |
The first is the Prelude In C-sharp Minor, | 0:07:32 | 0:07:35 | |
the single most famous piece that he wrote, certainly in this lifetime. | 0:07:35 | 0:07:39 | |
What does it tell us about the teenage Rachmaninoff in 1892 writing this? | 0:07:39 | 0:07:42 | |
Well, in fact, he could have almost retired on the basis of this, | 0:07:42 | 0:07:45 | |
I think, if they'd thought to take out international copyright | 0:07:45 | 0:07:48 | |
at the time, but they didn't. | 0:07:48 | 0:07:51 | |
It just completely took fire, | 0:07:51 | 0:07:54 | |
I suppose because in it people recognised a sort of Slavic mystery. | 0:07:54 | 0:07:59 | |
It's a very dark piece with a lot of sort of ceremony and glitter to it. | 0:07:59 | 0:08:03 | |
And I think probably people saw this | 0:08:03 | 0:08:05 | |
representing the Russian characteristics that they loved to explore. | 0:08:05 | 0:08:09 | |
What I really mean is a sense of fatalism, | 0:08:14 | 0:08:16 | |
a very powerful seam of fatalism | 0:08:16 | 0:08:19 | |
that runs through Rachmaninoff's music and which all Russians recognise. | 0:08:19 | 0:08:24 | |
Rachmaninoff exudes Russianness | 0:08:35 | 0:08:37 | |
in the same way that Elgar exudes Englishness. | 0:08:37 | 0:08:42 | |
We know what it is, but we can't quite put our finger on it. | 0:08:42 | 0:08:46 | |
Young Rachmaninoff's most important musical influence | 0:09:08 | 0:09:11 | |
was a romantic mainline that can be boiled down to Rimsky-Korsakov and to this guy, | 0:09:11 | 0:09:16 | |
the Russian giant of giants, Pyotr Ilyich Tchaikovsky. | 0:09:16 | 0:09:21 | |
MUSIC: Piano Concerto No.1 by Tchaikovsky | 0:09:21 | 0:09:24 | |
Not only was Tchaikovsky a musical catalyst, | 0:09:26 | 0:09:28 | |
he was a personal mentor who went out of his way to champion the teenage Rachmaninoff. | 0:09:28 | 0:09:34 | |
At the premiere of his opera, Aleko, | 0:09:34 | 0:09:36 | |
Tchaikovsky conspicuously leaned out of his box to applaud with all of his might, | 0:09:36 | 0:09:40 | |
aware of the power of such a public endorsement. | 0:09:40 | 0:09:43 | |
And whenever he could, he pulled strings on behalf of "the kid". | 0:09:43 | 0:09:47 | |
And Rachmaninoff was both enamoured and flattered by the attentions of this eminence grise. | 0:09:47 | 0:09:53 | |
It was here at the miraculous St Petersburg Philharmonia, | 0:10:29 | 0:10:34 | |
hardly changed since back in the day, | 0:10:34 | 0:10:36 | |
that Rachmaninoff debuted his most ambitious orchestral work so far, | 0:10:36 | 0:10:40 | |
his Symphony No.1 In D Minor on 15th March, 1897, | 0:10:40 | 0:10:45 | |
at a Russian symphony concert conducted by Alexander Glazunov. | 0:10:45 | 0:10:49 | |
The world, or at least Russia, was watching. | 0:10:49 | 0:10:53 | |
FANFARE | 0:10:53 | 0:10:55 | |
Rachmaninoff must've been nervous about the reaction, | 0:11:10 | 0:11:13 | |
because this is where he watched the performance from, | 0:11:13 | 0:11:16 | |
a staircase behind the stage. | 0:11:16 | 0:11:19 | |
So he saw Glazunov give the first downbeat. | 0:11:19 | 0:11:22 | |
And from the outset it was clear that something was terribly wrong. | 0:11:25 | 0:11:29 | |
He didn't recognise the cacophony he heard. | 0:11:29 | 0:11:31 | |
The orchestra couldn't play his symphony, it was too new and too hard. | 0:11:31 | 0:11:35 | |
Glazunov was making a hash of it | 0:11:35 | 0:11:37 | |
and there was even a rumour that he was drunk. | 0:11:37 | 0:11:40 | |
Rachmaninoff's only consolation was at least from this position, | 0:11:40 | 0:11:43 | |
he could make a quick and low-key getaway. | 0:11:43 | 0:11:46 | |
Up until that time, he could do no wrong. | 0:11:54 | 0:11:56 | |
He was the golden boy of the Moscow Conservatory in piano playing and in composition. | 0:11:56 | 0:12:02 | |
Everything he did was a great success. | 0:12:02 | 0:12:04 | |
And suddenly, 1897 - wallop! - there's a great failure | 0:12:04 | 0:12:09 | |
with the Premier of the First Symphony. | 0:12:09 | 0:12:11 | |
The critics had a field day. | 0:12:16 | 0:12:18 | |
The eminent composer Cesar Cui led the pack. | 0:12:18 | 0:12:21 | |
He wrote, "If there was a conservatory in hell | 0:12:21 | 0:12:24 | |
and if one of the composers was asked to write a symphony on the ten plagues of Egypt, | 0:12:24 | 0:12:28 | |
"if it sounded like Mr Rachmaninoff, he would have fulfilled his task brilliantly." | 0:12:28 | 0:12:33 | |
Rachmaninoff never allowed the First Symphony to be heard again in his lifetime. | 0:12:38 | 0:12:42 | |
And the full score has never even been found, | 0:12:42 | 0:12:45 | |
but I think it's a work of fierce imagination. | 0:12:45 | 0:12:48 | |
It's full of varying harmonies and experimental treatment of melodies | 0:12:48 | 0:12:52 | |
that are inspired by Russian Orthodox chant. | 0:12:52 | 0:12:54 | |
It's simply because it was so advanced in its ideas | 0:12:54 | 0:12:58 | |
that the First Symphony went beyond the audience and the orchestra that night and the critics too. | 0:12:58 | 0:13:03 | |
Who needs them? | 0:13:03 | 0:13:05 | |
If you listen carefully to the last movement of the First Symphony... | 0:13:17 | 0:13:24 | |
in all this carnivalesque celebration... | 0:13:24 | 0:13:28 | |
you will hear the Horsemen of the Apocalypse. | 0:13:28 | 0:13:32 | |
The final page of the Symphony | 0:13:36 | 0:13:39 | |
seemed to pre-echo the end of the Fifth Symphony by Shostakovich, | 0:13:39 | 0:13:46 | |
which was yet to be written 40 years later. | 0:13:46 | 0:13:50 | |
I don't know how he knew all that. | 0:13:51 | 0:13:54 | |
He must have had some prophetic... | 0:13:54 | 0:13:57 | |
Like some people who have manic depressive inclinations, | 0:13:57 | 0:14:02 | |
and Rachmaninoff was partly manic depressive, I believe, | 0:14:02 | 0:14:06 | |
they can feel things before they happen. | 0:14:06 | 0:14:09 | |
Working as a conductor in Moscow, | 0:14:17 | 0:14:19 | |
Rachmaninoff met the great Russian bass Feodor Chaliapin | 0:14:19 | 0:14:23 | |
and the pair became firm friends. | 0:14:23 | 0:14:25 | |
An incident involving the duo | 0:14:25 | 0:14:27 | |
would lead the singer to a compositional crisis. | 0:14:27 | 0:14:30 | |
FEODOR SINGS IN RUSSIAN | 0:14:30 | 0:14:33 | |
By 1900, Rachmaninoff and his mate Chaliapin were the toast of Moscow. | 0:14:33 | 0:14:38 | |
Both aged 26, they were young bucks about town, | 0:14:38 | 0:14:42 | |
and every part of Muscovite society wanted a piece of the duo. | 0:14:42 | 0:14:46 | |
And on January 9th, 1900, | 0:14:46 | 0:14:48 | |
they received the ultimate invitation to come here. | 0:14:48 | 0:14:51 | |
This is the house of Leo Tolstoy, | 0:14:55 | 0:14:58 | |
who was and is the great man of Russian literature. | 0:14:58 | 0:15:01 | |
And the writer of epics like Anna Karenina and War And Peace | 0:15:01 | 0:15:05 | |
was a hero for both Rachmaninoff and Chaliapin. | 0:15:05 | 0:15:08 | |
And the person that they met on that cold evening in January, 1900, | 0:15:08 | 0:15:13 | |
would have looked like this. | 0:15:13 | 0:15:15 | |
Possibly the first ever colour photograph in Russia. | 0:15:15 | 0:15:19 | |
By 1900, Tolstoy had the status of a secular god in Russia. | 0:15:20 | 0:15:25 | |
He had followers, he had the whole of educated society | 0:15:25 | 0:15:31 | |
not just reading him but following him. | 0:15:31 | 0:15:34 | |
And after Anna Karenina, | 0:15:34 | 0:15:37 | |
Tolstoy gets all moralistic and serious | 0:15:37 | 0:15:40 | |
and rejects the whole of civilisation | 0:15:40 | 0:15:42 | |
to become a sort of pseudo-peasant. | 0:15:42 | 0:15:46 | |
Chaliapin later recalled, | 0:15:52 | 0:15:54 | |
"Tolstoy was then living with his family in the Khamovniki district of Moscow. | 0:15:54 | 0:15:58 | |
"Rachmaninoff and I climbed the wooden staircase of a very charming house. | 0:15:58 | 0:16:02 | |
"Up till then, I had seen only portraits of Tolstoy | 0:16:02 | 0:16:05 | |
"and now he himself appeared standing by a small chess table. | 0:16:05 | 0:16:10 | |
"Rachmaninoff whispered, 'If I'm asked to play, I don't see how I can, my hands are ice cold!'" | 0:16:10 | 0:16:17 | |
Of course, the duo were begged to perform. | 0:16:17 | 0:16:20 | |
And Rachmaninoff chose a song that he'd recently completed called Fate, | 0:16:20 | 0:16:24 | |
based on the opening bars of Beethoven's Fifth Symphony | 0:16:24 | 0:16:27 | |
with lyrics inspired by Pushkin's The Gypsies. | 0:16:27 | 0:16:31 | |
VOCALIST SINGS IN RUSSIAN | 0:16:36 | 0:16:38 | |
-So a song about fate as an old woman? -Yes. | 0:16:59 | 0:17:02 | |
-It's kind of a striking image? -Well, it is very Russian. | 0:17:02 | 0:17:06 | |
In Russia you imagine death as an old woman with the... | 0:17:06 | 0:17:09 | |
-What do you...? -Scythe for cutting the corn? -Yeah, for cutting the corn. | 0:17:09 | 0:17:13 | |
-This is it. -Yeah. -That's the image, so it's... -And we are the corn? | 0:17:13 | 0:17:17 | |
-Yeah, we are. -Yeah. | 0:17:17 | 0:17:19 | |
ALEX SINGS IN RUSSIAN | 0:17:19 | 0:17:21 | |
And Rachmaninoff himself tells us what happened next. | 0:17:31 | 0:17:35 | |
"To describe the way Feodor sang is impossible. | 0:17:35 | 0:17:39 | |
"He sang the way Tolstoy wrote, | 0:17:39 | 0:17:41 | |
"and when we finished we felt that all were delighted. | 0:17:41 | 0:17:44 | |
"Suddenly the enthusiastic applause was hushed and everyone fell silent. | 0:17:44 | 0:17:49 | |
"Tolstoy, sitting in an armchair a little apart from the others, | 0:17:49 | 0:17:52 | |
"was gloomy and cross. | 0:17:52 | 0:17:56 | |
"'Is such music needed by anybody? | 0:17:56 | 0:17:59 | |
"'What music is most necessary for men, scholarly or folk music?'" | 0:17:59 | 0:18:04 | |
"And just to make the point completely clear, he said, | 0:18:04 | 0:18:08 | |
"'I must tell you how I dislike all of it. | 0:18:08 | 0:18:12 | |
"'Beethoven is nonsense, Pushkin also.'" | 0:18:12 | 0:18:15 | |
TOM LAUGHS | 0:18:15 | 0:18:17 | |
ALEX SINGS IN RUSSIAN | 0:18:18 | 0:18:20 | |
An hour later, a somewhat cooler Leo approached Sergei | 0:18:30 | 0:18:35 | |
to ask for forgiveness for his earlier outburst. | 0:18:35 | 0:18:38 | |
"How can I be hurt on my account," Sergei replied, | 0:18:40 | 0:18:44 | |
"if I wasn't on Beethoven's?" | 0:18:44 | 0:18:47 | |
Rachmaninoff never came back. | 0:18:47 | 0:18:50 | |
How would you have reacted if you'd been singing to Tolstoy? | 0:18:50 | 0:18:53 | |
-"Thank you very much for your opinion." -IAN LAUGHS | 0:18:53 | 0:18:56 | |
This was a pivotal encounter for the composer. | 0:18:58 | 0:19:02 | |
You know, even the choice of song, Fate, | 0:19:02 | 0:19:05 | |
was significant for a man whose oeuvre and whose whole approach to life | 0:19:05 | 0:19:09 | |
was characterised by a sense of fatalism. | 0:19:09 | 0:19:11 | |
And, in fact, Tolstoy's rejection of Rachmaninoff pushed him towards a new depth of doubt. | 0:19:11 | 0:19:16 | |
His self-criticism became so severe | 0:19:16 | 0:19:19 | |
that the completion or even initiation of a composition became impossible. | 0:19:19 | 0:19:23 | |
It was time for drastic action. | 0:19:23 | 0:19:26 | |
WOMAN HARMONISES | 0:19:26 | 0:19:28 | |
The turn of the century was a time of pioneering new approaches in medicine. | 0:19:30 | 0:19:35 | |
And Dr Nikolai Dahl specialised in the therapeutic value of hypnosis. | 0:19:35 | 0:19:40 | |
And Rachmaninoff was so desperate that instead of his usual stubbornness, | 0:19:40 | 0:19:43 | |
he quickly agreed to see the good doctor, | 0:19:43 | 0:19:46 | |
and together they embarked upon a course of what we now call therapy. | 0:19:46 | 0:19:50 | |
Look into my eyes. You'll feel sleepy. Go on, look into my eyes. | 0:19:50 | 0:19:53 | |
TOM'S VOICE FADES | 0:19:53 | 0:19:55 | |
Little is actually known about what happened between Dahl and Rachmaninoff, | 0:20:00 | 0:20:05 | |
but one thing is for certain, | 0:20:05 | 0:20:07 | |
the therapy had a dramatic effect on the happiness of the young composer. | 0:20:07 | 0:20:11 | |
"Although it may seem incredible," he said, "this cure really helped me, | 0:20:11 | 0:20:16 | |
"and by the beginning of the summer I began to compose, | 0:20:16 | 0:20:19 | |
"the material grew in bulk and new musical ideas began to stir in me, | 0:20:19 | 0:20:24 | |
"more than enough for my concerto." | 0:20:24 | 0:20:27 | |
-This is the Second Piano Concerto? -Yes. | 0:20:29 | 0:20:31 | |
What an amazing thing to be able to handle this score and look at it, | 0:20:31 | 0:20:35 | |
but before we even get to the notes, Geoffrey, | 0:20:35 | 0:20:37 | |
I just want to ask you quickly about the title page, | 0:20:37 | 0:20:40 | |
because the piece is dedicated to... | 0:20:40 | 0:20:43 | |
-There we are to... BOTH: -Monsieur N Dahl. | 0:20:43 | 0:20:46 | |
To Dr Dahl, who he said basically brought him back to compositional life. | 0:20:46 | 0:20:50 | |
-Here it is. -Yes. | 0:20:53 | 0:20:54 | |
Is there a more famous introduction to a piano concerto | 0:20:54 | 0:20:57 | |
than these semibreves and minims? | 0:20:57 | 0:21:00 | |
MUSIC: Second Piano Concerto by Sergei Rachmaninoff | 0:21:00 | 0:21:03 | |
-This surely is bells? -It must be, mustn't it? | 0:21:12 | 0:21:14 | |
-It seems the most obvious. -Yes, the great, deep bass bell | 0:21:14 | 0:21:19 | |
and the chords in the right hand. | 0:21:19 | 0:21:21 | |
The opening of the Second Piano Concerto, | 0:21:47 | 0:21:49 | |
the melody and the piano score is eight pages long, it never stops. | 0:21:49 | 0:21:53 | |
Just when you think... No, it goes on and takes.. | 0:21:53 | 0:21:56 | |
And I think as humans we love that, we love melody. | 0:21:56 | 0:21:59 | |
What we love of Schubert, what we love the Beatles, whatever it is, | 0:21:59 | 0:22:02 | |
we love something that is in our head. | 0:22:02 | 0:22:04 | |
And when it's sad melody, it's particularly... | 0:22:04 | 0:22:08 | |
It gets to our heart. I mean, it just permeates our being. | 0:22:08 | 0:22:12 | |
And I think we all... We love to be sad. | 0:22:12 | 0:22:15 | |
BOTH LAUGH | 0:22:15 | 0:22:16 | |
And even in the second movement, | 0:22:33 | 0:22:35 | |
the short introduction of eight chords from... | 0:22:35 | 0:22:39 | |
Really that he's taken from the beginning of the first movement in C-minor and then... | 0:22:39 | 0:22:42 | |
Which is this key. And then the piano comes in a very different key, E-major. | 0:22:42 | 0:22:46 | |
Very simple, no melody. | 0:22:46 | 0:22:49 | |
Over which the flute and the clarinet weave this exquisite... | 0:23:04 | 0:23:08 | |
And so on. And then the piano talks to them. It's like chamber music. | 0:23:15 | 0:23:19 | |
And it's terribly simple and very unsentimental. | 0:23:19 | 0:23:23 | |
And it's something like a very still lake or something very beautiful and calm. | 0:23:23 | 0:23:28 | |
And that's another human emotion when we're, you know, | 0:23:48 | 0:23:52 | |
exhausted with passion and you find a stillness that's not overly passionate, | 0:23:52 | 0:23:58 | |
but still very beautiful with a great simplicity. | 0:23:58 | 0:24:02 | |
There is a kind of... You know, he's channelling something. | 0:24:02 | 0:24:04 | |
It's the human condition, isn't it? | 0:24:04 | 0:24:06 | |
I think he...he writes what we feel. | 0:24:06 | 0:24:11 | |
I mean, that's such genius to be able to take what's in all of our hearts | 0:24:11 | 0:24:15 | |
at certain times of our life and put it into music, | 0:24:15 | 0:24:18 | |
not in a schmaltzy way, but in a very real and tangible way | 0:24:18 | 0:24:22 | |
that leaves us with something that we want to go back | 0:24:22 | 0:24:26 | |
and have repeated listening to it. | 0:24:26 | 0:24:29 | |
But where did the ideas, the melodies of the Second Concerto come from? | 0:24:36 | 0:24:40 | |
Are they really the result of some hypnotic trance? | 0:24:40 | 0:24:44 | |
Or are they rather the bells, the chants, | 0:24:44 | 0:24:47 | |
the emotional trauma of Rachmaninoff's life transmuted into musical gold | 0:24:47 | 0:24:52 | |
through his compositional alchemy of melancholy? | 0:24:52 | 0:24:55 | |
We do know at least where the tunes end up, | 0:24:55 | 0:24:59 | |
in films like Brief Encounter or The Seven Year Itch | 0:24:59 | 0:25:01 | |
and so many other places in popular culture. | 0:25:01 | 0:25:05 | |
-Rachmaninoff! -The Second Piano Concerto. | 0:25:05 | 0:25:08 | |
And, more importantly, the Second Piano Concerto, | 0:25:08 | 0:25:11 | |
maybe more than any other orchestral work by anyone, | 0:25:11 | 0:25:15 | |
has become a feeling, a place of psychic and expressive release | 0:25:15 | 0:25:20 | |
that Rachmaninoff created but that we all share. | 0:25:20 | 0:25:23 | |
In the early 1900s, there was a drive to find new languages | 0:25:38 | 0:25:42 | |
of dissonant harmonies and complex rhythms. | 0:25:42 | 0:25:45 | |
Modernism wouldn't interest Rachmaninoff, | 0:25:47 | 0:25:50 | |
but it would make him feel out of favour. | 0:25:50 | 0:25:53 | |
"I feel like a ghost wandering in a world grown alien. | 0:25:57 | 0:26:01 | |
"I cannot cast out the old way of writing and nor can I acquire the new. | 0:26:01 | 0:26:07 | |
"I can't throw out my musical gods in a moment | 0:26:07 | 0:26:10 | |
"and bend the knee to new ones." | 0:26:10 | 0:26:13 | |
Grove's Dictionary from Mr Eric Bloom, | 0:26:59 | 0:27:02 | |
who probably was a very knowledgeable... | 0:27:02 | 0:27:04 | |
-A very knowledgeable critic, a very great critic. -Yes. -What did he say? | 0:27:04 | 0:27:08 | |
He said, "Rachmaninoff's music, well constructed and effective | 0:27:08 | 0:27:11 | |
"but monotonous in texture." | 0:27:11 | 0:27:13 | |
How could it be monotonous? Very interesting. | 0:27:13 | 0:27:16 | |
"Which consists of many artificial gushing tunes | 0:27:16 | 0:27:21 | |
"accompanying a variety of figures derived from arpeggios." | 0:27:21 | 0:27:25 | |
"Enormous popular success, | 0:27:25 | 0:27:27 | |
some admirers he had in his lifetime, not likely to last." | 0:27:27 | 0:27:31 | |
And it's still lasting, eh? Where are we, in 2015? | 0:27:31 | 0:27:35 | |
And not only the general audiences like the nice tunes, | 0:27:35 | 0:27:40 | |
great orchestras, great musicians, great vocalists love this music, | 0:27:40 | 0:27:45 | |
because they think in essence | 0:27:45 | 0:27:47 | |
it conveys something extremely important, something of our existence. | 0:27:47 | 0:27:52 | |
Well, the Rachmaninoff Cello Sonata was written in the same year | 0:27:52 | 0:27:55 | |
as his famous, very famous Second Piano Concerto. | 0:27:55 | 0:27:58 | |
And it inhabits something of the same world. | 0:27:58 | 0:28:00 | |
It's after he came out of his big depression. | 0:28:00 | 0:28:03 | |
It's not only a great romantic work, it's also a very religious work, | 0:28:03 | 0:28:08 | |
and there's a lot of bells. | 0:28:08 | 0:28:10 | |
And I think it's a mistake just to approach it as a romantic sonata, | 0:28:12 | 0:28:17 | |
it's more than that. | 0:28:17 | 0:28:19 | |
It's deeply spiritual. | 0:28:19 | 0:28:22 | |
Like all the best classical music documentaries, | 0:29:13 | 0:29:15 | |
I'm pushing myself close to the edge, dear viewer, and possibly beyond. | 0:29:15 | 0:29:19 | |
I've absolutely no idea where we are. | 0:29:19 | 0:29:22 | |
We're been driving for hours. | 0:29:22 | 0:29:24 | |
I think I'm a bit hypnotised | 0:29:24 | 0:29:26 | |
by the beauty but monotony of this landscape. | 0:29:26 | 0:29:29 | |
I do know at least that we're travelling about 500km south-east of Moscow | 0:29:29 | 0:29:33 | |
to a place of huge personal significance for Rachmaninoff. | 0:29:33 | 0:29:37 | |
If we get there. | 0:29:37 | 0:29:39 | |
RUSSIAN FOLK MUSIC PLAYS | 0:29:39 | 0:29:41 | |
WOMEN CHANT IN RUSSIAN | 0:29:41 | 0:29:44 | |
WOMEN CHANT IN RUSSIAN | 0:30:06 | 0:30:07 | |
TOM LAUGHS | 0:30:11 | 0:30:13 | |
Russians adore Rachmaninoff, | 0:30:13 | 0:30:15 | |
none more so than in the region of Tambov, | 0:30:15 | 0:30:18 | |
where disciples have lovingly recreated | 0:30:18 | 0:30:20 | |
Rachmaninoff's aristocratic summer residence on the original site. | 0:30:20 | 0:30:24 | |
CHANTING CONTINUES | 0:30:24 | 0:30:26 | |
PIANO PLAYS | 0:30:27 | 0:30:29 | |
When he wasn't performing, | 0:30:47 | 0:30:49 | |
Rachmaninoff would spend his summers here at his cousins' estate of Ivanovka, | 0:30:49 | 0:30:54 | |
far from the hectic swirl of Moscow deep in the region of Tambov. | 0:30:54 | 0:30:59 | |
And in 1902, he would marry one of those cousins, Natalia Satina, | 0:30:59 | 0:31:04 | |
and just a few years later he had inherited the whole place. | 0:31:04 | 0:31:07 | |
This was inspirational therapy, | 0:31:07 | 0:31:10 | |
just the tonic for a self-doubting young man. | 0:31:10 | 0:31:13 | |
The landed estate, or the favoured landed estate, the ancestral home, | 0:31:13 | 0:31:18 | |
was very important to the landed gentry. | 0:31:18 | 0:31:22 | |
And they might have several estates, | 0:31:22 | 0:31:24 | |
but there would likely be one which was home. | 0:31:24 | 0:31:27 | |
And Ivanovka was that for Rachmaninoff and his extended family. | 0:31:27 | 0:31:33 | |
And it would be a place where they might spend every summer. | 0:31:33 | 0:31:38 | |
So country pursuits, everything from hunting to picnics, | 0:31:39 | 0:31:44 | |
mushroom gathering, were part of that lifestyle. | 0:31:44 | 0:31:48 | |
WOMAN HARMONISES | 0:31:48 | 0:31:50 | |
I mean, we see it every time we look at a Chekhov play, | 0:31:52 | 0:31:57 | |
it's that we're talking about in Ivanovka. | 0:31:57 | 0:32:01 | |
"Ivanovka, 20 years of my life I spent here. | 0:32:03 | 0:32:07 | |
"Every Russian feels strong ties with the soil, | 0:32:07 | 0:32:11 | |
"the endless fields of wheat stretching as far as the eye can see, | 0:32:11 | 0:32:15 | |
"the smell of the earth and everything that grows and blossoms. | 0:32:15 | 0:32:18 | |
"I felt so good here, I could work and work hard. | 0:32:18 | 0:32:22 | |
"Here, at last, I found blessed happiness." | 0:32:22 | 0:32:27 | |
This photograph shows Rachmaninoff in his late 30s here at Ivanovka | 0:32:46 | 0:32:50 | |
working on proofs, on copies of his Third Piano Concerto, | 0:32:50 | 0:32:55 | |
I think one of his absolute masterpieces. | 0:32:55 | 0:32:58 | |
Now, he wrote this piece in 1909 for his first tour to America | 0:32:58 | 0:33:02 | |
and for himself to play too as a kind of calling card. What a calling card. | 0:33:02 | 0:33:06 | |
Rach 3! | 0:33:06 | 0:33:09 | |
It's monumental! | 0:33:09 | 0:33:11 | |
It's a mountain. It's the hardest piece you could Everest play. | 0:33:11 | 0:33:14 | |
Well, no-one's ever been mad enough to attempt the Rach 3! | 0:33:14 | 0:33:18 | |
The Rach 3, obviously. I mean, Shine, totally worth the hype. | 0:33:18 | 0:33:22 | |
My God, that piece! | 0:33:22 | 0:33:25 | |
Think of it as two separate melodies jousting for supremacy. | 0:33:25 | 0:33:29 | |
Your hands, giants, ten fingers each. | 0:33:32 | 0:33:36 | |
Performing is a risk, you know. No safety net. | 0:33:38 | 0:33:42 | |
Make no mistake, David, it's dangerous. | 0:33:42 | 0:33:45 | |
You could get hurt. | 0:33:45 | 0:33:48 | |
And it gets harder even in the slow movement, "OK, slow movement, you've got time to breathe." | 0:33:48 | 0:33:53 | |
And you do for, like, 30 seconds and then it's just even harder than the first movement. | 0:33:53 | 0:33:57 | |
And it doesn't stop. And I would see, you know, the things he would ask you to do | 0:33:57 | 0:34:01 | |
with octaves and the speed and the accuracy. | 0:34:01 | 0:34:04 | |
People who can do things like that, it should be illegal in a way, it's...it's inhuman. | 0:34:04 | 0:34:09 | |
There's a moment in the first movement in the solo bit, the cadenza, | 0:34:23 | 0:34:27 | |
Rachmaninoff writes an alternative, a so-called ossia, | 0:34:27 | 0:34:30 | |
and it is one of those moments where he's asking his interpreters, | 0:34:30 | 0:34:34 | |
"Are you Rachmaninoff?" | 0:34:34 | 0:34:37 | |
No! It's not good. | 0:35:20 | 0:35:23 | |
Ivanovka may have inspired Rachmaninoff, | 0:35:37 | 0:35:40 | |
but his melancholy and fatalism never left. | 0:35:40 | 0:35:44 | |
This is Arnold Bocklin's painting The Isle Of The Dead | 0:35:45 | 0:35:49 | |
and it inspired one of Rachmaninoff's finest orchestral pieces. | 0:35:49 | 0:35:52 | |
He composed it in 1909, but he originally saw this painting in 1907 | 0:35:52 | 0:35:56 | |
in a black-and-white reproduction in Paris. | 0:35:56 | 0:35:59 | |
And when he finally saw it in its vaguely Technicolor original, | 0:35:59 | 0:36:03 | |
he was a bit shocked and said, "I'm not sure I'd have been able to write the music I did," | 0:36:03 | 0:36:07 | |
because he preferred in fact the gloominess of that black-and-white version that he first saw. | 0:36:07 | 0:36:11 | |
The music opens with the churn, | 0:36:15 | 0:36:18 | |
the push-pull of the boatman rowing the dead to this mysterious dark maw | 0:36:18 | 0:36:22 | |
of the cypress grove from which there is no return. | 0:36:22 | 0:36:26 | |
And Rachmaninoff writes in the centre of the piece | 0:36:27 | 0:36:30 | |
music that symbolises the soul crying out memories of life and love, | 0:36:30 | 0:36:34 | |
how wonderful existence was. | 0:36:34 | 0:36:36 | |
But by the end of the piece, | 0:36:45 | 0:36:47 | |
death returns and claims whoever the hero of this piece is. | 0:36:47 | 0:36:50 | |
And as so often in Rachmaninoff's music, | 0:36:50 | 0:36:53 | |
that final fatalistic victory is symbolised | 0:36:53 | 0:36:56 | |
by his quotation of the terrifying ancient and arcane Dies Irae chant. | 0:36:56 | 0:37:01 | |
The day of anger taking all of us to death. | 0:37:01 | 0:37:05 | |
I think that... | 0:37:17 | 0:37:20 | |
Rachmaninoff, like a lot of people of his time, | 0:37:20 | 0:37:24 | |
was obsessed with this eschatological awareness | 0:37:24 | 0:37:31 | |
of the end of the world coming soon. | 0:37:31 | 0:37:35 | |
It created this incredible angst | 0:37:35 | 0:37:37 | |
and sense of the expectation of a great tragedy. | 0:37:37 | 0:37:42 | |
It's... | 0:37:42 | 0:37:44 | |
It's a...permanent purgatorium. | 0:37:44 | 0:37:49 | |
What does Rachmaninoff prophesise for us today? | 0:37:49 | 0:37:54 | |
Well, I don't want to be a false prophet myself, | 0:37:54 | 0:37:59 | |
back then they were obviously prophesying world wars, | 0:37:59 | 0:38:05 | |
the First and the Second and more bloodshed. | 0:38:05 | 0:38:10 | |
CHOIR SINGS IN RUSSIAN | 0:38:10 | 0:38:12 | |
In 1915, Rachmaninoff wrote his choral masterpiece, his All-Night Vigil, | 0:39:07 | 0:39:12 | |
better known as his Vespers, | 0:39:12 | 0:39:13 | |
based on the chants of the Russian Orthodox Church. | 0:39:13 | 0:39:16 | |
It was first performed on March 10th that year | 0:39:16 | 0:39:19 | |
by the Moscow Synodal Choir, | 0:39:19 | 0:39:21 | |
but behind the liturgical beauty of this work lies a great sadness. | 0:39:21 | 0:39:26 | |
CHOIR SINGS IN RUSSIAN | 0:39:28 | 0:39:30 | |
It's a work of great... transcendental power. | 0:39:34 | 0:39:41 | |
And a work which... | 0:39:41 | 0:39:45 | |
has the power and intent of consolation, | 0:39:45 | 0:39:49 | |
to console people in grief. | 0:39:49 | 0:39:53 | |
But at the same time, you can feel | 0:39:56 | 0:40:00 | |
that the one who is giving this consolation | 0:40:00 | 0:40:03 | |
is actually desperate himself. | 0:40:03 | 0:40:07 | |
No composition represents the end of an era | 0:40:09 | 0:40:12 | |
as clearly as the All-Night Vigil. | 0:40:12 | 0:40:14 | |
Written as Bolshevism swept the land, | 0:40:14 | 0:40:17 | |
within three years of its composition the Soviet Union had banned all religious composition. | 0:40:17 | 0:40:22 | |
And that was that. The lights went out | 0:40:22 | 0:40:25 | |
on a mind-boggling half a millennium of Russian church music | 0:40:25 | 0:40:28 | |
and the last act was Rachmaninoff. | 0:40:28 | 0:40:31 | |
CHOIR SINGS IN RUSSIAN | 0:40:33 | 0:40:35 | |
Rachmaninoff's masterpiece of sacred music, the Vespers, | 0:40:55 | 0:41:00 | |
that was a piece that was not allowed to be performed in Soviet times in Russia. | 0:41:00 | 0:41:07 | |
But you did hear a performance of Rachmaninoff's Vespers in Soviet Russia? | 0:41:07 | 0:41:12 | |
One day a friend of mine comes to me and says, | 0:41:12 | 0:41:16 | |
"Are you free this evening?" I said, "Why?" | 0:41:16 | 0:41:19 | |
"Because in one of the churches | 0:41:19 | 0:41:21 | |
"I know that the chorus master decided to have Rachmaninoff's Vespers tonight. | 0:41:21 | 0:41:28 | |
"Would you like to come to hear it?" And, of course, I ran there. | 0:41:28 | 0:41:32 | |
All musicians in Moscow came there, | 0:41:32 | 0:41:35 | |
because at that time in the Soviet Union, | 0:41:35 | 0:41:38 | |
religious music was practically never played in the concert halls, | 0:41:38 | 0:41:42 | |
but a church had the right to do it. | 0:41:42 | 0:41:46 | |
Since Rachmaninoff's birth, Russia had been in turmoil. | 0:41:48 | 0:41:51 | |
After decades of poverty and famine, | 0:41:51 | 0:41:54 | |
the proletariat and peasantry seized power from the ruling class in 1917. | 0:41:54 | 0:41:59 | |
The Russian Revolution was a decisive moment for the composer. | 0:41:59 | 0:42:03 | |
The whole future of Russia changed in just two days, | 0:42:03 | 0:42:07 | |
on the 24th and 25th of October, 1917, | 0:42:07 | 0:42:10 | |
when the Bolshevik party, led by this guy, Vladimir Lenin, | 0:42:10 | 0:42:14 | |
overthrew the provisional government here in St Petersburg | 0:42:14 | 0:42:17 | |
and replaced it with what would become the Soviet Union. | 0:42:17 | 0:42:20 | |
Rachmaninoff, who had toughed it out when many Russian aristocrats had already scarpered, | 0:42:20 | 0:42:25 | |
knew that now he really did have to get out of Russia and pronto. | 0:42:25 | 0:42:30 | |
An invitation to perform in Sweden provided the perfect excuse to get exit permits, | 0:42:44 | 0:42:49 | |
and the Rachmaninoffs left by train on 23rd December, 1917, | 0:42:49 | 0:42:55 | |
from right here, Finlyandsky Station, | 0:42:55 | 0:42:57 | |
ironically the scene of Lenin's triumphant return from exile just a few months earlier. | 0:42:57 | 0:43:02 | |
And Sergei left in such a hurry that he took with him | 0:43:02 | 0:43:05 | |
just one small suitcase containing a handful of compositions. | 0:43:05 | 0:43:09 | |
And as the train pulled away, he would have hoped otherwise, | 0:43:09 | 0:43:12 | |
but Sergei Rachmaninoff would never see Russia again. | 0:43:12 | 0:43:16 | |
Well, the sort of area of Tambov, Penza, | 0:43:31 | 0:43:35 | |
was really at the centre of the agrarian revolution in 1905, | 0:43:35 | 0:43:41 | |
and then again even more violently in 1917, | 0:43:41 | 0:43:45 | |
when peasants marched on the manors and declared rent strikes | 0:43:45 | 0:43:50 | |
and, you know, later as in Ivanovka, | 0:43:50 | 0:43:56 | |
smoked out the gentry by literally intimidating them | 0:43:56 | 0:44:00 | |
and then burning down their manor houses. | 0:44:00 | 0:44:03 | |
After Rachmaninoff fled Russia, | 0:44:03 | 0:44:06 | |
he never saw his beloved Ivanovka again. | 0:44:06 | 0:44:09 | |
The entire state was razed to the ground by the Bolsheviks in 1918 | 0:44:09 | 0:44:15 | |
and Rachmaninoff would spend the rest of his life in exile, | 0:44:15 | 0:44:18 | |
for ever trying to recreate the spirit of Ivanovka. | 0:44:18 | 0:44:23 | |
Rachmaninoff would come to settle in America where his fame preceded him | 0:44:39 | 0:44:44 | |
and where he built a comfortable existence for himself | 0:44:44 | 0:44:47 | |
thanks to a lucrative if exhausting career as a concert pianist. | 0:44:47 | 0:44:51 | |
Now, he bought his first American home | 0:44:51 | 0:44:53 | |
on the West Side, New York City, in 1921. | 0:44:53 | 0:44:57 | |
So this was the New York of the roaring '20s - | 0:44:57 | 0:45:00 | |
fast, loud, brash, jazzy - | 0:45:00 | 0:45:03 | |
a total culture shock for an aristocratic Russian. | 0:45:03 | 0:45:06 | |
And whether it was his homesickness, | 0:45:06 | 0:45:08 | |
or the fact that he was away touring so much, | 0:45:08 | 0:45:10 | |
Rachmaninoff, who'd been a major prolific composer, | 0:45:10 | 0:45:14 | |
would only write half a dozen large compositions in the rest of his life. | 0:45:14 | 0:45:18 | |
On a number of occasions in America, | 0:45:29 | 0:45:30 | |
Rachmaninoff would commit his fingers to shellac, | 0:45:30 | 0:45:33 | |
bequeathing the world stunning recordings of one of its greatest pianists. | 0:45:33 | 0:45:38 | |
We spoke earlier a little bit about the third concerto | 0:45:46 | 0:45:49 | |
and it's incredible to hear him play that. | 0:45:49 | 0:45:50 | |
One, two, one, two. | 0:45:50 | 0:45:53 | |
There's no sense of... | 0:45:58 | 0:46:00 | |
It's cold. | 0:46:02 | 0:46:03 | |
It's like a distant snowscape of something - very... | 0:46:03 | 0:46:06 | |
and there's a coldness to Rachmaninoff as well as the heat. | 0:46:06 | 0:46:10 | |
He was an introvert. He was a very shy person. | 0:46:13 | 0:46:17 | |
He didn't have any of what today's virtuosos have - | 0:46:17 | 0:46:22 | |
this outgoing nature. | 0:46:22 | 0:46:24 | |
There's more of a... You could compare him with Glenn Gould. | 0:46:24 | 0:46:27 | |
He plays without any affectation. | 0:46:27 | 0:46:30 | |
Very straightforward. | 0:46:30 | 0:46:33 | |
He knew that music is music and that it's not showbiz. | 0:46:33 | 0:46:37 | |
He had such huge hands. I mean, if you look at his hands, | 0:46:41 | 0:46:45 | |
the span, just on his left hand, | 0:46:45 | 0:46:48 | |
using all five fingers, he could do C, E-flat, G - | 0:46:48 | 0:46:52 | |
this is where I have to stop. | 0:46:52 | 0:46:54 | |
C and then, with the thumb... | 0:46:54 | 0:46:56 | |
Bloody G as well! | 0:46:56 | 0:46:57 | |
-That was a single... -That was one hand. -..on his left hand. | 0:46:57 | 0:47:00 | |
In 1931, Rachmaninoff designed | 0:47:17 | 0:47:20 | |
and built a refuge from his hectic American touring schedule, | 0:47:20 | 0:47:25 | |
here on the banks of Lake Lucerne in Switzerland. | 0:47:25 | 0:47:28 | |
Villa Senar, so-called because it's a combination of the names | 0:47:43 | 0:47:46 | |
of the Lord and Lady of the manor - | 0:47:46 | 0:47:48 | |
Sergei and Natalia Rachmaninoff. | 0:47:48 | 0:47:51 | |
And this is a no-expense-spared attempt to recreate | 0:47:51 | 0:47:55 | |
the sense of spiritual happiness that Rachmaninoff at Ivanovka | 0:47:55 | 0:47:59 | |
and it proved to be a place where he really could | 0:47:59 | 0:48:01 | |
gather his creative forces and compose meaningfully once again. | 0:48:01 | 0:48:05 | |
It's a very modern Bauhaus design for a supposedly romantic composer. | 0:48:06 | 0:48:11 | |
Senar is also the only of Rachmaninoff's homes | 0:48:12 | 0:48:15 | |
to be preserved essentially as the composer knew it and I'm told inside | 0:48:15 | 0:48:19 | |
are artefacts relating to the great man, | 0:48:19 | 0:48:22 | |
so here I hope to commune with the spirit of Rachmaninoff. | 0:48:22 | 0:48:26 | |
This suit, this is a three-piece suit here. | 0:48:35 | 0:48:38 | |
Here we are. Sorry, Sergei. | 0:48:38 | 0:48:40 | |
Waistcoat, jacket, plus fours and flat cap. | 0:48:40 | 0:48:42 | |
I mean, this belongs to an English country gentleman rather than | 0:48:42 | 0:48:45 | |
a Russian aristocrat living in Switzerland, you would have thought. | 0:48:45 | 0:48:49 | |
Well, it's... It's a sign, again, of the elegance of Sergei Rachmaninoff. | 0:48:49 | 0:48:54 | |
There are several picture of Sergei here, in the house, | 0:48:54 | 0:48:57 | |
even working, cutting wood... | 0:48:57 | 0:48:59 | |
-In this suit? -In this suit. | 0:48:59 | 0:49:01 | |
There's also something I wanted to show you | 0:49:08 | 0:49:10 | |
because this is pretty impressive. This shows you how big the man was. | 0:49:10 | 0:49:13 | |
HE LAUGHS | 0:49:13 | 0:49:14 | |
-So that's only coming down to his knees and... -Yes, exactly. | 0:49:14 | 0:49:18 | |
I mean, of course, it was taken apart, | 0:49:18 | 0:49:21 | |
but you see he was a big man. | 0:49:21 | 0:49:22 | |
It says something - as well as his stature - that says something | 0:49:22 | 0:49:25 | |
about the way that the elegance is part of the personality | 0:49:25 | 0:49:28 | |
and indeed possibly part of the music. | 0:49:28 | 0:49:31 | |
I mean, this really is a Savile Row... | 0:49:31 | 0:49:33 | |
This is a made in London suit. | 0:49:33 | 0:49:34 | |
This is literally made for an English gentleman. | 0:49:34 | 0:49:37 | |
It just so happens that here, Davies & Son, 1920, | 0:49:37 | 0:49:39 | |
Hannover Street in London, it's made for Sergei Rachmaninoff. | 0:49:39 | 0:49:44 | |
Those pieces, the two major pieces from Senar, the Third Symphony | 0:49:44 | 0:49:48 | |
and the Rhapsody On A Theme of Paganini, | 0:49:48 | 0:49:50 | |
what, for you, is the relationship between those pieces and this place? | 0:49:50 | 0:49:56 | |
Well, I think variations number 18 | 0:49:56 | 0:49:59 | |
and the beginning of the second movement of the Symphony, | 0:49:59 | 0:50:03 | |
they have such a serene approach... | 0:50:03 | 0:50:07 | |
To the world, to life. | 0:50:07 | 0:50:09 | |
It's like somebody who has found the solution, | 0:50:09 | 0:50:13 | |
how to deal with all troubles, all problems, | 0:50:13 | 0:50:16 | |
all disasters you can have in life | 0:50:16 | 0:50:20 | |
and finally said, in any case, "Life is still something good to live." | 0:50:20 | 0:50:24 | |
The 18th variation from the Rhapsody On A Theme Of Paganini - | 0:50:50 | 0:50:54 | |
the anthem of Senar - | 0:50:54 | 0:50:55 | |
played on the piano on which it was written in 1934 | 0:50:55 | 0:50:59 | |
and performed by Dmitri, | 0:50:59 | 0:51:00 | |
the last pupil of Rachmaninoff's grandson. | 0:51:00 | 0:51:03 | |
This is as close as it's possible to be today to Sergei Rachmaninoff. | 0:51:03 | 0:51:08 | |
That precise variation from the Paganini Rhapsody, I mean, | 0:51:26 | 0:51:29 | |
that tune that's so moving, | 0:51:29 | 0:51:31 | |
-it's an inversion... -Yes. -..of the melody... -It is. | 0:51:31 | 0:51:34 | |
It's actually quite a geometric approach to it, isn't it? | 0:51:34 | 0:51:36 | |
It's so powerful. It's so brilliant. | 0:51:36 | 0:51:38 | |
You have the melody... | 0:51:38 | 0:51:40 | |
In A-minor and you turn it around on its head, in D-flat major. | 0:51:40 | 0:51:44 | |
And, suddenly, the sun comes out. | 0:51:45 | 0:51:47 | |
And the sun comes out so rarely in Rachmaninoff's music | 0:51:47 | 0:51:52 | |
that this moment is very, very special. | 0:51:52 | 0:51:54 | |
Hearing this now, here, in this space, in this light, | 0:52:13 | 0:52:18 | |
with these photos of Rachmaninoff here, | 0:52:18 | 0:52:20 | |
his hands as a sort of spectral presence as well, | 0:52:20 | 0:52:23 | |
a plaster bust, | 0:52:23 | 0:52:24 | |
what strikes me most about this music is its generosity. | 0:52:24 | 0:52:28 | |
These cascades of emotion that I'm feeling, | 0:52:32 | 0:52:34 | |
and that you're feeling, | 0:52:34 | 0:52:35 | |
are given with such complete direct generosity by this man. | 0:52:35 | 0:52:39 | |
I think it's... It's one of the great miracles of music, this. | 0:52:39 | 0:52:42 | |
You know, of everywhere I've been, | 0:52:53 | 0:52:56 | |
it's this place that feels like the joy of Rachmaninoff. | 0:52:56 | 0:52:59 | |
In 1939, war would return to both Russian and Europe, | 0:53:35 | 0:53:39 | |
forcing Rachmaninoff to forgo these Senar vacations, | 0:53:39 | 0:53:42 | |
leaving him permanently marooned on the west coast of the USA. | 0:53:42 | 0:53:46 | |
Like so many immigrants, | 0:53:48 | 0:53:50 | |
Rachmaninoff's nostalgia for his homeland increased as the situation | 0:53:50 | 0:53:54 | |
there became more and more desperate. | 0:53:54 | 0:53:56 | |
Revolution, civil war, the World Wars, but Rachmaninoff's Russia | 0:53:56 | 0:54:01 | |
was lost for ever. | 0:54:01 | 0:54:02 | |
And he felt that pain of longing when he heard music by other | 0:54:08 | 0:54:12 | |
Russian composers too. | 0:54:12 | 0:54:13 | |
Listening to a broadcast of Stravinsky's The Firebird, | 0:54:13 | 0:54:16 | |
he said, "Lord, how much greater than genius this is. | 0:54:16 | 0:54:20 | |
"It is real Russia." | 0:54:20 | 0:54:22 | |
In 1942, at the age of 69, and in the middle of what | 0:55:03 | 0:55:07 | |
he planned to be his last ever North American tour, | 0:55:07 | 0:55:12 | |
Rachmaninoff fell seriously ill and, confined to his bed in Los Angeles, | 0:55:12 | 0:55:17 | |
his wife Natalia read him Pushkin and the news from war-torn Russia. | 0:55:17 | 0:55:22 | |
And as the Red Army began to turn the tide on the Eastern Front, | 0:55:22 | 0:55:27 | |
the ailing Rachmaninoff uttered, "Praise the Lord. | 0:55:27 | 0:55:30 | |
"May God grant them strength." | 0:55:30 | 0:55:33 | |
But before Russia was liberated, on the 18th of March 1943, | 0:55:33 | 0:55:39 | |
Sergei Rachmaninoff died. | 0:55:39 | 0:55:41 | |
The composer was buried in Valhalla, New York. | 0:55:56 | 0:56:00 | |
Rachmaninoff requested that the fifth of his Vespers be | 0:56:00 | 0:56:03 | |
performed at his funeral, | 0:56:03 | 0:56:05 | |
his most cherished moment in his favourite work. | 0:56:05 | 0:56:08 | |
HE SINGS | 0:56:10 | 0:56:14 | |
Towards the very end of his life, | 0:56:31 | 0:56:33 | |
a cable came from Moscow detailing plans for an upcoming concert | 0:56:33 | 0:56:38 | |
to celebrate Rachmaninoff's 70th birthday but, | 0:56:38 | 0:56:41 | |
by the time it arrived, he was already in a coma, | 0:56:41 | 0:56:45 | |
so he would never read these words. | 0:56:45 | 0:56:48 | |
"Dear Sergei Vasilievich, on the occasion of your 70th anniversary, | 0:56:48 | 0:56:52 | |
"the Union of Soviet Composers sends you warm congratulations | 0:56:52 | 0:56:57 | |
"and hearty wishes in good spirits in health for many years to come." | 0:56:57 | 0:57:01 | |
THEY SING | 0:57:01 | 0:57:03 | |
"We greet you as a composer of whom Russian culture is proud, | 0:57:14 | 0:57:19 | |
"as the greatest pianist of our time. | 0:57:19 | 0:57:21 | |
"And as a brilliant conductor and public man, who, in these times, | 0:57:23 | 0:57:27 | |
"has shown patriotic feelings that have found | 0:57:27 | 0:57:30 | |
"a response in the heart of every Russian." | 0:57:30 | 0:57:33 | |
I think, in his heart, that the real man is very deep-thinking, | 0:57:40 | 0:57:45 | |
a very solitary person, | 0:57:45 | 0:57:47 | |
and one with a huge amount of expression | 0:57:47 | 0:57:49 | |
and not afraid of expressing really sad, deep emotions. | 0:57:49 | 0:57:56 | |
You know Spinal Tap, when it goes up to 11? | 0:58:04 | 0:58:06 | |
He takes it up to 11 and he does it unapologetically. | 0:58:06 | 0:58:09 | |
He just takes his romantic machine guns | 0:58:09 | 0:58:11 | |
and he just nukes the entire audience. | 0:58:11 | 0:58:14 | |
It's so wonderful that we can talk now about this as great music | 0:58:14 | 0:58:18 | |
because, really, 50/60 years ago, | 0:58:18 | 0:58:20 | |
it would have been unthinkable for someone with any musicological | 0:58:20 | 0:58:23 | |
background even to admit to listening to Rachmaninoff, | 0:58:23 | 0:58:27 | |
never mind admiring him. | 0:58:27 | 0:58:29 | |
But I think we can see him | 0:58:29 | 0:58:30 | |
as one of the great 20th-century master composers. | 0:58:30 | 0:58:34 |