Following last month’s performance of Rachmaninoff’s Piano Concerto No. 3 by the Malta Philharmonic Orchestra, Gabriel Falzon shares some thoughts on one of the most challenging concertos in piano repertoire.

On January 25, music enthusiasts eagerly gathered for what promised to be an epiphany of virtuosity and musical brilliance.

Behzod Abduraimov took to the stage to perform Rachmaninoff’s infamous Piano Concerto No. 3, also known as Rach 3, with Sergey Smbatyan leading the Malta Philharmonic Orchestra.

Together, pianist, orchestra and conductor brought this magnificent work to life through a unique interpretation of what is known to be one of the most challenging concertos in piano repertoire.

William Wordsworth defines poetry as the “spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity”. Despite his poetic background, Wordsworth’s words may be said to also be true about music as it can be argued that music itself is poetic and a reflection of emotion.

Wordsworth’s description of poetry seems to perfectly encapsulate the musical style that Rachmaninoff seems to employ in all four of his concertos.

Through this, it has been argued that Rachmaninoff stands as the last great romantic composer; however, despite his romantic roots, the turn of the century saw him at the peak of creativity, stylistically in an age of post-romantic eclecticism, evidently seen through his third concerto where he derives elements from Tchaikovsky and Borodin’s works while also delving into the modern and baroque in order to convey an overflow of “emotion recollected in tranquillity”.

The Rach 3 has been regarded as one of the most challenging pieces in piano repertoire for little over a century. Composed in 1909, it remains a monumental work that tests the limits of both the pianist’s technique and emotional expressiveness.

Many may know this peace from pop cultural works such as the film Shine which explores David Helfgott’s journey in relation to this infamous concerto.

Rachmaninoff started writing his concerto at the beginning of 1909, only to premier it himself that November in New York with Walter Damrosch leading the New York Symphony.

By that summer, the deceptive theme heard at the opening bars of the concerto would explode into a rich and emotionally captivating work which truly delves into the deepest parts of his and the listener’s soul.

Rachmaninoff recalls that the piece “simply wrote itself” while “only thinking of the sound” as he strolled through the natural surroundings of his Ivanovka estate.

Despite its captivating themes, technical difficulty and extravagant ending, the piece was not taken up by many pianists and was kept much out of the public eye only until Vladimir Horowitz introduced it to the public in the 1930s.

As the first notes of Rachmaninoff’s Piano Concerto No. 3 filled the air, Abduraimov immediately showcased his commanding presence at the piano.

From the outset, the opening theme was played with a certain passion that seemed to mimic the composer’s playing.

Abduraimov’s choice of tempo was only slightly slower than Rachmaninoff’s own notoriously fast pace during his performances, a seemingly popular choice in the 21st century as may be seen in Yvegny Kissin’s performance as well as Nikolai Lugansky’s.

His interpretation captured the essence of the concerto’s grandiosity while maintaining a sense of fluidity and naturalness.

Joseph Yasser argues that the opening notes seem to mirror an old Russian Orthodox chant, which “has been used unchanged in the vesper services of the famous Kievan-Pechersk Lavra since it was founded in the 12th century”.

Through this, it may be said that Rachmaninoff explores the theme of childhood, starting from a simple melody which mirrors the essence and simplicity of childhood, that grows into an ever more complex and technically challenging melody, possibly reflective of adulthood and the loss of innocence, while still reflective of the simplicity of the child’s mind, the child within us all.

Rach 3 is a celebration of technical ability and musical literacy

After the first movement’s opening theme, Abduraimov transitions into the toccata-like entrance.

The passage, fast-paced and filled with rhythmic intensity, seems to be reminiscent of Bach’s toccata style, which is known for its virtuosic and dynamic quality.

Despite not being a direct imitation of Bach’s works, Rachmaninoff provides a sense of romantic originality which seems to suggest that no work is original as it is always a product of its predecessors.

This moment may be seen as Rachmaninoff’s subtle nod to the great Baroque master, reflecting how deeply Rachmaninoff’s compositional language was rooted in centuries of musical tradition. The accelerando he performs at the beginning of this section further seems to complicate the piece, filling the air with notes that mimic the opening theme, possibly conveying to the audience that Rach 3 is a celebration of technical ability and musical literacy.

Skipping to the cadenza, Abduraimov opts for the Ossia Cadenza, composed before the more playful version famously performed by Horowitz and 2022 Cliburn winner Yunchan Lim.

Though it was Rachmaninoff’s second choice, Abduraimov brings to life its more introspective side, shedding light on the cadenza’s lyrical, reflective and contemplative character.

As Abduraimov moves through Rachmaninoff’s signature chords, he seems to reveal the composer’s inner world – reflecting on his struggle with depression and his journey through adulthood, contrasting with the carefree optimism of his younger self.

In the final climax of the performance, Abduraimov makes the piano sing and chime the bells one more time as the final chords also reach the final keys on the treble and base side of the piano.

The Houston Symphony describes this moment as “a climactic, soaring version of the finale’s passionate second theme” where the tension breaks and the soloist reveals what the whole concerto was about, an epiphany of emotion that finds meaning and joy in nature and tranquillity.

This seems to be reflective of childhood’s innocence where children find joy in what the adult views as mundane and fruitless.

Abduraimov, together with the orchestra, then races to an exhilarating conclusion ending with what Calvin Dotsey describes as “a long-short-short-long rhythm that perfectly fits the syllables of his name”, hence Rachmaninoff’s own signature.

Gabriel Falzon is a graduate in English and psychology and is currently studying nursing at the University of Malta.