The Birch

On Wednesday, January 23rd, the Russian Chamber Chorus of New York celebrates the 140th birthday of Rachmaninoff by performing his Liturgy of St. John Chrysostom, in its unabridged form.The concert takes place at 8 pm in Holy Trinity Catholic Church (213 W. 82nd Street). 

Two other Russian composers, Shostakovich and Tchaikovsky, are highlighted, along with Polish composer Witold Lutoslawski, in the New York Philharmonic’s concert this coming Thursday, Friday and Saturday evenings, January 24-26, at Avery Fisher Hall. The concert begins with Tchaikovsky’s Romeo and Juliet, moves forward 100 years in music history to Lutoslawski’s Chain 2: Dialogue with Violin and Orchestra, before finishing with Shostakovich’s ever-popular Symphony No. 5. 

More Tchaikovsky can be enjoyed across the street at the Koch Theater, home of the New York City Ballet. Their Tchaikovsky Festival began on January 15th, and continues each night until the end of this week (before resuming again in the midst of February). Every evening, it’s all Tchaikovsky, all the time. 

On an un-musical note, the Harriman Institute is opening a new exhibit this Wednesday, January 23rd, exploring the early 20th century art of Georgia, Russia, France and the US.  The exhibit presents materials from the research project entitled “Tbilisi-Moscow-Paris-New York, 1900-1935,” and will be on view at the Harriman Atrium until February 1st. 

Lastly, tomorrow, January 23rd, is the final performance of Family Happiness, Piotr Fomenko’s adaptation of the Tolstoy novella, on show at Baryshnikov Arts Center. Evidently from the New York Times review, this is not something to be missed. If you don’t have time to see it, however, don’t despair: thanks to a recent grant, more such plays should be coming to the Baryshnikov Arts Center soon. 

Aleksander Scriabin’s music is a modern conundrum. Born in 1872 in Moscow, Scriabin was a misunderstood, shy child. His mother died of tuberculosis when he was very young, and his diplomat father remarried later in his life. Scriabin was mostly raised by his grandmother. Small and frail, he became heavily involved in his music (despite his inadequately minute hands, which were a definite setback as his career progressed). He would even construct pianos and give them to family friends.

He later studied the piano at Moscow Conservatory, where he eventually became a music professor. Composition was something that attracted Scriabin, but he ultimately did not complete a composition degree because the typical musical forms did not interest him. After a fulfilling and fascinating career, Scriabin died at only 43 years old.

Not one to follow typical composition patterns, Scriabin was a progressive for his Romantic-contemporary time. He experimented with sounds, unafraid to combine notes in ways that had never been considered by his fellow Russian composers. His music is much more complicated, nuanced, but there is a breathtaking subtlety in the power of his melodies and harmonies. The sound is grand, and extraordinarily emotional, but often confusing, more wild. Scriabin’s sound is impossible to contain.

Suggested listening:
Brilliant Russian pianist Evgeny Kissin plays Scriabin’s Etude Op. 8, No. 12.: http://www.youtube.com/watch?v=VfXjk7GkCF8

Pianist Vladimir Horowitz plays Scriabin’s Poeme Op. 32, No. 1 (a truly incredible piece - but maybe I’m biased because I invested months of practice into playing this piece!): http://www.youtube.com/watch?v=GeIkc573yJg

Vladimir Ashkenazy and the London Philharmonic play Scriabin’s Piano Concerto Op. 20, Third Movement: http://www.youtube.com/watch?v=9Mf1DSl2vP8 (Part 2 of recording here: http://www.youtube.com/watch?v=giXANI8T0h4&feature=relmfu )

AND FINALLY… THE DEBATE:

So who’s better? Rachmaninoff vs. Scriabin, the ultimate Russian Romantic showdown. The critics often argue that Rachmaninoff is a true Russian iconic, a national composer. His incorporation of Russian folk sound, of Russian emotion, is hard to beat. His music appeals to all - passionate, emotional, and filled with swelling climaxes. It’s simple, easy to understand, but packs the emotional punch of thousands of years of melancholy Russian tragedy. Meanwhile, Scriabin is incredibly difficult to listen to. It’s dramatic, yes, but complicated, hard to follow. It is still undeniably Russian, but in a new, contemporary way. One has to learn to like Scriabin - there is no automatic love for his music. It must first be tolerated, and then appreciated for its complexity.

Within the [Russian] musical world, it’s rare to find someone who appreciates the beauty of both Rachmaninoff and Scriabin. People will argue themselves to death over who they find better. Rachmaninoff can appeal to the masses - but, no - Scriabin appeals to the intellects! - but Rachmaninoff is more nationalistic, Scriabin shuns his country’s musical forms - no, but Scriabin was a true contemporary visionary! The debate will play on for centuries to come, no doubt.

As for me, I’ve been attracted to Rachmaninoff’s sound since I was little. I’ve ached to play his emotional, dramatic, and powerful music for years, but alas, my hands are too small for Rachmaninoff’s massive chords. As for Scriabin, I spent nearly a year learning two of his poems as a solo pianist. The amount of work I put into learning these pieces was incredible - I don’t think I’ve ever worked harder (at least, not in terms of stretching my fingers. In some way, thank God Scriabin had small hands too!) At this point, while I can say the emotion and dramatics of Rachmaninoff is undeniably appealing, I’ve grown to appreciate and admire Scriabin’s intensity and complexity. But enough about my opinions - who do you think deserves the title best?

Sergei Rachmaninoff is considered one of the greatest Romantic Russian composers and pianists in the world. Born April 1st, 1873, (Rachmaninoff’s 139th birthday was yesterday) and died in 1943, he represents Russian music to a degree that only a small number of composers have the honor of doing. While he is considered a modern classical composer, one of the Romantic era, the average person is often likely to think of his name immediately when naming virtually any classical composer.

Rachmaninoff studied as a young man at the Moscow Imperial Conservatory. His name is always attached to the institution (important to note, as one considers the role of classical music and conservatories in Russian culture). While he started as a student studying piano, Rachmaninoff quickly became involved in composing, where he truly made his name a fixture in Russian and Western society.

As for Rachmaninoff’s music itself, it is truly iconic. He remains one of the staple Russian composers who strongly incorporated folk music into his works. His music is very rich, lush, and bold. The deep tones Rachmaninoff seems so fond of pulls at one’s chest. It seems firmer, not necessarily light or airy or angelic. It is human. His music gives a strong emotional impact, yet it is somehow, strangely, easy to listen to and understand. Rachmaninoff’s pieces connect the listener to the music. Harmonically, melodiously, his music makes sense to us as listeners.

Suggested listening:

Rachmaninoff plays his famously iconic Prelude in C Sharp Minor. Truly amazing, heart-wrenchingly good music!: http://www.youtube.com/watch?v=5a_e0Vqxz08

Rachmaninoff himself plays his Piano Concerto No. 2 with accompanying orchestra: http://www.youtube.com/watch?v=x8l37utZxMQ

Rachmaninoff plays the piano accompaniment to his Piano Concerto No. 3 with accompanying orchestra: http://www.youtube.com/watch?v=oA0kXDMKiLg

Next up, I will discuss fellow Russian romantic/contemporary composer Aleksander Scriabin, and explore the famous debate between the two composers: Who is better?