What do journalists and Classical composers have in common? They both love a good conflict. On news programs, especially the 24-hour cable networks, the stories are often about violence, terrorism, or war, and when they don’t report on that, they bring in two people with opposite views to debate current events. On the other hand, composers write about conflict in more abstract ways, depicting battle, or a struggle between two extremes, such as good versus evil, love versus hate, or life versus death.
In the case of the final movement from Sergei Rachmaninov’s Symphonic Dances, the struggle depicted is life versus death. As you can hear from the clip above, the introduction of this movement is very tense, like the flurry of activity of soldiers before battle.
It is common for Romantic era composers to choose a melody or motif to represent a specific character or idea. German composer Richard Wagner was famous for this, and musicologists eventually named this technique leitmotif. In Rachmaninov’s case, there are two leitmotifs in this movement – one for death and one for life. The theme that depicts life was taken from Rachmaninov’s earlier choral work, Vespers, in which it characterized the resurrection of Christ. It would seem that it was modified from its original form to take on a more suspenseful, dance-like character for Symphonic Dances:
The clip below plays it in two versions: the fast version played by the strings and a slower, more pure version played by the brass. The fast version modifies the rhythm and plays it twice as fast. The musical term for that rhythmic modification is known as diminution. Both of these represent death throughout the movement.
There comes a time in every conflict where the outcome must be decided, and such is the case during the climax of this movement. Rachmaninov employs the use of power chords in this section to drive home the level of intensity in the conflict between life and death. I have always loved the way this composer writes a very appealing passage and then takes is a step further. He writes 5 seconds of power chords and then modulates the key up a full step to add excitement. You may have to listen closely to the first half of this clip again to catch it.
Similar to movies where the hero gets beat up at first when fighting mano a mano with the villain, the same seems to be true here as the dies irae theme takes over in the second half of this clip played by French horns. This time the rhythm is played at half the speed of normal. Instead of diminution, where it is played twice as fast, playing at half speed is known as augmentation.
In the end, though, Rachmaninov picks life over death. He wrote on the subject of death in many of his works to stir up the tension and intrigue of conflict, and in so doing, the listener’s interest. Listen to how he modified the resurrection theme to sound more heroic and triumphant:
Are you enjoying the series on Rachmaninov so far? There is so much to listen for, I find myself listening to his music over and over and hearing something new each time. I have at least three more pieces in mind that I’d like to discuss, so stay tuned.