Sergei Rachmaninoff was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of the Third Piano Concerto took place at the New Theater in New York City on November 28, 1909, with the composer as soloist, and Walter Damrosch conducting the Symphony Society of New York. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, suspended cymbal, snare drum, and strings. Approximate performance time is thirty-nine minutes.

In the summer of 1909, Sergei Rachmaninoff received an invitation to make his first concert tour of the United States. The Russian pianist/composer/conductor had grave misgivings about leaving his family and homeland for such an extended period of time. But Rachmaninoff, who had developed a passion for motorcars, was swayed by the generous fees offered. As Rachmaninoff confessed to a friend: “I don’t want to go. But then perhaps after America I’ll be able to buy myself that automobile…It may not be so bad after all!”

The American concert tour featured Rachmaninoff as both pianist and conductor in performances of his compositions. During the summer of 1909, he authored a new work for that tour—his Third Piano Concerto. In October, Rachmaninoff began his voyage to the United States. During the voyage, Rachmaninoff practiced on a silent keyboard.

On November 28, 1909, at the New Theater in New York City, Rachmaninoff appeared as soloist in the world premiere of his Third Piano Concerto. Walter Damrosch conducted the Symphony Society of New York. On January 16, 1910, a historic collaboration took place at Carnegie Hall, when Rachmaninoff again performed his Third Piano Concerto—this time with the New York Philharmonic. The conductor was the Orchestra’s Music Director, Gustav Mahler. As the New York Herald reported the following day:

The impression made at the earlier performances of the essential dignity and beauty of the music and the composer’s playing was deepened, and the audience was quite as enthusiastic in its expression of appreciation as at the performance at The New Theater on 28 November last and at the Carnegie Hall two days later.

Then, the New York Herald critic offered this prophetic commentary about the Rachmaninoff Third:

The work grows in impressiveness upon acquaintance and will doubtless rank among the most interesting piano concertos of recent years, although its great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers.

We are fortunate that there have been many superb artists willing to confront the phenomenal technical demands imposed by Rachmaninoff, one of the greatest pianists. When the challenges are surmounted, the Rachmaninoff Third emerges as a summit of the Romantic piano concerto—a masterful fusion of unforgettable melody, lush orchestration, and virtuoso fireworks.

The Concerto No. 3 is in three movements. In the opening movement (Allegro ma non tanto) the soloist enters after two bars of orchestral introduction, playing the first of two principal themes. The movement is notable throughout for the soloist’s dazzling passagework. The slow-tempo second movement is a lyrical Intermezzo (Adagio), with a vivacious central passage. A dramatic episode, launched by the soloist, serves as a bridge to the Finale (Alla breve), which follows without pause. The soloist presents the fanfare-like opening theme. Later, a series of syncopated chords by the soloist develops into the flowing second theme. In the closing measures, a glorious declaration of the second theme, capped by a dazzling cascade of notes by the soloist, brings the Concerto to a stunning close.

Program notes by Ken Meltzer