I'd say this happens to me with certain types of music and even artists/composers - I've even gone from not liking certain composers to really loving them having listened to their music properly a few times.
And so to celebrate Rachmaninoff's 144th birthday last Saturday, this leads me nicely onto his 3rd Symphony...
Rachmaninoff's 3rd Symphony, however, I think is really quite special. When I first listened to it, I really did appreciate it a lot - but then I listened to it some more and even saw it performed live at the proms last year - and now, somehow, it has been taken to a whole new level for me.
I'd be doing my job badly if I tried to tell you why, exactly. Aside from the fact that I don't actually know, I also believe that this sort of listening has to come from the listener and not somebody else telling you the ins and outs of a piece. What I will say, however, is this:
- This symphony, I think, is rather overshadowed by Rachmaninoff's more famous second (which is, by the way, a great piece - you should check it out if you haven't already). I think there's good reason for this, as I think it is slightly less accessible than its predecessor. I also think the fact that there was such a large gap between the composition of his second and third symphonies, Rachmaninoff's musical language had altered slightly and so perhaps, for some, number three doesn't quite exist in the same stylistic realm as number 2.
- I say this quite a lot, but I think a great way to listen to music if you're wanting to get a little bit more out of the piece is to notice recurring themes, and then explore how composers take something as simple as a few notes and manipulate them, bringing out something entirely new or very clever. I'd suggest doing that here, as there is a lot of that going on. Notice how each movement starts - is there a connection? Where else can this be heard? Is there something very different about the way this connection is brought out each time that it is?
- Notice the way Rachmaninoff uses the families of instruments here, and how different instruments play different roles at different times - this is just another way to single something out and have a 'listening focus', it means you can appreciate the piece in a new way whenever you try something different to focus on. Think about what other aspects of the music jump out at you and try to work out how to listen out for them. It's actually... dare I say it... quite fun...
I appreciate that this has become a little bit of an instruction manual for how to listen, which I don't intend it to be - but hopefully bearing these things or ideas in mind, you will be able to find your own way of appreciating this piece, as I think it's so cleverly complex yet also somehow quite lyrical and simple - and I certainly think there's a lot to get your teeth into. The thing is, I can't do the listening for you for this one - I think you have to engage with and enjoy the process of listening yourself to really get the most out of this piece.
So yes, it's a great piece. I could have just said that. But I would also say that it's worth a second listen, because then it becomes more than great.
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