Changing reputations: Spohr spurned, Rachmaninov reclaimed
Several recent concerts highlight how composers’ acclaim can change over time
Rachmaninov: After his death in 1943, it was mainly his piano music that kept his name in concert repertoires, but even then critical opinion was polarised
It can be fascinating to trace the changing reputations of composers and their music. Take the case of Louis Spohr. Sixteen years before his death in 1859, the discerning English critic JW Davison ranked him with Bach and Beethoven, declaring that his music “will survive until art is on its deathbed”. Within 50 years, Davison was proved wrong, and nothing since has changed the general perception that Spohr epitomises the composer whose music achieved its highest potency during and around his lifetime.
Another more complicated case is that of Sergei Rachmaninov. He was born in 1873, and became the epitome of the virtuoso pianist-composer. After his death in 1943, it was mainly his piano music that kept his name in concert repertoires, but even then critical opinion was polarised. The 1954 edition of the Grove Dictionary of Music and Musicians declared: “The enormous popular success some few of Rakhmaninoff’s [sic] works had in his lifetime is not likely to last, and musicians never regarded it with much favour.”
How things change. The wide-ranging programme for the concert at the National Concert Hall last Tuesday, to mark the 140th anniversary of his birth, was as uncontroversial as it was welcome.
The concert was presented by a number of Irish and Russian musicians, and it included a few piano pieces that have always remained in the repertoire, but it was dominated by vocal music.
A number of recent commentators have observed that vocal music lay at the heart of Rachmaninov’s compositional thinking. And a deeply perceptive student recently remarked to me, after her first hearing of the Piano Concerto No 3, that “it’s all vocal, you know”.
For all the instrumental elaboration in piano and orchestra, the fundamental progression of parts is indeed vocal – beautifully linear and shapely.
The best moments in this concert came in those performances that grasped this linearity. It was fascinating and fun to hear a group of five traditional Irish musicians, led by Dave Fadden, playing sets of jigs, reels and airs formed from themes by Rachmaninov. But I especially cherished the beautiful duo playing from pianist Darina Gibson and cellist Aisling Drury-Byrne, in an arrangement of Vocalise.
Impressive too was the insightful singing of baritone Benjamin Russell in three songs from Opus 4 , and choral works from the all-female Rathdown Cantori Choir and the male-voice Celtic Choristers.
Among the choral pieces, one stood out – a well-shaped, poised account of Ave Maria from the All-Night Vigil, by the combined choirs under conductor Ethel Glancy.
Verdi humbly answers his critics
Friday night at the NCH featured a choral work with a towering but sometimes controversial reputation – Verdi’s Requiem. It was completed in 1874, and was dedicated by the composer to the memory of the great novelist Alessandro Manzoni.
In a heartfelt spoken introduction to the work, this concert’s conductor, Kenneth Montgomery, dedicated the performance to the late Seamus Heaney.