RACHMANINOV/HIEW Suite No. 2, Op. 17 [2021, rev. 2023] (Audio generated by NotePerformer)

Illustration by Hiew Tzejia
00:00 I - Introduction / Вступление
04:30 II - Waltz / Вальс
11:26 III - Romance / Романс
18:09 IV - Tarantella / Тарантелла

INSTRUMENTATION
3 Flutes (Flute III doubling Piccolo)
2 Oboes
Cor Anglais
2 Clarinets in Bb/Clarinets in A
Bass Clarinet in Bb (doubling Alto Saxophone)°
2 Bassoons
Contrabassoon
4 Horns in F
3 Trumpet in Bb
2 Trombones
Bass Trombone
Tuba
Timpani
Percussions*
2 Harps
Celesta
Violin I
Violin II
Viola
Cello
Double Bass

*Cymbals, Tambourine, Triangle, Tubular Bells, Glockenspiel, Xylophone
°Alternatively, the Alto Saxophone part can be played by a separate player. In the absence of a saxophonist, the saxophone part should be played by the principal viola and principal cello, in accordance to the score and parts.

Originally composed for two pianos, Rachmaninov’s Suite No. 2, Op. 17, emerged during a period of renewed creativity following his recovery from a severe depression, which was sparked by the poor reception of his Symphony No. 1, Op. 13. This suite, written alongside notable works like the Piano Concerto No. 2, Op. 18, and the Sonata for Cello and Piano, Op. 19, was completed in 1901. The first version of this orchestration was realised 120 years later, in 2021.

The inspiration to transform the piano duo into a symphony stemmed from a live performance on 13 March 2020, during the 2020 Piano Festival at RCS. This concert, which celebrated the retirement of my teacher Jonathan Plowright, featured performances by himself alongside five other lecturers and a guest lecturer, who each played movements of the Suite in pairs, which became the basis of this orchestration’s tempo. Incidentally, it was also the penultimate live performance at the RCS before Scotland entered lockdown over the Covid-19 pandemic.

The “Introduction” to the suite was particularly suited to orchestration, with its majestic qualities suggesting a dignified procession and the chiming of a pendulum clock. The “Waltz” was orchestrated to evoke optimism and hope, paying homage to Rachmaninov’s final years spent in the United States.

In the “Romance,” references to Rachmaninov’s other works are evident, including a nod to the Sonata for Cello and Piano Op. 19 from the cello solo in the beginning, and the wind solos from his Piano Concerto No. 3, Op. 30. This movement blends influences from Tchaikovsky and the lyrical style of Rachmaninov’s Symphony No. 2, Op. 27. This movement was revised in November 2023, inspired by my friend and saxophonist Aidan Fowler, who enthusiastically came forward to play the clarinet for my first concert as conductor at the RCS. With Aidan’s suggestion, I added an alto saxophone solo in this revision, to be doubled by the bass clarinet, a bespoke combination for him, and a nod towards Rachmaninov’s final major composition Symphonic Dances, Op. 45.

The “Tarantella” deviates from the original tempo to highlight the dance’s characteristics and allows the audience to appreciate the detailed orchestration, set to the rhythmic pulse of the fourth movement from Rachmaninov’s Symphony No. 2, Op. 27.

This orchestration reflects my personal interpretation and emotional response to the original Suite as a piano duo. The process, though challenging—when it was first done with the limitations of an aging laptop—was ultimately fulfilling.

-Hiew Tzejia
(edited by Kenneth Tay)