Concerto No. 3 in D Minor, Op. 30 - I. Allegro ma non tanto-Sergei Rachmaninoff/Eugene Ormandy/The Philadelphia Orchestra
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第一乐章，D小调，自由的奏鸣曲式。尽管整个协奏曲的钢琴演奏部分难度令人生畏，但整曲的开端却异常的平和安详。弦乐与低音管轻柔的前奏让人联想到门德尔松的《小提琴协奏曲》。在这天鹅绒般的前奏铺垫下，钢琴以八度音程表现出俄罗斯民歌般质朴轻快的第一主题。这一主题深远绵长，在狭窄与蜿蜒之中渐渐扩大，荡漾着俄罗斯最为淳朴的风格。随后重心移到乐队，钢琴做装饰，纷繁复杂的音型，若颗粒般闪烁。短暂平息后，单簧管和圆号出现新的动机，浑厚中展现出一种安然和高亢，在和钢琴旋律的交织之中形成第二主题的素材要素。而后钢琴插入一段平静而有所起伏的抒情性乐段和富有流动性的安逸和和煦巧妙组合，和乐队依稀成一种含蓄，释然，这种不做作的起伏后，第一主题再出现于乐队，较第一次更深沉也更暗涩。扩大抒情性平静后进入发展部。发展部在第一主题在各种调性中作变化，钢琴发出铿锵的搏击声，和乐队达到最高亢的音高，有力而坚定中，音色渐渐消沉，在短暂宛如月色的宁静后，钢琴以极快的快板进行华彩，作者本人写作了两个华彩，其中，标记有“OssiaCadenza”的华彩将第一主题以拉氏代表性的厚重和弦形式咆哮地奏出，难度相对较大，而另一版本的华彩则采用Toccata风格，轻快富于跳跃性，1909年此曲首演时，拉氏本人演奏的是Toccata版本的华彩。这两种华彩段虽然风格和长度迥然，但最后都回归为夹杂悲观情绪的和声，恢恢浩浩地消逝在孤寂的琶音之中。再现部极似华彩，回忆般婉美，缓和中进入乐队奏的第一主题，最后后的终结部在钢琴和乐队变奏中，生动的结束。
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Concerto No. 3 in D Minor, Op. 30 - I. Allegro ma non tanto-Sergei Rachmaninoff/Eugene Ormandy/The Philadelphia Orchestra歌曲下载
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