Sergei Rachmaninoff composed his Symphony No. 3 in A minor, Op. 44 between 1935 and 1936. The Third Symphony is considered a transitional work in Rachmaninoff's output. In melodic outline and rhythm it is his most expressively Russian symphony, particularly in the dance rhythms of the finale. What was groundbreaking in this symphony was its greater economy of utterance compared to its two predecessors. This sparer style, first apparent in the Rhapsody on a Theme of Paganini, enhances the emotional power of the work. The symphony was premiered on November 6, 1936, with Leopold Stokowski conducting the Philadelphia Orchestra. Critical opinion was divided and public opinion negative toward the work. Rachmaninoff remained convinced of the piece's worth, however, and conducted the Philadelphia Orchestra in the first recording of the work in 1939. Following the reevaluation of Rachmaninoff's work in the 1970s, the symphony has been viewed in a more favorable light and has been frequently played and recorded. Form The symphony contains only three movements, but its central one fulfills the dual role of slow movement and scherzo — a structural innovation with marked similarities to the third symphony of Antonín Dvořák. The work employs cyclic form, with the subtle use of a motto theme combined, as usual with Rachmaninoff's works, with references to the plain-chant Dies irae. Also like Rachmaninoff's motto themes — and thus differing from Tchaikovsky's — it is short and, by tending to assume various shapes, is easily workable for further symphonic development. The piece is approximately 40 minutes long. Composition Rachmaninoff composed his Third Symphony after writing his Rhapsody on a Theme of Paganini and Variations on a Theme of Corelli. He arrived at his newly built Villa Senar on Lake Lucerne in Switzerland in late April 1935 with the prospect of writing a symphony in mind. Satisfied with his new home and in good spirits, Rachmaninoff seemed definitely up to the task. On May 15 he informed his cousin Sofiya Satina that he had done "some work," and during the following weeks was seriously at work with the composition. However, a three-week cure at Baden-Baden in July, along with a two-week hiatus in August, put Rachmaninoff behind. Five days before leaving Senar at the end of his summer holiday, Rachmaninov wrote to Satina with some dissatisfaction, "I have finished two-thirds in clean form but the last third of the work in rough. If you