Sergej Vasil'evič Rachmaninov La rupe, Op. 7 Video
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Sergei Vasilyevich Rachmaninoff Tchaikovsky Rimsky Korsakov Cummings Stravinsky Fuller 1873 1876 1907 1908 1909 1920 1943
Sergei Vasilyevich Rachmaninoff (1 April [O.S. 20 March] 1873 – 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he made a point of using his skills as a performer to fully explore the expressive and technical possibilities of the instrument. Please support my channel: (http•••) Isle of the Dead, Op. 29 (17 April, 1909) Dedication: Nikolay Gustavovich Struve (1876–1920) Isle of the Dead (Russian: Остров мёртвых), Op. 29, is a symphonic poem composed by Sergei Rachmaninoff, written in the key of A minor. He concluded the composition while staying in Dresden in 1908. It is considered a classic example of Russian late-Romanticism of the beginning of the 20th century. The piece was inspired by a black and white reproduction of Arnold Böcklin's painting, Isle of the Dead, which Rachmaninoff saw in Paris in 1907. Rachmaninoff was disappointed by the original painting when he later saw it, saying, "If I had seen first the original, I, probably, would have not written my Isle of the Dead. I like it in black and white." Description by Robert Cummings [-] Described by Stravinsky as "six feet two inches of Russian gloom," Rachmaninov was attracted by the Dies irae theme, a melody used in the Roman Catholic Mass for the Dead, or Requiem Mass. He very frequently quoted or alluded to this theme in his compositions, including the The Isle of the Dead, regarded as the quintessential expression of the composer's melancholy. This work was inspired by the painting by Swiss artist Arnold Böcklin. Böcklin's haunting painting depicts an island, in front of which stands a barricade of stones. Further out from it, jutting high out of the sea, is a huge rock, within which are large chambers for the dead. A boat can be seen on the waters operated by a black-clad helmsman, whose white-robed passenger stands ghost-like. Rachmaninov's composition begins with rhythmic motif played by muted cellos and harp, suggesting the movement of the dark waters near the barricade surrounding the lifeless isle. A somber second theme, presented by French horn, reinforces the despondent mood. Soon there are hints of the Dies irae theme, after which the opening motif returns. The music then becomes restless and intense, the tempo increasing, orchestral colors appearing. A climax is reached and the material from the opening reappears, now fuller and agitated. Finally the music subsides, but afterwards there are more allusions to the Dies irae melody. A new theme appears, on strings and reeds, and rises to an impassioned climax, the music yearning, struggling, it seems, to offer some consolation or hoping to escape this strange world. A further climactic episode ensues, after which the fragment of the Dies irae once more dominates this grim musical landscape. Afterward the music fades, and the dark material of the opening returns. Just before the ending there comes a nearly full statement of the Dies irae melody.
Sergei Rachmaninov Leonard Slatkin Saint Louis Symphony Orchestra 1893
Performed by the Saint Louis Symphony Orchestra conducted by Leonard Slatkin.
Sergei Rachmaninoff Laborde Tchaikovsky Riesemann Rimsky Korsakov Mussorgsky Blaze Pavel Pabst 1873 1890 1893 1915 1920 1931 1934 1943 2019
Sergei Rachmaninoff (1873–1943) Suite No. 1 'Fantaisie-Tableaux' for two pianos in G minor, Op. 5 I. Barcarolle (G minor – Allegretto) 00:00 II. La Nuit... l'Amour (D major – Adagio sostenuto) 07:31 III. Les Larmes (G minor – Largo di molto) 13:10 IV. Pâques (G minor – Allegro maestoso) 19:31 Gabrielle de Laborde Gahres, piano Allen Wisler, piano Duo-Recital live recording. Barcelona, Spain (April 2019) All rights reserved de Laborde/Wisler. Cover: Portrait of Rachmaninoff, c.1920. George G. Bain Collection, Library of Congress, Washington, D.C., United States. Photos: – Young Sergei Rachmaninoff with his dog, Levko, in 1890. – Rachmaninoff seated at Steinway grand piano, c.1915. – Sergei Rachmaninoff in his study at Villa Senar, Hertenstein, Switzerland, 1934. Courtesy Sergei Rachmaninoff Foundation. – Rachmaninoff in his study at his home in Beverly Hills, California, 1934. Sergei Rachmaninoff was twenty years old when he wrote his Suite No.1 for two pianos, and yet this expansive four-movement work displays many of the characteristics of his later works – scintillating pianistic virtuosity, lyricism tinged with melancholy, and (perhaps most dramatically) a preoccupation with the ringing of Russian church bells. In fall of 1893 Rachmaninoff had returned to Moscow from a summer country sojourn with a handful of fine pieces, including his orchestral fantasy The Rock, Op. 7, Five Pieces for Piano, Op. 3 (with the famous Prelude in C sharp minor), as well as the First Suite. That he was quite the up-and-coming golden boy of Russian music is evidenced by the respect and admiration he received from no less than Tchaikovsky, who was impressed with the success of the Prelude, as well as with the considerable amount of music his young colleague had managed to produce over just one summer. "And I, miserable wretch, have only written one Symphony!" he lamented. (Then again, that one Symphony was the Pathétique, the last work to come from his pen, hardly a trivial accomplishment.) Rachmaninoff told Tchaikovsky about his new suite for two pianos – at the time titled Fantaisie-Tableaux and dedicated to the older master – although he declined to play it at their meeting, probably fearing that it would be unacceptably compromised by performance on only one piano. (What transpired at that meeting is related in Rachmaninoff’s Recollections, told to Oskar von Riesemann.) Sadly, the two artists were never to meet again; Tchaikovsky died several weeks later. The Suite represents Rachmaninoff’s first attempt at writing program music. Not only is it dedicated to Tchaikovsky but it also reflects a great deal of his musical influence. The definitive Rachmaninoff stamp is not yet affixed to this work, though there are many passages which are unmistakably characteristic and prophetic, while the technical, tonal and interpretive resources of the two keyboards have been employed with masterly insight. Unlike the bulk of Rachmaninoff’s keyboard music, the First Suite has strong programmatic underpinnings. Each of its four movements is headed by a passage of verse, each by a different poet. The first movement takes as its topic the Barcarolle from Romantic poet Mikhail Lermontov (who also inspired The Rock) that describes a lost love as the passing of a Venetian gondola. Gently rocking rhythms, underlaying a Tchaikovskian melody, retain an introverted mood even amid a steady accretion of keyboard pyrotechnics. La Nuit... l'Amour (The Night…The Love) takes its inspiration from the opening lines of Lord Byron’s Parisina: "It is the hour when from the boughs / The nightingale’s high note is heard." A tiny fragment of a motive in the second piano repeats itself almost hypnotically against increasingly lavish punctuations in the first; the mood intensifies into a mid-place Agitato (that retains that modest motive as a recurring element) until fading back to the hush of the opening. Fyodor Tyutchev’s Les Larmes (Tears) provides the impetus for a heartfelt Largo di molto characterized by a four-note figure that, one way or another, makes itself felt throughout, even during a faster middle section. In last place comes Pâques (Easter) after Aleksey Khomyakov and an all-stops-out evocation of those iconic Russian bells that inform so much Russian music, like Rimsky-Korsakov’s Russian Easter Overture, or any number of Rachmaninoff’s works. A short, exuberant carillon, a wonderful imitation of the bells of the Kremlin ringing out on Easter morning. Rachmaninoff and Mussorgsky must have heard those bells with ears similarly attuned, for there is a marked affinity between the Easter movement of this Suite and the sound of the bells in the great Coronation Scene from Boris Godunov, which also takes place before the Kremlin. Jubilant, extroverted, even perhaps a bit obsessive, the movement closes out the Suite in a blaze of burnished sonority. The work was premiered on November 30, 1893 by Rachmaninoff and Pavel Pabst in Moscow.
Sergei Rachmaninoff Edo Waart Rotterdam Philharmonic Orchestra 1976 1993
Provided to YouTube by Universal Music Group Rachmaninoff: Symphony No.1 in D Minor, Op.13 - 1. Grave - Allegro ma non troppo · Rotterdam Philharmonic Orchestra · Edo de Waart Rachmaninov: The Symphonies; The Rock ℗ 1976 Universal International Music B.V. Released on: 1993-01-01 Composer: Sergei Rachmaninoff Auto-generated by YouTube.
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