Rachmaninov

Rachmaninov

Moment Musicaux, Op. 16

With all its seriousness and difficulty, Moments Musicaux seems to be somewhat a preview of the later Etudes-Tableaux. Graded beautifully in terms of texture, and scale, Op. 16 makes a complete package, a great way to open a recital. The first piece is a long composition, in four sections with a gorgeous long melody over triplet sixths. The melodic line is a dominating feature throughout the set, and is always coupled with an active accompaniment. Moment musical No. 2, can be described as an etude with its syncopated octaves against a sextuplet bass. Moment musical No. 3 is the slowest of the set, opening with a stately march, and a character which is completely contrasted by the last three. Once again, the role of the left hand increases in intensity throughout the set, creating a constant ‘wave motion’. No. 6 is an almighty conclusion, reminiscent of Chopin’s “Ocean Etude”. A climax and testament to Rachmaninov’s love for left hand figuration.

Morceaux de Fantasie, Op. 3

Famous for its C sharp minor prelude, I confess this is the first time I have heard this set. It is hard to appreciate the other four works, when one so famous has dominated the piano repertoire for so long. However, each work seems to find its place and hold its character. Rachmaninov’s ‘searching’ like accompaniment with soaring melody shine through with the opening Elegie, Meldoie, yet how contrasting is that Serenade? Cheeky Spanish like waltz, not quite sure how it fits with the rest of the set, but with the demonic Polichinelle, they make a great pair to conclude the series.

Preludes, Op. 23

Op. 23 contains many beautiful poetic pieces, devoid of any tension that is so often heard in Rachmaninov’s darker works. No. 2, 4 and 10 show these qualities, each with their own unique character. Through each prelude, the melody will always take center stage, whether it is a single note melody in right hand, or a cellist’s melody in the bass. These characters are highlighted with certain “Rachmaninoffian” traits. No. 3 show his contrapuntal writing within a March style. No. 4 display his slow lyrical melodic writing that movie directors die for. No. 5 A much more extravagant march, full of celebration similar to No. 2. No. 6 Welcomes the octave family, once again accompanied by an exciting bass line. No. 7 is a show of finger dexterity in the right hand, whilst the melody is passed between both hands. No. 8 is a study of broken chords with a gorgeous melody in the bass line. No. 9 is another etude like piece studying the double-note technique. Finally No. 10 ends the set on a short simple note. A subtle melody that needs no “Rachmaninoffian” climax but is purely elegant and stately.

Etudes-tableaux, Op. 33

Op. 33 is a monster set of etudes. As a group they seem to display the majority traits that one thinks of when performing Rachmaninov. Soaring melodies, thick accompaniment, fast figurations, cadential passages…and anything that a listener would define as hyper-romantic. Right from the first march, Rachmaninov sets a stately mood for etudes to come. He dabbles with Nocturnes, Elegies, driving rhythms, and in turn gives each etude its own voice. Thus, it is not a set of Hanon exercises thank Moses, but rather a collection of “Rachmaninoffian” style compositions, aiming to better ones technique and sound.