Sergei Rachmaninoff Prelude in C-sharp minor, Op. 3 No. 2 Videos
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Sergei Rachmaninoff Santiago Rodriguez Rodriguez
Santiago Rodriguez I Élégie in E-flat minor II Prélude in C-sharp minor III Mélodie in E major (later revised) IV Polichinelle V Serenade
Rundfunk Sinfonieorchester Leipzig Robert Hanell Sergei Rachmaninoff 1977
Provided to YouTube by Kontor New Media GmbH Morceaux de fantaisie, Op. 3: No. 2, Prelude in C-Sharp Minor · Rundfunk-Sinfonieorchester Leipzig · Siegfried Stöckigt · Robert Hanell Intermezzo ℗ Eterna/Edel Germany GmbH Released on: 1977-01-01 Orchestra: Rundfunk-Sinfonieorchester Leipzig Soloist: Siegfried Stöckigt Conductor: Robert Hanell Piano: Siegfried Stöckigt Composer: Sergei Rachmaninoff Arranger: Gerhard Ewald Rischka Music Publisher: Copyright Control Auto-generated by YouTube.
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 Josef Hofmann Vladimir Horowitz Artur Rodziński Nathan Milstein Benno Moiseiwitsch Walter Gieseking Wilhelm Mengelberg Albert Ferber Rachlin Paganini Alexander Goldenweiser Alexander Siloti Gounod 1553 1937 1940 1943 1946 1947 1948 1972 1977 1982 1984 2006
In this selection, I've compiled recordings of Sergei Rachmaninoff's (Rachmaninov) favorite pianists, friends and students playing Rachmaninoff. My website on classical music: (http•••) If you want to support me: (http•••) Instagram: (http•••) Twitter: (http•••) 00:00 Josef Hofmann - Prelude in C-sharp minor 02:06 Josef Hofmann - Prelude in G Minor Op. 23 No. 5 - Selection- (1937) * For Rachmaninoff, the greatest pianist of the 20th century was – along with himself – Josef Hofmann. Rachmaninoff dedicated his 3rd Piano Concerto to Hofmann and he wrote this concerto entirely in mind of Hofmann's pianistic character. Hofmann's alcohol problems took a toll on his piano playing, Rachmaninoff said: "Hofmann is still sky high ... the greatest pianist alive if he is sober and in form. Otherwise, it is impossible to recognize the Hofmann of old." 04:26 Vladimir Horowitz - Piano Concerto No. 3, Mov. I -Selection- (1943) * Horowitz here with Rachmaninoff's friend, conductor Artur Rodziński. 12:43 Vladimir Horowitz - Prelude Op.32 No.5 in G major (1977) * Rachmaninoff's favorite after Hofmann was Horowitz. Rachmaninoff wrote his 3rd concerto for Hofmann, but Hofmann never played this piece. But Horowitz's performance of the 3rd concerto was exactly what Rachmaninoff wanted. Rachmaninoff told violinist Nathan Milstein that Horowitz played the Third Concerto better than he did. 15:53 Benno Moiseiwitsch - Piano Concerto No. 2, Mov. I -Selection- (1943) * Moiseiwitsch idolised Rachmaninoff and was a close friend of the composer. Rachmaninoff saw Moiseiwitsch as his "spiritual heir." According to some sources, Benno recorded (1937) Rachmaninoff's Piano Concerto No. 2 in a performance that Rachmaninov considered better than his own. Video source: @Piano Masters 20:06 Walter Gieseking - Piano Concerto No. 2, Mov. II (1940) * Gieseking here with Rachmaninoff's friend, conductor Wilhelm Mengelberg. Rachmaninoff greatly appreciated Gieseking's performance. 31:29 Simon Barere - Prelude Op.32 No.12 in G sharp minor (1947) * Rachmaninoff admired Simon Barere and called him a "pianistic genius". 33:59 Albert Ferber - Piano Concerto No. 1, Mov I. -Selection- (1947) * "Whilst in Switzerland he often played to Sergei Rachmaninoff although he never regarded the latter as a teacher in the conventional sense." 35:30 Gina Bachauer - Prelude B Minor Op. 32 no. 10 (1972) * She had some lessons with Sergei Rachmaninoff with whom she studied intermittently during the early 1930s. Bachauer: "Rachmaninov was an amazing pianist, with superb hands, and an uncanny technique. He did not attempt to teach me, he was not really a teacher. If I asked him—and this happened very often—‘How do you do that passage?’ the answer was always the same. He sat at the piano, illustrating it, and saying: ‘Like that.’ He could not explain what he wanted me to do. He would always add: ‘Don’t try to copy what I am doing. You must try again and again until you find your own way of doing it. When you will show me what you want to do with that phrase and if you can convince me, then it is right.’ He made me realize that there are several ways to interpreting the same phrase, as long as it is convincing, as long as this comes from one’s own judgement. He was very demanding and quite strict when it came to phrasing and rhythmic vitality and he wanted, above all, a complete involvement in the music.” 41:34 Ruth Slenczynska - Prelude Op.23 No.4 in D major (1984) * She had some lessons with Sergei Rachmaninoff. 45:00 Ezra Rachlin - Prelude Op. 23 No. 6 (1982) * "In 1937, at age 22, Rachlin featured Sergei Rachmaninoff's Third Piano Concerto in an extensive tour of European capitals, and the composer, who had always shown keen interest in Rachlin's talent, prepared it with him." 48:22 Cyril Smith - Rhapsody on a Theme of Paganini, 18th Variation (1948) * Rachmaninoff's close friend. 50:56 Alexander Goldenweiser - Barcarolle in G Op. 10 No. 3 (1946) * Rachmaninoff's friend from Russia, also Rachmaninoff's Second Suite, Op. 17 was dedicated to him. 54:59 Alexander Siloti - Suite No. 2 for Two Pianos with Gounod's Faust (1930s) * Siloti is Rachmaninoff's cousin and one of his first piano teachers. In this somewhat impromptu recording, Siloti plays two themes from Gounod's song "Faust" and a melody from Rachmaninoff's Second Suite for two pianos.
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