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Works of Sergei Vasilievich Rachmaninov Sergei Vasilievich Rachmaninov - This name has been heard in the world of music for a century now.

(1873 – 1943)

Composer, pianist, conductor - he was one of the most prominent exponents of the spiritual essence of his time. Rachmaninov's creative image is multifaceted.

TABLE OF CONTENTS
Family
Years of study at the conservatory
First creative successes
Independent life
Pedagogical work
Conducting activities
Composer's activity
World War (1914 - 1918)
Revolutions of 1917
Emigration
List of works
last years of life

Sergei Rachmaninov was born in the Starorussky district of the Novgorod province on March 20, 1873 into a noble family with long musical traditions. His grandfather Arkady Aleksandrovich Rachmaninov (1808 - 1881), was known as the author of salon romances. The future composer received his first music lessons from his mother at the age of four.

Family

At the age of 9, the boy was sent to study at the St. Petersburg Conservatory. In 1885 he moved to Moscow and became a student at the Moscow Conservatory, where he studied with teachers N.S. Zvereva, A.I. Ziloti (for-no), A.S. Arensky (composition), S.I. Taneev. Among the works written during his studies are Concerto No. 1 for piano and orchestra, romances, plays. In 1891, Rachmaninov graduated from the conservatory with a large gold medal as a pianist, and in 1892 as a composer. Rachmaninov’s diploma work was the one-act opera “Aleko” based on the poem by A.S. Pushkin "Gypsies".

Years of study at the conservatory
(1882 – 1892)

Rachmaninov’s enormous successes both in piano and theory each year made him stand out more and more clearly among his students. His performances became events in the musical life of the conservatory and left no doubt about his artistic future.

First creative successes

In the 1890s, S.V. began his independent life. Rachmaninov. He earns his living by teaching piano and music theory. On January 30, 1892, he gives his first concert, in which he performs as a pianist and as the author of a number of works. Season 1982 - 93 marked the beginning of Rachmaninov's artistic path. He performs in concerts in Moscow, Kharkov and other cities. Death of P.I. Tchaikovsky on October 25, 1893 was a big blow for Rachmaninoff. He writes the Elegiac Trio, dedicating it to the memory of Tchaikovsky.

Independent life

Beginning of the Third Concert
for piano and orchestra

In the spring of 1894, Rachmaninov began teaching work at the Mariinsky Women's School and the Elizabeth Institute. The largest creation of the young composer is the First Symphony, written in 1895 - 97. However, the unusual nature of the symphony and its unsuccessful performance by A.K. Glazunov led to failure, which was hard for the author. At this time, the moral support and care of people close to him were of great importance for the composer.

Pedagogical work

In 1897, Rachmaninov began his conducting career as the second conductor of the S.I. Opera House. Mamontova. At the Mamontov Theater there was a meeting between Rachmaninov and F.I. Chaliapin, with whom the composer maintained friendly relations throughout his life. In the summer of 1898, Rachmaninov and the artists of the Russian Private Opera came to Crimea, where he met with A.P. Chekhov. In the spring of 1899, S.V.’s first concert trip took place. Rachmaninov abroad to England. The first years of the new century mark the beginning of a new chapter in the chronicle of Rachmaninov's life and work. The great musician experiences a powerful influx of creative strength, and his brilliant talent as a composer, pianist, and conductor begins to blossom. Rachmaninov created new works, performed in concerts in Vienna, Moscow, St. Petersburg and the provinces, and since 1904 he has been the conductor of the Bolshoi Theater.

Conducting activities

Due to frequent concert performances and conducting activities, Rachmaninov’s creative activity is declining. The struggle between the three specialties runs like a red thread through his entire musical life. In 1902, Rachmaninov married his cousin N.A. Satina and goes on a honeymoon to Italy, Switzerland, and Germany. Upon his return, he stops in Ivanovka for several months. On March 14, 1903, a daughter, Irina, was born into the Rachmaninov family, and on June 21, 1907, Tatyana. The events of 1905 forced Rachmaninov to appear in print several times in support of democratic reforms.

Theme of the first part of the second concert

Beginning in 1906, Rachmaninov, breaking with the theater, spent three winters in Dresden. Having devoted most of his time to composing, he still gives concerts in Europe and Russia as a conductor and pianist. In the fall of 1909, Rachmaninov visited America for the first time, where he performed in solo and symphony concerts. On the threshold of the 1910s in the works of S.V. Rachmaninov’s works reflect the sensations of brewing internal changes in Russian life. In the works of these years, their emotional and figurative structure becomes more complex and intense, and their intellectual nature intensifies. In addition to his fruitful composing activities and frequent performances in concerts, Rachmaninov takes an active part in the Russian Music Publishing House.

Composer's activity

The outbreak of the World War 1914 - 1918. Rachmaninov perceives it as the most difficult test for Russia. From the very first “military season” Sergei Vasilyevich began to constantly participate in charity concerts. At the same time, he holds a series of concerts in memory of A.N. Scriabin.

World War (1914 - 1918)

The February Revolution of 1917 was a joyful event for Rachmaninov. Soon, however, the feeling of joy gave way to anxiety, which grew increasingly in connection with the unfolding events. The October Revolution was greeted by the composer with alarm. In his opinion, due to the breakdown of the entire system, artistic activity in Russia could cease to exist for many years. Therefore, in December 1917, having gone on tour to Sweden with his family, S.V. Rachmaninov never returned to Russia. For several months, Rachmaninov gave concerts in Scandinavia, settling with his family in Denmark. In November 1918, the Rachmaninoffs moved to America and settled in New York.

Revolutions of 1917

Parting with his homeland became a tragic fact in Rachmaninov’s biography and interrupted his composing activity for 8 years. Giving concerts in America and Europe, Rachmaninov achieved lasting artistic and material well-being, but did not regain the peace of mind lost when leaving Russia. For many years, he provided assistance to his fellow professionals and held charity concerts. In 1926 S.V. Rachmaninov returned to composing. Sergei Vasilyevich's intense, incessant work began to affect his health, but despite this he did not stop his concert activities. In 1930 S.V. Rachmaninov acquires a plot of land in Switzerland. Since the spring of 1934, the Rachmaninovs have firmly established themselves in this estate, which was named “Senar” and reminded the composer of Ivanovka. Here he lived the creatively fruitful period of his foreign life.

Emigration

In 1941, worried about the fate of his homeland, S.V. Rachmaninov holds a concert, the entire proceeds of which he transfers to the Russian Consul General. Despite poor health, Rachmaninov began his last concert season on October 12, 1942. On February 17, 1943, his last concert took place, after which, due to illness, Rachmaninov was forced to interrupt the tour. Rachmaninov is one of the greatest musicians at the turn of the 19th – 20th centuries. His art is distinguished by vital truthfulness, democratic orientation, sincerity and emotional fullness of artistic expression. He followed the best traditions of musical classics, primarily Russian. Rachmaninov’s heightened lyrical sense of the era of enormous social upheaval is associated with the embodiment of images of his homeland. He was a soulful singer of Russian nature. In his works, passionate impulses of irreconcilable protest and quietly rapturous contemplation, trembling alertness and strong-willed determination, gloomy tragedy and enthusiastic anthemism closely coexist. Rachmaninov's music, which has inexhaustible melodic richness, absorbed Russian folk song origins and some features of Znamenny chant. The theme of the homeland, central to Rachmaninoff’s mature work, was most fully embodied in his major instrumental works, especially in the 2nd and 3rd piano concertos. The name of Rachmaninov as a pianist is on a par with the names of F. Liszt and A. G. Rubinstein. Rachmaninoff was also one of the greatest opera and symphony conductors of his time. List of works

Operas – Aleko (1893, Moscow)
Stingy Knight
Francesca da Rimini (both – 1904, production 1906, Moscow) for soloists, choir and orchestra – cantata Spring (1902),
poem of the Bell (1913)
for orchestra - 3 symphonies (1895, 1907, 1936), fantasy Cliff (1893), Island of the Dead (1909), Symphonic Dances (1940), etc.
for piano and orchestra – 4 concertos (1891, 2nd edition 1917; 1901; 1909; 1926, 3rd edition 1941), Rhapsody on a Theme of Paganini (1934); chamber instrumental ensembles, including the Elegiac Trio (In Memory of the Great Artist, 1893)
for piano – sonatas, musical moments, etudes-pictures, preludes, etc.
2 suites for 2 pianos
choirs (with orchestra, with piano)
a cappella choirs – Liturgy of St. John Chrysostom
All-night vigil
romances
transcriptions and transcriptions.

Sergei Vasilyevich died on March 28, 1943 at one in the morning, a few days short of his seventieth birthday. The composer's last experiences were associated with news of the progress of the battles of the Soviet army with the troops of Nazi Germany. The lost homeland lived in his heart as the greatest love that gave creative strength.

Sergei Vasilyevich died on March 28, 1943 at one in the morning, a few days short of his seventieth birthday. The composer's last experiences were associated with news of the progress of the battles of the Soviet army with the troops of Nazi Germany. The lost homeland lived in his heart as the greatest love that gave creative strength.

Monument to S.V. Rachmaninov in Moscow

“I feel like a ghost wandering alone in a world that is alien to him...”
S.V.Rachmaninov

Rachmaninov S. V Date of birth March 20 (April 1) 1873 Place of birth Semyonovo, Novgorod province, Date of death March 28, 1943 Place of death Beverly Hills Professions Composer, conductor, pianist Rachmaninov S. V was buried in Valhalla, near New York

Childhood n Rachmaninov was born into a noble family in the Starorussky district of the Novgorod province on the Oneg estate on March 20, 1873.

Youth With his cousins and brother Satin: S. A. Satina, S. V. Rachmaninov, N. A. Rachmaninova (née Satina) - wife of S. V. Rachmaninov, V. A. Satin (1902)

Years of study n From the age of 4-5 he played the piano. n From 1882 he studied at the St. Petersburg Conservatory, from 1885 - at the Moscow Conservatory with N. S. Zverev and A. I. Ziloti (piano), S. I. Taneyev and A. S. Arensky (composition). n At the age of 13, Rachmaninov was introduced to Tchaikovsky.

The beginning of his creative path n During his years of study, he composed a number of works, including the romance “In the Silence of the Secret Night”, 1st concert for piano and orchestra (1891, 2nd edition 1917). n Graduated from the Moscow Conservatory in piano (1891) and composition (1892, with a large gold medal).

Rachmaninov's diploma work is the one-act opera "Aleko" (libretto by Vl. I. Nemirovich. Danchenko based on the poem "Gypsies" by A. S. Pushkin, post. 1893, Bolshoi Theater, Moscow).

Early period n Began under the sign of late romanticism, adopted mainly through the style of Tchaikovsky (First Concerto, early works)

Synthesis of traditions However, already in the Reminor Trio (1893), written in the year of Tchaikovsky’s death and dedicated to his memory, Rachmaninov gives an example of a bold creative synthesis of the traditions of romanticism (Tchaikovsky), “kuchkists”, ancient Russian church tradition and modern everyday and gypsy music.

Period of maturity n The central work of this period is the grandiose poem “Bells” for choir, soloists and orchestra, to the words of Edgar Poe translated by K. Balmont (1913). n Vividly innovative, full of unprecedentedly new choral and orchestral techniques, this work had a huge influence on choral and symphonic music of the 20th century

Rachmaninov with his daughters With daughters Irina, married Volkonskaya (1903–1969) - standing, and Tatyana, married Konyus (1907–1961) at a dacha in the vicinity of Dresden on Emser Allee (1924)

With their family, Natalia Alexandrovna and Sergei Vasilyevich Rachmaninoff at their dacha in Beverly Hills (1942) With grandchildren Sofinka Volkonskaya and Sasha Konyus

Rachmaninov - pianist The name of Rachmaninov as a pianist is on a par with the names of F. Liszt and A. G. Rubinstein. Phenomenal technique, melodious depth of tone, flexible and imperious rhythm were completely subordinated in Rachmaninov’s playing to high spirituality and vivid imagery of expression.

Features of Rachmaninov's piano style S. Rachmaninoff the pianist became the standard for many generations of pianists from different countries and schools, he established the global priority of the Russian piano school, the distinctive features of which are: 1) deep content of performance; 2) attention to the intonation richness of music; 3) “singing on the piano” - imitation of vocal sound and vocal intonation using the piano.

Late-foreign period n Rachmaninov’s style is made up of a seamless fusion of the most diverse stylistic elements: the traditions of Russian music - and jazz, Old Russian Znamenny chant - and the “restaurant” stage of the 1930s. , virtuoso style of the 19th century - and the harsh toccata of the avant-garde.

Singer of Russian nature n Rachmaninov's music, which has inexhaustible melodic and subvocal polyphonic richness, absorbed Russian folk song origins and some features of Znamenny chant.

List of works n n n opera. Aleko (libretto by Vl. I. Nemirovich-Danchenko based on A. S. Pushkin’s poem “Gypsies”, 1892, Bolshoi Theater), The Miserly Knight (based on Pushkin’s text, op. 24, 1904; staged 1906, Bolshoi Theater), Francesca da Rimini (libretto by M. I. Tchaikovsky based on the 5th song “Ada” from Dante’s “Divine Comedy”, op. 25, 1904; staged 1906, Bolshoi Theater); for soloists, choir and orchestra cantata Spring (to the text of the poem by N. A. Nekrasov "Green Noise", op. 20, 1902), poem Bells (to words by E. Poe, translated by K. D. Balmont, op. 35, 1913) ; for orchestra 3 symphonies (d-moll, op. 13, 1895; e-moll, op. 27, 1906-07; a-moll, op. 44, 1935-36), fantasy Cliff (based on a poem by M. Yu. Lermontov , op. 7, 1893), Capriccio on Gypsy Themes, op. 12 (1894), symphonic poem Island of the Dead (based on the painting by A. Böcklin, op. 29, 1909), Symphonic Dances, op. 45 (1940); for piano and orchestra 4 concertos (fis-moll, op. 1, 1890-91, 2nd edition 1917; c-moll, op. 18, 1901; d-moll, op. 30, 1909; g-moll, op 40, 1914 -26, 2nd edition 1929, 3rd edition 1941), Rhapsody on a Theme of Paganini, op. 43 (1934); chamber instrumental ensembles. Romance and Hungarian Dance for violin and piano, op. 6 (No. 1 and 2, 1893), Prelude and Oriental Dance, op. 2 (Nos. 1 and 2, 1892) and Sonata in G minor, Op. 19 (1901) for cello and piano. Elegiac Trio for piano, violin and cello (In Memory of the Great Artist, d-moll, op. 9, 1893); for piano 2 sonatas (d-moll, op. 28, 1906-07; b-moll, op. 36, 1913, 2nd edition 1931), Variations on a theme by Chopin, op. 22 (1902), Variations on a theme by Corelli , op. 42 (1931), Fantasy Pieces (1892), Salon Pieces (1893 -94), 6 musical moments, op. 16 (1896), 10 preludes, op. 23 (1902), 13 preludes, op. 32 (1910), 6 Etudes-Paintings, op. 33 (1911), 9 Etudes-Paintings, op. 39 (1916 -17), Oriental sketch (1917), Fragments (Fragments, 1917); for piano 4 hands 6 pieces, op. II (1894); for 2 pianos 2 suites (1st Fantasia, op. 5, 1892; 2nd op. 17, 1900 -01); for choir and orchestra. Three Russian songs, op. 41 (1926); for voice and piano 6 romances, op. 4 (1891-93), 6 romances to words by A. N. Pleshcheev, op. 8 (1893), 12 romances, op. 14 (1896), 12 romances, op. 21 (1902), 15 romances, op. 26 (1906), Letter to K. S. Stanislavsky from S. Rachmaninov (1908), 14 romances, op. 34 (1912), From the Gospel of John (1915), 5 romances, op. 38 (1916); transcriptions and arrangements (for piano) of his romances Lilac (published 1941) and Daisy (published 1940), works by other authors - J. Bizet. Minuet from the music for A. Daudet's drama "La Arlesienne" (1903), M. P. Mussorgsky. Hopak from the opera "Sorochinskaya Fair" (published 1921), F. Kreisler. Waltz “The Pang of Love” (published 1926) and waltz “The Joy of Love” (published 1943), N. A. Rimsky-Korsakov, “Flight of the Bumblebee” from the opera “The Tale of Tsar Saltan” (published 1931), J. S. Bach . Prelude, gavotte and gigue from the suite in E major for solo violin (published 1933 and 1941), F, Mendelssohn. Scherzo from the music to W. Shakespeare's play "A Midsummer Night's Dream" (published 1938), P. I. Tchaikovsky. "Lullaby" to the words of A. N. Maykov (ed. 1941), ballet "Sleeping Beauty" (for piano 4 hands);

Rachmaninov is one of the greatest musicians of the turn of the century. His work is distinguished by vital truthfulness and sincerity. The theme of the Motherland, love for the Russian land, for the history of the people, for the Orthodox faith is the central link in his work. Rachmaninov is one of the greatest musicians of the turn of the century. His work is distinguished by vital truthfulness and sincerity. The theme of the Motherland, love for the Russian land, for the history of the people, for the Orthodox faith is the central link in his work. The main features of music are melodicism and bell-like sound. The main features of music are melodicism and bell-like sound. He wrote in different genres: operas, symphonies, concertos for piano and orchestra, choral, chamber vocal and instrumental music. He wrote in different genres: operas, symphonies, concertos for piano and orchestra, choral, chamber vocal and instrumental music.

Born into a noble family, on the Oneg estate in the Novgorod province. Born into a noble family, on the Oneg estate in the Novgorod province. The Rachmaninov family goes to the grandson of the Moldavian Tsar Stephen the Great, Vasily. The Rachmaninov family goes to the grandson of the Moldavian Tsar Stephen the Great, Vasily. From the age of 4 he played the piano. From the age of 4 he played the piano. His mother gave him his first piano lessons, then a music teacher was invited. His mother gave him his first piano lessons, then a music teacher was invited.

Rachmaninov spent several years in the famous Moscow private boarding school of music teacher Nikolai Zverev, whose students were other outstanding Russian musicians. Here, at the age of 13, Rachmaninov was introduced to P.I. Tchaikovsky, who later took a great part in the fate of the young musician. Rachmaninov spent several years in the famous Moscow private boarding school of music teacher Nikolai Zverev, whose students were other outstanding Russian musicians. Here, at the age of 13, Rachmaninov was introduced to P.I. Tchaikovsky, who later took a great part in the fate of the young musician.

Rachmaninov was withdrawn, reserved in communication, and had a very difficult time getting along with people. Rachmaninov was withdrawn, reserved in communication, and had a very difficult time getting along with people. A feeling of loneliness constantly accompanied him, and the only joy in life was music. A feeling of loneliness constantly accompanied him, and the only joy in life was music. At the age of 19, he brilliantly graduated from the Moscow Conservatory with a gold medal as a pianist, and a year later as a composer. At the age of 19, he brilliantly graduated from the Moscow Conservatory with a gold medal as a pianist, and a year later as a composer.

Revolution of 1917 Rachmaninov perceived the revolutionary coup as a disaster. “Russia has stepped into the void,” “people’s faces are turning into brutal, wild snouts.” A month after the Bolsheviks came to power, Rachmaninov left Russia forever. He became an exile from his homeland, a wanderer who had lost the most precious incentives for creativity. “Having lost my homeland, I have lost myself.”

Emigration During the years of emigration, Rachmaninov toured a lot and performed on the best stages in the world. The fame of the outstanding virtuoso performer increased. He was applauded in Europe and America. But I could not write music during the first 10 years of emigration. The pain of losing his homeland did not leave him until the end of his days.

The war. Rachmaninov perceived the Nazi attack on the USSR as a personal tragedy. Forgetting old grievances against the Bolsheviks, he tried to influence wealthy Russian emigrants, urging them to financially support their homeland in difficult times. He also transferred his fees from concerts to the country's defense fund. Rachmaninov perceived the Nazi attack on the USSR as a personal tragedy. Forgetting old grievances against the Bolsheviks, he tried to influence wealthy Russian emigrants, urging them to financially support their homeland in difficult times. He also transferred his fees from concerts to the country's defense fund.

The attitude of the Soviet government towards Rachmaninov changed. In the autumn of 1942 The Soviet public celebrated the 50th anniversary of the artistic activity of the great Russian musician. But in America this date went unnoticed. The attitude of the Soviet government towards Rachmaninov changed. In the autumn of 1942 The Soviet public celebrated the 50th anniversary of the artistic activity of the great Russian musician. But in America this date went unnoticed. Rachmaninov died a few days before his 70th birthday. Rachmaninov died a few days before his 70th birthday.

He remained a Russian composer and a Russian person. He was always concerned about the fate of his country. He remained a Russian composer and a Russian person. He was always concerned about the fate of his country. “I am a Russian composer, and my homeland has left its mark on my character and my views.” “I am a Russian composer, and my homeland has left its mark on my character and my views.”

Why did I choose this topic?
I want to talk about the romances of S.V. Rachmaninov. A little reflection and music. Why did I choose this one
topic? Because romances contain all life, all trepidation, all the soul of a person. Romances by Rachmaninov, I
I chose them because I liked them, and they were the first romances that I sang in my life, before that
I didn't sing romances. I didn't understand their depth and insight, combined with the ease that is understandable
to any person. It is romance that so subtly penetrates inside you, as if touching your soul strings and sounding
in unison with her.
The sensuality of Rachmaninov's romances is the highlight of the author. This is always a song - of truthfulness, a song -
sigh. The main thing in Rachmaninov's romances is intonation, so complex and simple, so understandable, but
calling for thought. And always melodious, very trusting, and if it weren’t for this sincerity
sensuality and simplicity, then all their charm would be lost.

To begin with, I think we should remember, who is Rachmaninov?
Rachmaninov Sergei Vasilievich (1873 – 1943) – Russian composer,
conductor, pianist, representative of the symbolism movement in music.
He combined in his work the principles of St. Petersburg and Moscow
composer schools.
Rachmaninov wrote:
“I am very inspired by poetry.
After music, what I love most is poetry.
... I always have poetry at hand.
Poetry inspires music, for in poetry itself there is much
music.
They are like twin sisters."

All about romance. Origin.
Romance (fr. romance) - a short musical composition for voice in
accompanied by an instrument, written on lyric poetry
content
Did you know that the word “romance” came to us from Spain? They were sung there
the singers are troubadours in their native Romance language. Song collections
were called "romanceros". Then romances came to us. Appeared
everyday romances, gypsy romances, of course, classical ones,
acting and some others.

Romance is an ancient genre.
Its history goes back to the Middle Ages. The term “romance” itself originated in
medieval Spain. During that period of history, the genre of secular songs appeared, usually
these were poems by famous poets of the Romantic era, set to music and
conveyed deep emotions. By the way, today the words “romance” and
"song" are identical in many languages. Over time, this musical genre acquired
such popularity that single works began to be combined into entire vocal
cycles. It is symbolic that the first such cycle was created by the genius of world music and the father
classics - Beethoven. His idea was picked up and continued by equally famous
musicians such as Brahms, Schumann and Schubert.

Main characteristics of romance.
A romance is a musical poem similar to a song. But there are still significant
differences in the very construction of the work. For example, there is absolutely no chorus, or,
as it is also called, refrain. Although practice shows that there are exceptions to
rules It is interesting that the romance is usually performed solo, less often by a duet, and almost never by a choir.
A special distinguishing feature of this genre is its semantic load. His lines
always carry a certain story that is close to both the author and his listeners. It may
be an autobiographical story about an unhappy love story, or the author’s reflections on
one or another life topic.
Romance is not an exclusively melancholic genre. There are many examples
satirical and funny poetic narratives set to music.
Romances are not only vocal works. There are also instrumental romances
without words. Just a melody written for some instrument, as if it were a human voice
performs. Rachmaninov also has such beautiful romances.

A little about Russian romance.
Over time, with the appearance of musical instruments in the homes of wealthy people, romance seeped into
Russian culture. Perhaps this was inspired by the spirit of romanticism that permeated the whole beginning
nineteenth century. He was very much to the taste of the demanding public, and he was instantly
picked up by such composers as Varlamov (“At dawn, don’t wake her”), Gurilev (“It sounds monotonous
bell"), Alyabyev ("The Nightingale"). Some of them considered it necessary to introduce the spirit of freedom and
cheerfulness and at the same time allowed the performer to demonstrate his vocal abilities.
The accompaniment here is just a background, but organically connected with the poetic basis. It's sad, but
During the Soviet era, its cultural development was suspended, as harsh discipline believed that
The ideology presented in the romances has a detrimental effect on the Soviet worker. Ancient romances are not
were welcomed, their subject matter was considered “outdated.” The trend was patriotic, folk and
humorous songs with a simple melody.
People often argue, what is the most important thing in a romance? Music or poetry? Probably, such disputes are not necessary. It's all here
important. It is the combination of music and poetry and touching performance that gives us such an impression.

This is what Rachmaninov himself says about romances.
"I am a Russian composer, and my homeland has left its mark on my character and
my views. My music is the fruit of my character, and therefore it is Russian
music... I don't have my own country. I had to leave the country where I
was born, where I struggled and suffered all the sorrows of my youth and where I finally achieved
success."
“What is music?!
It's a quiet moonlit night;
This is the rustling of living leaves;
This is the distant evening bell;
This is what is born from the heart
and goes to the heart;
This is Love!
The sister of music is poetry,
and her mother is sadness!
Rachmaninov at the piano, early 1900s.

From 1892 to 1911, Sergei Vasilyevich Rachmaninov wrote 83 romances, that is, all
they were created during the Russian period of his life. In popularity they compete with his
piano works. Most romances are written on Russian texts
lyric poets of the second half of the 19th century and the turn of the 20th and just a little more
ten on poems by poets of the first half of the 19th century - Pushkin, Koltsov, Shevchenko in
Russian translation.
Rachmaninov wrote: “Poetry inspires me very much. After music, what I love most is
poetry. ... I always have poetry at hand. Poetry inspires music, for in its very
poetry a lot of music. They are like twin sisters."

My favorite romances by Rachmaninov.
“Lilac” to the words of Beketova is one of the most precious pearls of Rachmaninov’s lyrics.
The music of this romance is marked by exceptional naturalness and simplicity,
a remarkable fusion of lyrical feeling and images of nature.
The origin of this romance is especially interesting. In the early years of the twentieth century
It was the beginning of a new chapter in the chronicle of Rachmaninov’s life and work. Great
the musician experienced a powerful surge of creative energy. Rachmaninov created new
works, performed in concerts in Vienna, Moscow, St. Petersburg and the provinces, since 1904
took over the post of conductor of the Bolshoi Theater.

A long-standing youthful friendship with Natalya Satina, in whose parents’ house he
lived for several years, and with whom he spent almost his entire adolescence, grew into
mutual feeling. It was Natalia Satina that the 20-year-old composer dedicated
romance “Don’t sing, beauty, in front of me.”
On April 29, 1902, Sergei Rachmaninov and Natalya Satina got married in
a small church of the 6th Tauride Grenadier Regiment on the outskirts of Moscow.
After the wedding, having barely stopped home to change clothes, the newlyweds left for the station and
took tickets to Vienna, where they left for their honeymoon. This
Rachmaninov's romance "Lilac" belongs to a happy time. By
poems on which the romance is written is Ekaterina Andreevna - the eldest
daughter of the rector of Moscow University, Professor A. N. Beketov.

In the morning, at dawn,
On the dewy grass,
I'll go and breathe fresh in the morning;
And into the fragrant shadow,
Where the lilacs are crowded,
I'll go look for my happiness...
There is only one happiness in life
I'm destined to find
And that happiness lives in lilacs;
On green branches
On fragrant brushes
My poor happiness is blooming.

One of the first performers of the romance was A. Nezhdanova. In her memories she
writes: “Being an artist of the Bolshoi Theater and performing in concerts, I definitely
included Rachmaninov’s romances in her programs: performed everyone’s favorite
inspired romances “Lilac”, “It’s good here”, “At my window”, “Island” and many
others, equally beautiful in their expressiveness, poetry and beauty of melody
works".
The romance “Lilac,” like a number of others, such as “At My Window,” is very close to aesthetics
symbolism, although it does not completely coincide with it. It reflects the atmosphere
the finest soulfulness, and you can feel how the music literally touches
nature.

“Vocalise” occupies a very special place in Rachmaninov’s vocal lyrics,
written in 1915 (dedicated to the great singer Nezhdanova). Elements of folk
song style here organically flow into the melody, marked by bright
individuality. The breadth of the song speaks about the connection between “Vocalise” and the Russian lingering song.
melodies, the leisurely nature of its development, harmonic language. Among the concert
works also include “Vocalise” by S. Rachmaninov.

The history of the creation of the work is of interest. All romances op. 34, in
which includes "Vocalise", were written in June 1912. It is known that 1
September of the same year they were sold to the publishing house of A. Gutheil and already in
came out the following year. But to complete work on “Vocalise”
it took the composer three years, counting from the time of the first draft
romance, made in the spring of 1912.
“In the spring of 1915, Rachmaninov showed the 1st edition of Vocalise by A.V.
Nezhdanova. Then, having listened to her comments, he made several
corrections in pencil in the vocal part, also entering into the score
performance touches and nuances. The composer needed some more
time to prepare the final version of the music text, which
differs significantly from the first: one of the differences is the change
keys: es minor to cis minor. "Vocalise" published under old
publishing stamp of A. Gutheil (1915) with dedication to A. V. Nezhdanova,
which on January 25, 1916, in the presence of the author, performed it with the orchestra of S.A.
Koussevitzky. The grateful composer gave the singer the first version
manuscripts. Since then, for eighty years, the autograph has been in
library of A. V. Nezhdanova (after her death in 1950 - Memorial Museum apartment).”5

Vocalization The singer’s memoirs have been preserved, in which she talks about this work:
“In the last years of his life in Moscow, I was blessed with exceptional attention from Sergei
Vasilievich: he wrote for me and dedicated the wonderful “Vocalise” to me. This is talented, beautiful,
the work, written with great artistic taste and knowledge, made a strong impression. When I
expressed her regret to him that there are no words in this work, he said:
- Why use words when with your voice and performance you can express everything better and much more than
someone in words.
It was so convincingly, seriously said, and I was so touched by it that I could only
express to him from the bottom of my heart my deep gratitude for such a flattering opinion and exceptional
attitude towards me. Before publishing, he brought his “Vocalise” to me and played it many times. We are with him
For more convenient performance, we thought about the nuances and put a breath in the middle of the phrase. While rehearsing with me, he
several times I immediately changed some places, each time finding some other harmony, a new
modulation and nuances. Then, after Vocalise was orchestrated, I sang it with the orchestra for the first time
under the baton of conductor S. A. Koussevitzky in the Great Hall of the Noble Assembly. Rachmaninov's success as
the great composer was colossal. I was endlessly happy that part of the well-deserved success
belonged also to me as a performer. The manuscript of "Vocalise", which he gave me before the concert, with
Since then I have kept it as a precious memory of the brilliant composer.”

In the romance “It’s Good Here” the main essence is vocal intonation,
attributable to these capital words of the text.
This is a very beautiful romance. And very deep. Peace of mind with beauty and
harmony of the world. Calm contemplation and admiration for the perfection of nature...And myself
the romance is very harmonious. It unfolds like a canvas. And it pours widely and
freely, harmoniously combining voice and piano (written specifically for
piano). Orchestral versions of this romance appeared later. And, indeed
it needs to be understood and felt.
Music by Sergei Rachmaninov Words by G. Galina (Einerling Glafira Adolfovna)
It is nice here…
Look, in the distance the river is burning with fire;
The meadows lay like a colorful carpet,
The clouds are turning white.
There are no people here...
It's quiet here...
It's just God and me here.
Flowers, and an old pine tree, and you, my dream!
"It's Good Here" was performed by dozens of opera singers, both men and women, with
different voice timbres, different singing styles.

The end of the 90s was a time when S. Rachmaninov experienced significant material
difficulties. But he himself realized that this situation also had its own benefits: “I’m in a hurry for the sake of
in order to receive the money I need on a certain day, and, unfortunately, give it back immediately
into other hands,” wrote S. Rachmaninov in a letter to A. V. Zataevich dated December 7, 1896. - IN
Every month I have several days in which I pay for my previous sins. This
the constant need for money, on the one hand, is very useful for me - that is, I carefully
Working; but, on the other hand, this reason makes my taste not particularly picky.
Since October I have thus written 12 romances2<…>".3 Ten years later in another
in a letter to A. M. Kerzin (dated April 51, 1906) - S. Rachmaninov explained: “Then from 1896
before 1900 I wrote nothing. And this is explained by the impression that failure made on me
my Symphony in St. Petersburg. The same fact that after the Symphony I wrote 20 small pieces
things4 is explained by my being forced to pay a rather large amount of money, which
I was stolen from a carriage that did not belong to me.”5
ISLAND
An island looks out from the sea,
Its green slopes
Decorated with a thick wreath of herbs,
Violets, anemones.
The sheets are intertwined above it,
The waves splash slightly around him.
The trees are sad like dreams
Like statues, silent.
There's barely a breeze here,
The storm doesn't reach here,
And a serene island
Everything is dozing, falling asleep.

Many of Rachmaninov's works, which became extremely popular, were subjected to
numerous adaptations, which were started by the composer himself. Romance
"Island" was no exception. Arranged for voice and string accompaniment
The trio was created in the early 30s by the famous Russian musician D. R. RogalLevitsky. S. Rachmaninov gave a positive review of D. RogalLevitsky’s transcriptions: “I want to tell you that I find your transcriptions quite acceptable and
well done.”6

Words by A. Pushkin, Music by S. Rachmaninov
Don't sing, beauty, in front of me
You are the songs of sad Georgia:
Remind me of her

Alas, they remind me
Your cruel tunes
And the steppe, and the night, and the features of the moon
A distant poor maiden!..
Don't sing, beauty, in front of me
You are the songs of sad Georgia:
Remind me of her
Another life and a distant shore.
“One of the traditional, widely loved genres of Russian classical music is associated with the “oriental romance” “Don’t sing,
beauty" to the poems of A. S. Pushkin, which attracted composers of different generations, from the poet’s contemporaries to ours
days. Entering into “competition” with such masters as Balakirev and Rimsky-Korsakov, young Rachmaninov created
a work not only not inferior to their musical interpretation of the same poetic text, but in many ways more
deep, bright and strong in expression. Among various musical compositions based on the words of this Pushkin poem
Rachmaninov's romance is deservedly the most popular. Very expressively the main thematic
construction of a Rachmaninov romance with a patterned, smoothly and slowly descending melody, reminiscent
melancholy oriental tune.
The oriental flavor of Rachmaninov's romance is rather conventional. Specific genre-national features are expressed in it with
much less certainty than, say, in Balakirev’s romance on the same text. The main thing for Rachmaninov was
lyrical experience - a mood of deep sadness, regret for what has been lost, longing for “another life.” Georgian song and
the landscape associations it evokes sound as if through the haze of a distant memory. It is characteristic that the main theme
takes place in most cases at the piano, while the vocal part is built on expressively pointed
declamatory intonations or echoes the instrumental melody like an echo. Extraordinary fineness and
the variety of relationships between vocal and instrumental principles achieved here by the composer contributes to
creating a rich, psychologically complex and at the same time holistic, complete artistic image.”
The 20-year-old composer dedicated the romance “Don’t sing, beauty, in front of me” to Natalia Satina.

On November 1, 1918, he and his family sailed from Norway to New York. Until 1926 he did not write significant works; The creative crisis thus lasted for about 10 years. Only in 1926-1927. new works appear: the Fourth Concerto and Three Russian Songs. During his life abroad (1918-1943), Rachmaninov created only 6 works that belong to the pinnacles of Russian and world music
.
Sergei Vasilyevich Rachmaninov was born on April 1, 1873
of the year.

The composer's father, Vasily Arkadyevich (1841–1916), came from the nobility of the Tambov province. Family legend traces the origin of the Rachmaninov family to the “grandson of the Moldavian ruler Stephen the Great” Vasily, nicknamed
Rakhmanin
. Mother, Lyubov Petrovna (nee Butakova) - daughter of the director of the Arakcheevsky Cadet Corps, General P. I. Butakov
.
Rachmaninov gained fame early on as a composer, pianist and conductor. However, his successful career was interrupted on March 15, 1897 by the unsuccessful premiere of the First Symphony (conducted by A.K. Glazunov), which ended in complete failure both due to poor quality performance and, mainly, due to the innovative nature of the music. According to A.V. Ossovsky, Glazunov’s inexperience as an orchestra leader during rehearsals played a certain role. This event caused a serious nervous illness. During 1897-1901, Rachmaninov was unable to compose, and only the help of an experienced psychiatrist, Dr. Nikolai Dahl, helped him overcome the crisis.
Information sources

wikipedia.org

Rachmaninov Sergei Vasilievich.
Author:
Kalanda
Sergey
9a grade
MBOU Secondary School
No. 10 Novoaltaisk
________________________________________
At the age of 19, Rachmaninov graduated from the conservatory as a pianist (with A.I.
Siloti
) and as a composer with a large gold medal. By that time, his first opera had appeared - “Aleko” (thesis work) based on A. S. Pushkin’s work “Gypsies”, his first piano concerto, a number of romances, pieces for piano, including a prelude in C sharp minor, which later became one one of Rachmaninov's most famous works.
Rachmaninov died on March 28, 1943 in
Beverly Hills
, California USA, three days short of his 70th birthday. Buried in the cemetery
Kensico

Cemetery
.
Rachmaninov spent several years in the famous Moscow private boarding school of the music teacher Nikolai Zverev, whose pupil was also Alexander Nikolaevich Scriabin and many other outstanding Russian musicians (Alexander Ilyich
Siloti
, Konstantin Nikolaevich Igumnov, Arseniy Nikolaevich Koreshchenko, Matvey Leontyevich
Presman
And
etc.
). Here, at the age of 13, Rachmaninov was introduced to Pyotr Ilyich Tchaikovsky, who later took a great part in the fate of the young musician.
Rachmaninov's last years were overshadowed by a fatal disease (melanoma). However, despite this, he continued his concert activities, which stopped only shortly before his death. According to some reports, Rachmaninov went to the Soviet embassy and wanted to go home shortly before his death
.
S. V. Rachmaninov’s interest in music was discovered in early childhood. His first piano lessons were given to him by his mother, then music teacher A.D. was invited.
Ornatskaya
. With her support, in the fall of 1882, Rachmaninov entered the junior department of the St. Petersburg Conservatory in the class of V.V.
Demyansky
. Studying at the St. Petersburg Conservatory was going poorly, since Rachmaninov often skipped classes, so at the family council it was decided to transfer the boy to Moscow, and in the fall of 1885 he was accepted into the third year of the junior department of the Moscow Conservatory under Professor N. S. Zverev
.
He chose the United States as his place of permanent residence, toured extensively in America and Europe, and was soon recognized as one of the greatest pianists of his era and a major conductor. In 1941 he completed his last work, recognized by many as his greatest creation, Symphonic Dances. During the Great Patriotic War, Rachmaninov gave several concerts in the United States, all proceeds from which he sent to the Red Army Fund. He donated the money collected from one of his concerts to the USSR Defense Fund with the words: “From one of the Russians, all possible assistance to the Russian people in their fight against the enemy. I want to believe, I believe in complete victory.” It is known that a combat aircraft was built for the needs of the army with the composer’s money.