description of selected works. S.V

The romances of Sergei Vasilyevich Rachmaninov are called his spiritual confession. The composer created many works in this genre - about eight dozen, each of which is distinguished by amazing sincerity. Such attention to vocal compositions is quite understandable - he often said that he loved poetry and always elevated it to second place of honor after music.

History of creation Romansov Rachmaninov, content and many interesting facts, read on our page.

History of creation

The passion for writing manifested itself in Sergei Rachmaninov even in his childhood, however, at first he preferred to improvise, not bothering himself with recording notes on paper. But the future great composer began recording his creations only in 1887, and immediately tried his hand at various genres, including vocal ones. However, there is no information about the compositions for voice of those years, perhaps because Rachmaninov did not consider them important and did not try to preserve them.

The composer decided to begin counting his vocal creations in 1890, when he wrote his works for voice “At the Gates of the Holy Monastery” to the words of M. Lermontov and “I won’t tell you anything” to the words of A. Fet, designated by him as No. 1 and No. 2. Since then, romance has become one of Rachmaninov’s favorite genres, and he regularly returned to it in his work. If these works of the first years were very similar in style to music P.I. Tchaikovsky , then in the vocal compositions of 1891 one can clearly hear the influence Edvard Grieg . We are talking about two romances: “It Was in April,” written to the French text by E. Payeron, and “It was getting dark” to the words of A. Tolstoy.

In the period after graduating from the Moscow Conservatory and until the second half of the 1890s, Sergei Vasilyevich wrote three opuses of works for voice. They already clearly outline the features of Rachmaninov’s creative individuality, and the interpretation of the romance genre characteristic of his pen becomes obvious, when a broad and expressive vocal melody organically merges with a virtuoso piano part, rich in coloristic shades.

Six romances that were written before mid-1893 were included in op.4. The best composition of this group is considered to be the romance “ In the silence of a secret night"(verses by A. Fet), which was addressed to a relative of maestro V.D. Skalon.

Romances op.8 were composed in the fall of 1983 and became a kind of response to the passing of the then popular poet N. Pleshcheev. Interestingly, Rachmaninov himself never saw him, and knew him only from books and the words of his friends. Perhaps he heard something about the great poet from his grandfather Arkady Alexandrovich, who not only knew him well, but also dedicated several of his romances to him. This opus includes six works, the most famous of which are considered “ Child, you are as beautiful as a flower!" And " Dream».

In 1896, another cycle of 12 romances was born, which was designated op. 14. Since during this period Rachmaninov was still in search of his own style, this opus is very heterogeneous in its images. The verses used by Sergei Vasilyevich are unequal. Among their authors there are recognized masters of poetic text, such as A. Tolstoy, F. Tyutchev, A. Fet and others, as well as little-known poets N. Minsky and K. Balmont at that time. The most popular romance from this cycle during Rachmaninov’s time was “ Spring waters».

In the spring of 1902, the next, 21st opus of works for voice was completed, which included 12 works. It is difficult to single out anything particularly outstanding among them - all the romances in this cycle can easily be classified as the highest masterpieces of Rachmaninov’s work. The most famous of the creations of this opus can be considered “ Lilac"to the words of E. Beketova and " It is nice here"Based on poems by G. Galkina.

Four years later, Rachmaninov completed another group of romances, which are united under opus No. 26. This cycle of fifteen works stands out among others for its stylistic features, which are associated with the composer’s operatic quest. That is why some of his works from this group have the character of a dramatic monologue. Among these, for example, is the romance “ We'll rest"to the words of A. Chekhov.

The 36th opus consisted of fourteen romances. Twelve of them were recorded at the height of 1912, one entitled " Can't be"was published two years earlier, in 1910, and " Vocalise" was composed in 1915 and was added to the group later. In this opus, Rachmaninov's interest in Pushkin's poetry attracts attention. If earlier he addressed her once in the romance “Don’t sing, beauty in front of me,” then here three works were written based on his poems - “ Muse», « Storm" And " Arion" In addition, the composer used poems by K. Balmont, F. Tyutchev, A. Fet and many others.

A special place in Rachmaninov’s creative heritage is occupied by his last chamber-vocal cycle of six romances, designated opus No. 38. A distinctive feature of this group of works, written in 1916, are the poetic sources - all of them belong to the pen of contemporary authors who sought to update the images and means of poetics. Rachmaninov considered the best romances in this cycle to be “ Daisies" And " Pied Piper».

Interesting Facts

• The composer's grandfather Arkady Alexandrovich was a musically gifted person and loved to play the piano. He lived to be 73 years old and until recently spent several hours a day playing a musical instrument. He also composed and especially loved romances and piano pieces, like his grandson. Some of his creations were published, but most of them are lost. 11 compositions by Arkady Alexandrovich have survived to this day, including 7 romances and 3 vocal duets.
• Arkady Aleksandrovich Rachmaninov wrote a romance to the words of A.N. Pleshcheev "Dream". Many years later, Sergei Vasilyevich took these same verses for his vocal composition.
• Rachmaninov considered the romance to the words of A. Tolstoy “Do you remember the evening” the most unsuccessful among all his vocal creations.
• The romance “In the Silent Secret Night” was composed on October 17, 1890, but subsequently the composer repeatedly returned to it and rewrote individual fragments. The final version of this work, which is heard in concert halls today, bears little resemblance to the original version.
• In the creative heritage of the great composer there are other works called “Romance” - for example, the second movement in Quartet No. 1 and the first piece for violin in opus No. 6.
• His first fee in the amount of 500 rubles, received from the publisher K. Gutchen for printing the clavier “ Aleko ”, two pieces for cello op.2 and six romances op.4, Rachmaninov was unable to spend, since he immediately paid off his debts with them.

• The romance “Spring Waters” had a very interesting interpretation during Rachmaninov’s time. In the impulses of awakening nature, revolutionaries heard calls for struggle and a rise in social consciousness. You can now read about how this vocal composition helped free oneself from centuries-old oppression in the musical literature of the Soviet era.
• Rachmaninov based the composition “Fate” from op.21 on the most famous motif from Beethoven's Fifth Symphony . This romance is dedicated to F. Chaliapin, who primarily performed it for the first time after its creation.
• Love flared up in the heart of the greatest maestro more than once, which inspired him to write romances. It was under the influence of this feeling that “In the Silence of the Secret Night” (dedicated to V. Skalon), “Oh no, I pray you don’t go” (dedicated to A. Lodyzhenskaya), “Don’t sing beauty in front of me” (dedicated to N. Satina) were created. .
• While in exile, Rachmaninov did not write a single romance.

Sergei Vasilyevich considered the romance genre ideal for embodying lyrical experiences. That is why the lyrical sphere predominates in his vocal opuses, but humorous, everyday and tragic images are very rare in them.

Even in his early years, Rachmaninov often turned to the genre of Russian lyrical song, which can largely be explained by his love for Tchaikovsky’s legacy. This is heard especially acutely in romances “ I fell in love with my sadness" And " Wow my cornfield" The composer selects such poetic texts that tell about suffering from love and unbearable mental anguish. This theme is also related to oriental poetry, which was also not alien to Rachmaninov. Exotic" compositions form a separate branch in his vocal creativity - the famous romance " Don't sing beauty in front of me", as well as sketches " She's as good as noon», « In my soul», « At night in my garden" and others. True, orientalism in these compositions is more conventional, and not as clearly recreated as in the works M. Balakireva.

In his vocal music, Rachmaninov managed to show himself as a magnificent master of brush and paint, who “painted” a real gallery of natural paintings - “ Island», « It is nice here», « Lilac", and many others.

The tragic theme was also embodied in Rachmaninov’s work. It is precisely this that prevails in the romances from opuses No. 21 and No. 26, which were created during a difficult period for the artist. Then Sergei Vasilyevich was very worried about the failure of the debut symphony and tried to convey all the feelings in his creations - compositions “ Fate», « How it hurts me», « I'm lonely again», « Everything passes».

As a true artist, Rachmaninov could not help but touch upon the theme of art and his fate. In this regard, the romances “ Arion», « Muse" And " Obrochnik».

He was a composer of amazing talent. Whatever genre he touched, under his hand he acquired extraordinary spiritual and artistic perfection. And from romance the great musician managed to do the seemingly impossible - a genre with truly limitless possibilities. And what is most interesting is that Rachmaninov was not interested in the artistic merits of the text; only the images and meaning that the authors put into it were important to him. True, the composer always interpreted them in his own way, creating a completely different poetic image, fascinating with its sound.

Video: listen to Romances by Rachmaninov

The diversity of S.V. Rachmaninov’s talent was expressed in the guises of a conductor, composer, and performer, although the composer himself often said that he was afraid of not finding himself, and at the end of his life he wrote:

“...I haven’t found myself...”

This composer is called one of the most outstanding melodists. He himself said:

“I would like to sing the theme on the piano the way a singer would sing it.”

V. Bryantseva notes the organic combination in his melody of already formed aphorism with the just emerging breadth of breathing, processuality, embodying the features of the original Russian epic melodies. This is how Rachmaninoff’s original “dali melodies” (B. Asafiev) are born with a complex interaction of individual dramatic and song-generalized lyrical principles.

This is a lyrical-epic melody of a new type, bearing dramatic potential, whose nature is in a special ratio and rapid mutual switching of static and dynamic methods of development (L. Mazel).

Rachmaninov's melody is always connected with folk origins, themes of the homeland, and the bell ringing of Russia.

From the rich heritage, covering a wide range of genres and themes, we will dwell on only a few works of the composer:

Piano works of S.V. Rachmaninov

In the master's work, piano works form the most important part; most of them were written in Russia. The image of a sounding piano created by him serves to convey the depth of existence itself. Having introduced bell images that have a philosophical and ideological meaning, the composer affirms them in piano music culture as an Eternal Theme.

Fantasy plays (op. 3, 1892) include the plays: “Elegy”, “Prelude”, “Melody”, “Punichinelle”, “Serenade”. The cycle celebrates the combination of the individuality of Rachmaninov's language and the connection with its predecessors. In “Elegy” there are features of Chopin’s melodicism and Schubert’s songfulness; Liszt’s sarcasm and grotesquery are in “Open China.”

“Six Musical Moments” (1896) is the embodiment of Rachmaninov’s idea of ​​affirming an optimistic principle. At first they were created as separate works, then they were combined into a cycle according to the principle of developing the image from darkness to light. The peak of darkness and tragedy is No. 3; further, the path of development of the image passes through stormy excitement in No. 4 - to the lyrics in No. 5, reaching the climax (triumph of light) in No. 6.

Etudes-paintings (six etudes-paintings, op.33, 1911; nine etudes-paintings, op.39, 1916-1917) are basically “sketches”; they have a conditional relationship to the sketch genre as such.

Preludes by Rachmaninov

Traditionally, foreplay has been thought of in connection with two ways of being:

• as an introduction to a fugue (in cycles, for example, by J.S. Bach);
• miniature (in the works of Chopin, Lyadov).

In Rachmaninov’s work, a third direction in the life of the genre appears:

— independent large-scale play.

In the cycles of preludes there is a combination of three principles: lyric, epic and dramatic. They cover a wide range of images, are distinguished by virtuosity, brilliance, extensive forms, and monumentality; They do not have program names.

A comparison of the cycles of preludes (ten preludes op. 23, 1903 and thirteen preludes op. 32, 1910) demonstrates changes in the relationship between figurative spheres and emotions in music: the moods of light poetic lyrics characteristic of the earlier cycle are replaced in the later by an increasing role of disturbing, dramatic, fatal; also - majestic epic and increasing the brightness of the national color. This influences the manner of piano writing: increased monumentality and richness of colors give it orchestral features.

Sonatas

The piano sonata genre as a whole was not typical for this composer, unlike his contemporaries. Snata No. 1 in d-moll (op. 28, 1907) (like No. 2 in b-moll, op. 36, 1913) impresses with its depth, although it is not among the most performed and popular works.

Concertos for piano and orchestra

Before Rachmaninov, the genre of the piano concerto was realized in the works of Balakirev and Rubinstein, but was not decisive for anyone. For this composer, this genre became one of the most important, absorbing the entire figurative world of his work. One of the most important features is the unity of three principles in his concerts (as in preludes): lyrical, epic and dramatic.

The piano concertos of S.V. Rachmaninov can be called a unique result of his work: they summarized what the composer accumulated in preludes, symphonies, etc. This is mainly -

• monumentality,
• concert performance,
• virtuosity.

He symphonizes his 4 concerts, marking the most important milestones in his work, picking up this tradition from Tchaikovsky.

No. 1 (fis-moll, 1891)– graduation from the conservatory. The first piano concert, marked by sincere, emotional lyrics, was successfully received;

Second Piano Concerto (C-moll, 1901) marked the exit from the crisis and opened a mature period of creativity. As a sign of gratitude, the composer dedicates it to V. Dahl, a psychotherapist and hypnotist, who managed to convince him of the inevitable success of the work;

Third Piano Concerto (d minor, 1909) denotes one of the peaks of the composer’s entire work. Its true meaning will be understood only with time (then it will be ranked among the greatest masterpieces of Russian piano music of the 20th century);

No. 4 (g-moll, 1926), dedicated to N. Medtner, it was created over many years, summarizing creative quests.

Often included among the concerts is “Rhapsody on a Theme of Paganini” (a-moll, 1934), where its inherent concert quality allows the work to “rightfully be considered the Fifth Concerto” (written in the form of variations).

Symphonies of Rachmaninov

(No. 1, d-moll, 1895; No. 2, e-moll, 1906-1907; No. 3, a-moll, 1935-1936)

The first symphony of S.V. Rachmaninov was not accepted by his contemporaries, marking a turning point in the master’s work: its execution was a failure. The work is monumental, going back to the lyrical-dramatic symphonism of Tchaikovsky, the imagery and complex of musical expressive means of the composers (in combination with the features of the author’s individual style). Failure becomes a strong blow for the composer, causing long-term depression. The composer wrote:

“After this Symphony, I didn’t compose anything for about three years. He was like a man who had suffered a blow and whose head and arms were lost for a long time...”

Music of the Second Symphony reveals the majestic and sad image of Rus', epic monumentality and breadth are combined with the soulful depth of the lyrics.

Moods Third Symphony express tragedy and fatality, they are filled with longing for what was lost (as in the “Symphonic Dances”, the theme of the medieval sequence “Dies irae” (“Day of Wrath”) sounds here, firmly entrenched in the musical consciousness as a symbol of death and rock.

"Symphonic Dances" is the composer’s last work, written in 1940, when the breath of World War II had already touched Europe.

Vocal and choral creativity

The vocal work of S.V. Rachmaninov as a whole is marked by a tendency towards a gradual strengthening of the role of the declamatory principle (cycle of romances op. 26, 1906; in subsequent cycles op. 34 and 38 this tendency will manifest itself even more clearly).

One of the composer's most significant philosophical works is the poem "Bells" for orchestra, choir and soloists. Edgar Poe in a free retelling by Balmont (1913). This work - an example of a mixed genre that combines the features of a symphony and an oratorio.

The other side of the composer’s ideological aspirations in "All-Night Vigil"(1915, for a capella choir) based on the canonized liturgical text. Its most important feature is the deep nationality of its figurative structure and intonation content. The composer here uses the melodies of Znamenny and other ancient chants, realizing discoveries in the field of polyphonic choral presentation, harmonization of musical fabric, and its intonational nature.

Rachmaninov's operatic work

The operas “The Miserly Knight” (1905, based on the text of the tragedy by A. Pushkin) and “Francesca da Rimini” (1905, after Dante, libretto by Tchaikovsky), containing signs of the small opera genre, are based on tragedy. In addition, in 1906 the composer created the opera “Salambo” (libretto by M. Slonov, now lost), and from 1907. worked on the opera “Mona Vanna” (based on Maeterlinck), but left it unfinished, no longer turning to the opera genre in his work.

Maintaining a close connection with tradition throughout his entire creative career, composer S.V. Rachmaninov developed, updated, and rethought them in his works. The highest evaluation criteria for him are spontaneity and sincerity of expression, which, in interaction with the extraordinary beauty, depth and power of impact of his music, make it immortal and relevant, placing it above the boundaries of time.

For this topic we have prepared an online crossword puzzle about the music of this master -

The great Russian composer, pianist and conductor Sergei Vasilyevich Rachmaninov is the author of a huge number of works of various genres - from etudes to operas. His brilliant music is known all over the world. Famous works of Rachmaninov are still heard today in different parts of the world. The composer began studying music at the age of 5, and when he was 13, he was introduced to P.I. Tchaikovsky, who highly appreciated his talent.

Rachmaninov's works are imbued with romance and lyricism, energy and freedom. The theme of the Motherland finds particular embodiment in his music.

Works of Rachmaninov - list

Here is a list of works that the composer gave to the world:

• four concertos for piano and orchestra;
• three symphonies;
• three operas;
• suite “Symphonic Dances”;
• vocalise for voice accompanied by piano, dedicated to the opera singer Antonina Nezhdanova;
• 3 poems (“Prince Rostislav”, “Bells” and “Island of the Dead”);
• 2 symphonies
• five fantasy pieces for piano;
• 2 piano sonatas;
• sonata and two pieces for cello and piano;
• capriccio on gypsy themes;
• two pieces for cello and piano;
• cantata "Spring";
• six pieces for piano four hands
• 2 works for choir acapella;
• Vantasia "Cliff".

And also preludes, etudes, romances, Russian songs and so on.

The composer's student years

In 1882, Sergei Vasilyevich entered the conservatory in St. Petersburg, and from 1885 he continued his further studies at the Moscow Conservatory in two departments at once - piano and composition. In 1981, Rachmaninov graduated from the piano department with a gold medal, and a year later he completed his studies as a composer.

Works of Rachmaninov (list), which were written by him during his student years:

• piano concerto No. 1;
• Youth Symphony;
• the symphonic poem “Prince Rostislav”, based on which was first performed for the public after the death of the author;
• opera “Aleko”, the plot of which was the poem by A.S. Pushkin, became Rachmaninov’s diploma work at the composition department.

Works written in 1893-1899

In 1893, Rachmaninov wrote an Elegiac Trio entitled "In Memory of the Great Artist", which is dedicated to Pyotr Ilyich Tchaikovsky and created on the occasion of his death. In this work one can hear the grief of loss and at the same time bright memories of a great man, as well as philosophical discussions about how fleeting life is. Other works by Rachmaninoff, which he wrote between 1893 and 1899: symphonic fantasy “The Cliff”, Musical Moments for piano, prelude for piano in C sharp minor. The year 1895 was marked by the writing of Symphony No. 1, which premiered only two years after its creation. The symphony failed, the composer perceived himself as creatively incompetent and for several years he performed exclusively as a pianist and conductor and did not write music.

1900s in the creative life of the composer

At this time, the composer overcomes and begins to write again. From then on, the most fruitful period in his activities began. Rachmaninov, created during these years:

• second concerto for piano and orchestra;
• sonata for cello and piano;
• cantata “Spring”, which was created based on poems by N. A. Nekrasov;
• Symphony No. 2;
• Concerto No. 3 for piano and orchestra;
• a gloomy symphonic poem “Island of the Dead”, which the composer was inspired by a black and white copy of a mystical painting by Arnold Böcklin.

In the period from 1904 to 1906, Sergei Vasilyevich wrote two one-act operas: “Francesca da Rimini” based on Dante and “The Miserly Knight” based on the work of A. S. Pushkin. In 1906, both operas were staged at the Bolshoi Theater, but did not gain wide popularity. At the same time, Rachmaninov was working on the opera “Monna Vanna” (based on the play by M. Maeterlinck), but it remained unfinished.

In 1910, the composer turned to choral music and wrote the Liturgy of the Saint in 1913 - the poem "Bells", and in 1915 - the liturgical composition "All-Night Vigil". Two notebooks of preludes for piano and the same number of notebooks of “Etudes-Paintings” were created.

In 1917, the composer went on tour and did not return to Russia. Until his death he lived in the USA. In the first nine years of his life in exile, Sergei Vasilyevich did not write music. After these nine years, he wrote Concerto No. 4 for piano and orchestra (a not very well-known work, which did not have success during the author’s lifetime and was revised several times by himself), “Three Russian Songs” (a tragic work in which longing for Russia is embedded) , Variations on a Theme of Corelli (which have an unusual form for this genre of music), the famous Rhapsody on a Theme of Paganini, Symphony No. 3, “Symphonic Dances” for orchestra. Rachmaninov's last works are permeated with longing for the Motherland.

Romances

The history of Russian classical romance of the pre-revolutionary era is completed by the vocal works of Rachmaninov. List of romances written by Sergei Vasilyevich in different years:

• “At the gates of the monastery” based on poems by M. Yu. Lermontov;
• “In the Silence of the Night” to the words of A. Fet;
• “Do you remember the evening” based on poems by A.K. Tolstoy;
• “April” translated from French by V. Tushnova;
• “Don’t sing, beauty” based on poems by A. S. Pushkin;
• “River Lily” to the words of A. Pleshnev from G. Heine;
• “Spring Waters” based on poems by F. Tyutchev;
• “Oh, don’t be sad” to the words of A. Apukhtin;
• “They Answered” a translation of Victor Hugo’s poems;
• “At Night in the Garden” to lyrics by Alexander Blok;
• “Aw” to Balmont’s words.

The most famous works of S. Rachmaninov

One of the greatest Russian composers, Rachmaninov, left a huge legacy to his descendants. The most famous works of Sergei Vasilyevich are his three operas, piano concertos, a rhapsody on a theme by Paganini, the suite “Symphonic Dances”, vocalise for voice accompanied by piano, the poem “Bells”, romances.

The famous “Vocalise” was written for a tenor or soprano, but still more often it is performed by sopranos. Vocalise is sung without words, on one (any) vowel sound. The work is also arranged for performance accompanied by an orchestra, for a choir with an orchestra, for an orchestra without a vocalist, for an instrumental soloist, there are many interpretations of this work.

The suite “Symphonic Dances” was written in exile in 1940 and became Sergei Vasilyevich’s last work; he created it three years before his death. This music is all permeated with anxiety for the fate of people who suffered the Second World War.

The opera “Francesca da Rimini” - its plot is taken from Dante’s Divine Comedy. The author of the libretto for this opera was M. I. Tchaikovsky.

Poem "Bells"

Perhaps Rachmaninoff's most famous work is the symphonic poem "The Bells". It is written for three soloists (baritone, tenor, soprano), choir and symphony orchestra. Edgar Poe's poem of the same name served as the basis for this work. The poem consists of four parts of different nature, which reveal different stages of human life. Parts 1 and 2 (wedding chimes and bells) express serene happiness, parts 3 and 4 are already an alarm bell, a death knell that sounds tragic. In the first movement of the Allegro the tenor is the soloist; in the second part Lento is the soloist - wedding bells sound and the music talks about love; the third part of Presto is performed by a choir and orchestra - the alarm sounds, the music expresses fear; in the fourth movement the baritone is the soloist - here the death knell sounds and the music is an expression of death. According to Rachmaninov himself, it was this composition that he loved more than any other and it was this composition that he created with particular passion.

Opera "Aleko"

Rachmaninov's operatic works are few in number. His very first opera, which he wrote as a student at the conservatory, was “Aleko” based on A. Pushkin’s poem “Gypsies”. This was the composer's graduation work. The author of the libretto is V. I. Nemirovich-Danchenko. The opera premiered a year later at the Bolshoi Theater and was a great success. The great Pyotr Ilyich Tchaikovsky was very delighted with the opera. In the story, the beautiful gypsy Zemfira cheats on her husband Aleko with a young gypsy whom she fell in love with. Aleko, in anger, kills Zemfira's lover and herself. The gypsies do not accept Aleko’s cruel act and leave, leaving him alone with his melancholy.

Rhapsody on a Theme of Paganini

Sergei Rachmaninoff's works for piano and orchestra are also some of his most famous works. Rhapsody on a Theme of Paganini is one of them. The work was written while in exile. It includes 24 variations on the theme of one of the most famous Caprices by Nicolo Paganini - Caprice No. 24. This is one of Rachmaninov’s most popular creations to this day; it can be heard as a soundtrack to many foreign films.

Romances occupy a special place in the composer's work. In them, Rachmaninov appears as a different side of his creative image.

Rachmaninov's romances rival his piano works in their popularity. Rachmaninov wrote about 80 romances (including youth songs that were not published during the composer’s lifetime). Most of them were composed on the texts of Russian lyric poets of the second half of the 19th and the turn of the 20th centuries, and only a little more than a dozen - on the words of poets of the first half of the 19th century (Pushkin, Koltsov, Shevchenko in Russian translation, etc.).

Often turning to poems of low poetic merit, Rachmaninov “read” them in his own way and in musical embodiment gave them a new, immeasurably deeper meaning. He interpreted romance as an area of ​​expression of predominantly lyrical feelings and moods. Epic, genre-everyday, comedic or characteristic images are almost never found in him.

Several of Rachmaninov's romances reveal a connection with folk songs and urban everyday music.

Rachmaninov turned to the genre of Russian lyrical song (“romance song”) mainly in the early period of his creativity, in the 90s. He does not strive to reproduce all the features of the folk style (although he retains some of them) and freely uses the harmonic and textural means of professional music. At the same time, the genre is interpreted mainly in dramatic terms. An example is the romance song “I fell in love with my sadness” (verses by Taras Shevchenko, translated by A. N. Pleshcheev). In terms of content, the song is related to the theme of recruitment, and in style and genre - with lamentations. The composer based the melody on a terza chant, repeated many times. Also characteristic are mournful turns of phrase at the end of melodic phrases. Dramatic, somewhat hysterical, chants at the climax (“This is such a lot for me”) enhance the closeness of the vocal part to lamentation and crying. The “goose” arpeggiated chords at the beginning of the song emphasize its folk character.

The dramatic center of the work is the second verse. Ascending sequences in the melody, supported by agitated triplet figurations of the piano, are interrupted by declamatory exposition ("And as a soldier I..."); the subsequent climactic phrase is wider in range than the first verse and is the dramatic climax of the song. After it, the “crying” wordless vocalizations of the coda sound especially expressive. With their hopelessness they emphasize the drama of a lonely female soldier.

The brilliant “Vocalise”, written in 1915, occupies a very special place in Rachmaninov’s vocal lyrics. It is adjacent to the composer’s romances, which in their origins are associated with Russian songwriting. Elements of folk song style here organically flow into the melody, marked by a bright individuality.

The connection between “Vocalise” and Russian plangent song is evidenced by the breadth of the melody, the leisurely and seemingly “endless” nature of its development. The smoothness and fluidity of movement is facilitated by the lack of strict repetition and symmetry in the structure and sequence of phrases, sentences, and periods (“Vocalise” is written in a simple two-part form). The music is so expressive, so meaningful that the composer considered it possible to abandon the poetic text. I would like to call “Vocalise” a Russian “song without words.”

Against the backdrop of measured and calm piano chords, the soprano sings a thoughtful, slightly sad melody-song.

Smoothly, with soft twists, it moves down from the III degree to the V, then rises steeply up an octave and slides with a smooth downward turn to the main tone of the fret.

The musical fabric of the play is full of “singing” melodic voices, intonationally related to the main theme. In the second sentence, the vocal melody is joined by two more piano voices, presented in the form of a duet-dialogue. In the third sentence, the melodic movement in the accompaniment is doubled by an octave. In the last sentence, the vocal melody forms a free echo (“second”) to the theme heard at the piano.

The deeply Russian character of the music of “Vocalise” is also emphasized by harmonic means: diatonic (see the natural minor at the heart of the melody in the first sentence, the sequence of the seventh chord of the natural VII degree and the tonic in bars 5-6), plagal turns (for example, bars 2-3 at the beginning third sentence), frequent parallelisms in voicing (in particular, see the sequence of parallel triads in measure 3 from the end of the romance).

As a kind of continuation of the genre of “oriental song”, characteristic of the work of Russian composers of the first half of the 19th century and the Kuchkists, the romance “He sing, beauty, in front of me” (words by A. S. Pushkin) can be considered - a true masterpiece of Rachmaninov’s vocal lyrics and 90- x years. The main theme of the romance, pensive and sad, first appears in the piano introduction, where it is presented as a completed song melody. The monotonously repeated A in the bass, the chromatically descending movement of the middle voices with colorful changes in harmonies give the intro music an oriental flavor.

At the same time, they possess signs of the composer’s individual style. For them, a special condensation of feeling, a special languid-sultry passion of expression, a long stay in one emotional sphere and an emphasized sharpness of the climax are indicative.

“In the Silence of a Secret Night” (words by A. A. Fet) is a very typical example of love lyrics of this kind. The dominant sensual and passionate tone is already determined in the instrumental introduction. The languid intonations of the diminished seventh in the upper voice appear against the background of expressive harmonies of the accompaniment (diminished seventh chord, dominant non-chord). The triplet chord texture of the accompaniment is preserved even with the introduction of a vocal melody, melodious and declamatory-expressive.

In the middle section of the romance, the accompaniment takes on a more agitated character. The imitative development of new melodic turns in the voice and piano and a chain of ascending sequences lead to a pathetic climax with the successive achievement of the peak sound (F-sharp) in the vocal part, then in the piano part (“to awaken the darkness of the night with a cherished name”). Here love's delight reaches its climax. In the final section that follows this (Piu vivo), the modified theme of the first movement gradually dissolves into ascending triplet figurations.

Romances of a lyrical-landscape nature form one of the most important areas of Rachmaninoff’s vocal lyricism in terms of artistic value. The landscape element either merges with the main psychological content or, on the contrary, contrasts with the latter. Some of these works are designed in transparent, watercolor tones, imbued with a calm, contemplative mood and are distinguished by exceptional subtlety and poetry. One of the first such romances in the work of the young Rachmaninov was “Island” based on poems by the English romantic poet P. Shelley, translated by K. Balmont.

The most perfect and subtle romances associated with images of nature were created by the composer in his mature period. This is “Lilac”, “It’s good here”, “At my window”. They are included in the cycle of romances Op. 21, which appeared almost simultaneously with the Preludes of Op. 23 and the Second Concerto and possessing the same high merits: depth of content, grace and refinement of form, richness of expressive means.

“Lilac” (words by Ek. Beketova) is one of the most precious. The pearl of Rachmaninoff's lyrics. The music of this romance is marked by exceptional naturalness and simplicity, a remarkable fusion of lyrical feelings and images of nature, expressed through subtle musical and pictorial elements. The entire musical fabric of the romance is melodious and melodious. Calm, sing-song vocal phrases flow effortlessly one after another. The expressive figuration of the piano is associated with the idea of ​​foliage being swayed by a light breeze. A feeling of peace also arises due to the pentatonic mode coloring: the vocal melody and accompaniment of the first bars of the romance are sustained in the half-tone scale A-flat - B-flat - C - E-flat - F.

Later, as he develops, the composer goes beyond the pentatonic scale. In the middle of the romance, a broad melodic phrase (“There is only one happiness in life”), supported by a beautiful instrumental echo and shaded by a soft turn into the tonality of the second degree (B-flat minor), stands out with its sincerity and warmth. . The reprise has also been significantly updated. (The romance is written in a simple two-part form.) The composer retains only the tonality and pattern of the piano accompaniment. The melody itself is new here, with wide intervals and sharp delays at the climax (“My poor happiness”). But at the conclusion, the diatonic melody and the old pentatonic figuration that conclude the romance sound all the more fresh and crystal clear on the piano. .

The romance “It’s Good Here” (words by G. A. Galina) also belongs to the outstanding examples of Rachmaninov’s lightly contemplative lyrical works. In this romance, the fluidity of musical development characteristic of the composer’s mature romance style is revealed with great clarity, giving rise to a special integrity of the form, its internal indivisibility. The romance was built, one might say, “in one breath” - the music flows so continuously in a flexible interweaving of melodic phrases of voice and piano, in plastic harmonic and tonal transitions. The melody of the romance is born from the initial vocal phrase. Its characteristic melodic-rhythmic outlines - the smooth movement of three eighths in thirds upward and a stop on the last, fourth, sound with a slight descent - is easy to notice in all the vocal and piano phrases of the romance.

By varying this motif, the composer with remarkable skill creates broader melodic structures from it. They lead to the melodic peak, which is a quiet climax full of deep, but hidden, enthusiastic feeling (“Yes, you, my dream!”).

The impression of continuity in the flow of music is facilitated by the uniformity of the texture of the accompaniment, the almost complete absence of caesuras and the desire to avoid tonics. The A major tonic triad appears in the middle of the romance only once (at the end of the first sentence - before the words “there are no people here”) and is firmly established only in the conclusion. But repeatedly the composer introduces dominant or subdominant harmonies to the secondary steps of the mode, creating the appearance of deviations in different keys: see, for example, with the words “The clouds are turning white” (plagal cadence with a quintessex chord of the second degree in harmonic E major), at the climax of the romance “Yes, you , my dream!" (authentic cadence in F sharp minor). Such diversity and iridescence of tonal colors not only has great landscape and coloristic significance, but also enriches the lyrical and psychological content of the romance, giving the music special spirituality and expressiveness.

In Rachmaninov's romances, images of nature are used not only to express quiet, contemplative moods. Sometimes they help embody stormy, passionate feelings. Then romances of a virtuosic nature are born, distinguished by their breadth of form, richness and density of colors, brilliance and complexity of piano presentation.

Rachmaninov wrote the romance “Spring Waters” in this style (words by F. I. Tyutchev). This is a musical picture of the Russian spring, a poem of enthusiastic, joyfully jubilant feelings. The vocal part is dominated by inviting melodic turns: motives built on the sounds of a major triad, energetic ascending phrases ending with an energetic leap. Their strong-willed character is enhanced by dotted rhythmic figures. The brilliant, one might say concert-like, piano part is very meaningful and plays an extremely important role in creating the general, life-affirming character of the work and its picturesque, picture-like appearance. Already the opening phrase of the piano part - in rapidly soaring passages, in the expressive sound of an enlarged triad - recreates the atmosphere of spring, giving birth to a musical image of foaming spring streams.

This phrase develops further throughout almost the entire romance and acquires independent artistic meaning, becoming, as it were, the leitmotif of spring. At the climax of the work, it turns into joyful ringing, heralding the triumph of the forces of light.

Musical development, thanks to unexpected tertian comparisons of major keys (E flat major - B major - A flat major, E flat major - F sharp major), is distinguished by bright tonal contrasts. Unusual for the chamber genre is the profound transformation of thematic themes.

The strength and intensity of musical development caused the appearance of two bright and powerful climaxes in the romance. One of them is achieved by comparing E-flat major and F-sharp major (“Spring is coming! We are messengers of the young spring”). In the vocal part here there appears a wide (in the volume of a decima), steeply rising upward, jubilant phrase “She sent us forward!”, supported by stormy upswings of chords at the piano (introductory motive). Following this, the music takes on a dreamy and restrained character: the sonority suddenly subsides, the tempo slows down twice, and the piano texture becomes lighter.

Andante (“And the quiet, warm days of May”) begins a new wave of growth: the tempo accelerates and the rhythmic pulse quickens (eighth notes are replaced by triplets). Energetic ascending piano sequences lead to a second, no less impressive, but this time purely instrumental climax. It is reminiscent of the pathetic virtuoso episodes of the composer's piano concertos. The last sound of the vocal part is “flooded” by an avalanche of rapidly falling octaves, leading to a pathetic, trumpet-like cry, “Spring is coming!” It is accompanied by a dense, seemingly “vibrating” (repeating triplets) accompaniment with a sharp-sounding overlay of the “dominant and sixth” chord on the tonic fifth.

The image of the night appears repeatedly in Rachmaninov's romances. In the romance "Excerpt from Musset" (translation by A. N. Apukhtin) he is associated with. a state of oppressive loneliness. The range of feelings expressed in the romance is excruciating mental pain and despair, intensified by darkness and silence. Some nervousness and “hysteria” of the music in certain episodes of the romance apparently reflects the stylistic features of the gypsy pop performing arts, which Rachmaninov knew well. In the somewhat exaggerated pathos of such romances, as B.V. Asafiev rightly noted, “there was a strain and a cry that was understandable to the environment,” and “with this impulse, his aspirations, the composer instinctively responded to a painful feeling.”

A musical and poetic image is born already in the first bars of the romance. The melody is formed by phrases separated by pauses, but intonationally united. Expressiveness is enhanced by the excited figurations of the accompaniment.

In the middle section (it begins with the words “What am I excited about”), episodes appear that are contrasting in mood and musical content, revealing the complex change of thoughts and experiences of the lyrical hero. The melodic ariatic melody gives way to recitative presentation. The exclamation “My God!” sounds like an unexpected outburst of a bright and enthusiastic feeling of hope, emphasized by the major triad of the VI degree. The state of vague anxiety and tense expectation is further perfectly expressed in the repetition of the same melodic phrases (“Someone is calling me,” etc.), in the sad, aching sound repeated twelve times on the piano in F-sharp of the second octave (“It has struck midnight” ) and in the downward movement of the bass, sounding like soft footsteps receding. The dramatic climax comes in a compressed reprise-coda (“Oh, loneliness,” etc.) and, as often happens in Rachmaninov’s romances, comes at a piano conclusion. It combines the most significant and striking components of the musical content of the work: the intonation of the main theme and the major “shift” from the middle section of the romance. The secondary appearance of the D major triad here also gives the impression of a ray of light” suddenly penetrating the nocturnal atmosphere, saturated with tragedy.

Quite typical of Rachmaninoff's mature vocal style is the continuously developing musical form of the romance - a simple three-part composition, however, gravitating towards a one-part composition. Its unity is achieved by the intonational relationship of various melodic structures (see, for example, the initial phrases of all three sections - “Why is my sick heart beating so hard?”, “Why am I excited, scared in the night?”, “Oh loneliness, oh poverty!”) . The unity of the musical form is also achieved by the flexibility of the modulation plan, the frequent change of different episodes and textures, due to which the entire middle is unfinished and is perceived as the preparation of a reprise. Only the four-bar predicate (from the words “My cell is empty”) and the strong establishment of the main tonality in the reprise-coda give the whole the necessary completeness. All these features bring the romance closer to a type of dramatic vocal scene.

The image of the night also appears in the romance “Sad Night” (words by I. A. Bunin). However, the theme of tragic loneliness received a completely different embodiment here. “The Night is Sad” is a new type of Russian elegy. It is unlike the bright contemplative elegies of Glinka ("Doubt") or Rimsky-Korsakov ("The Clouds Are Thinning..."). Elegance is combined here with a densely gloomy mood, a consistent intensification of tragic coloring with restraint, emphasized by stillness. The basis of a romance is essentially not one but two melodies. The first is formed in the vocal part, consisting of short and sad in mood motives-sighs; the other - wider and more united - takes place in the piano part. The background is melancholic repeating quintuplets; they create a feeling of inescapable sadness and numbness:

The uniqueness of intonation development lies in the fact that numerous phrases and motives that arise during the development of a musical and poetic image are perceived as variants of a single melodic content. Some of them acquire the meaning of “key” intonations and chants. Such, for example, is the initial melodic turn to the words “The night is sad,” which frames the entire romance (see the last three bars of the piano conclusion). This should also include various variants of a melodic phrase based on an ascending movement to the fifth tone of the mode. Initially, this turn appears at the piano, then passes through the vocal melody (“Far away...”, etc.) and again continues to develop in the instrumental part (see bars 5-7). The conclusion is based on the interweaving of these two characteristic motifs.

The impression of unity and internal integrity of the musical form of the romance is facilitated by the consistency of harmonic development. The romance is dominated by the plagal harmonic sphere, manifested in the tonal relationships of the parts of the work (F-sharp minor - E minor - F-sharp minor) and in numerous plagal phrases scattered throughout the romance.

At the same time, it is not difficult to find subtle figurative and musical touches associated with individual details of the poetic content. Let us note, for example, the stop on the major triad of the VI degree - at the mention of a distant light, pleasing a companion lost in the endless steppe. The plastic melodic progression that appears next with a jump to a diminished fifth and a deviation into the key of a major dominant merges well with the words of the text “There is a lot of sadness and love in the heart.” During the transition to the reprise, the piano expressively sounds the course of parallel octaves, with its harsh character and regularity preparing the return of the musical picture of the deserted night steppe.

The amazing sensitivity and penetration of the music, the figurative richness achieved by the composer with a very economical use of expressive means, make this romance one of the pearls of Rachmaninov’s vocal creativity.

As we can see, dramatic themes are widely represented in Rachmaninov’s vocal works. The bitter consciousness of the irreversibility of happiness and, in spite of everything, the uncontrollable desire for it, an angry protest against undeserved suffering and deprivation - these are the moods and motives of Rachmaninov’s dramatic romances. Most of them are found among the romance cycles of 90Q.-x (op. 21 and 26).

“Everything passes” (op. 26, words by D. N. Ratgauz). The theme of regret about an irretrievably passing life is resolved here by the composer in a sharply dramatic way: it develops into a passionate protest against everything that fetters and suppresses the bright and beautiful impulses of a person. In this way, Rachmaninov's romance is decisively different from the pessimistic and weak-willed mood of Rathaus's poem. The protesting pathos breaks through with particular force in the climactic, last phrase. This climax, prepared by two successively increasing phrases - voice and piano - ascending pattern with an energetic fifth with Tchaikovsky. Rachmaninov's romances excite with their passionate power, spontaneity of feeling, and captivating sincerity. This is the composer’s lyrical confession, in which both the rebellious impulses characteristic of his work and the uncontrollable pressure of strong-willed life-affirming emotions - Rachmaninov’s “flood of feelings” - were expressed; his romances reflect both the tragic moods of loneliness and reverent love for nature.

The composer's vocal style is distinguished by its length, breadth and freedom of melodic breathing, a combination of smooth and plastic cantilena with sensitive, always psychologically justified declamation. The vocal principle, singing dominates in Rachmaninov's romances, the vocal melody is the main means for the composer of revealing the lyrical and psychological content and creating generalized musical images. The principles of the romance style of Glinka and Tchaikovsky are continued in Rachmaninov’s vocal lyrics. At the same time, in Rachmaninov's romances there are features that indicate their stylistic connection with the lyrics of the composers of the Mighty Handful - most of all Rimsky-Korsakov, partly Balakirev and Borodin; The “Korsakovian” beginning is felt in the general light-elegiac tone of many of Rachmaninov’s contemplative romances, in the richness and richness of their harmonic coloring.

One of the significant features of Rachmaninov’s romance style is the exceptionally large role and variety of piano accompaniment. The piano part of Rachmaninov’s romances cannot be called simply an accompaniment. It is interesting to quote the composer’s remark regarding the romance “Sad Night”: “... actually, not for him [i.e. e. the singer] needs to sing, and the accompanist on the piano." And indeed, in this romance (as in many others) the voice and piano merge into a vocal-instrumental duet ensemble. In Rachmaninov’s romances there are examples of concert-virtuoso, decorative and lush piano texture, along with a transparent chamber presentation, requiring from the pianist exceptional sound mastery in conveying the rhythmic and polyphonic details of the musical fabric, the finest register and harmonic colors. Rachmaninov biography romance opera

Rachmaninov's inherent sense of form was clearly manifested in the convex and intense dynamics of his romances. They are distinguished by their special dramatic sharpness, the “explosiveness” of the climaxes, in which the internal psychological conflict, the main idea of ​​the work, is revealed with extraordinary force. No less typical of the composer’s vocal lyrics are the so-called “quiet” climaxes - using high sounds on the most delicate pianissimo.

Such climaxes, despite all the external restraint, have enormous emotional intensity and produce an indelible artistic impression, being an expression of the author’s innermost thoughts and feelings.

The vocal works of Rachmaninov (as well as his contemporary Medtner) complete the history of Russian classical romance of the pre-revolutionary era.

The predominant sphere of Rachmaninov's chamber vocal creativity was lyricism, the world of personal feelings and moods. In its origins, it is associated mainly with the legacy of Tchaikovsky, which is manifested in the general emotional “openness”, sincerity and spontaneity of expression, and in some more specific stylistic features. Like Tchaikovsky, Rachmaninov sought first of all to capture the main mood of a particular poetic text in a bright melodic image, showing it in growth, dynamics and development. Hence those long lines of rise, build-up and pathetic climaxes that abound in Rachmaninov’s romances. At the same time, he did not ignore the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude to the poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary rearrangements of words or repetitions that violate the form of the verse; his vocal recitation is, as a rule, precise and distinct. In this respect, he stands completely at the level of his time - the era of the highest, most refined poetic culture.

One of the features that characterized the development of the chamber vocal genre at the beginning of the 20th century was the growing role of the piano part, which often acquired not only an equal status with the singer’s part, but even a dominant one. The piano accompaniment in Rachmaninov's romances is also distinguished by its exceptional richness, colorfulness and variety of forms. Rimsky-Korsakov even thought the sound richness and density of Rachmaninov’s accompaniments, their complex multi-layered texture, which sometimes seemed to develop completely independently, to be excessive. However, the melodically bright, textured vocal part never gets lost in this dense dense fabric, clearly standing out against its background. Sometimes the piano has a special melodic voice that intertwines with the vocal line, resulting in an expressive dialogue between the two partners. Regarding the romance “Sad Night” to the words of I. A. Bunin, Rachmaninov notes in one of his letters that “actually not to him (Sobinov. - Yu. K.) you need to sing, and the accompanist on the piano.” But whatever the degree of complexity and form of presentation, the parts of the voice and piano are almost always in close interaction, forming a single inseparable artistic whole.

Over the twenty-five-year period of time separating Rachmaninov’s first vocal opus from the last group of his romances, the nature of his chamber vocal lyrics experienced significant changes: not only did the sound palette become more complex and enriched, the selection of expressive means became more strict, but its figurative and emotional structure also changed in many respects .

Rachmaninov's early vocal work of the 90s is not yet completely independent stylistically and, in general, develops within the framework of the established forms and traditions of Russian romance of the 19th century. The influence of Tchaikovsky is especially noticeable (for example, “ I'm waiting for you", "Oh, don't be sad"). The composer also pays tribute to such traditional genres as a song in the folk spirit (“You, my field”, “I fell in love with my sadness”), elegy (“It’s been a long time, my friend” with an insufficiently justified bravura ending). At the same time, already in the very first youthful examples of Rachmaninov’s vocal lyrics, the features of independent creative individuality appear with sufficient clarity. The nineteen-year-old composer’s romance “Don’t sing, beauty, in front of me” is remarkable for its unity and consistency of mood. Unlike Balakirev, Rachmaninov does not strive for ethnographic accuracy of color in the musical interpretation of this Pushkin poem; the music of his romance is colored only in the most general, conventional oriental tones (patterned melodic pattern of the refrain, the material of which develops mainly in the piano part, numerous organ points). The main thing in it is a feeling of deep nostalgic sadness, longing for something beautiful, dear, but distant and unattainable. This characteristic motif of Rachmaninov’s lyrics is expressed with artistic strength and completeness that is striking in such a young author.

Noteworthy is the beautiful poetic romance to the words of A. A. Fet “In the Silence of a Secret Night,” in which a passionate lyrical feeling merges with the image of nature. As in the previous romance, the piano part is distinguished by its careful development, developing independently and as if parallel to the vocal line. This unique counterpoint contributes to the special expressive richness of the music. The dreamy atmosphere of a quiet night landscape gives way at the moment of climax to an enthusiastic impulse, in which one can hear a joyful rapture of life and a thirst for merging with the surrounding world.

In the elegant vocal miniature “Island” to the words of K. D. Balmont, Rachmaninov achieves a subtle expressive effect using extremely simple and economical means. The mood of serene peace and silence, disturbed only by a light breeze, is conveyed by the even and smooth movement of the vocal melody, invariably returning to the original sound, with a spare, transparent piano accompaniment that is almost graphic in design.

One of the peaks of Rachmaninov’s vocal creativity of the 1890s is “Spring Waters” to the words of F. I. Tyutchev, this, according to the characterization of V. A. Vasina-Grossman, “a hymn to spontaneous impulses, the wild flowering of young forces.” Here you can already hear those moods of spring renewal, emancipation and uplifting spiritual strength that will resound loudly in the works of Rachmaninov at the beginning of the new century. Thus, the image of nature acquires a broader symbolic meaning. The vocal part of the romance, unfolding against the backdrop of rolling, wave-like piano passages, is imbued with active, inviting intonations. The phrase “Spring is coming!” sounds almost like a battle cry. at the moment of climax, which occurs at the beginning of the reprise.

The 1900s brought a new rise in Rachmaninov's vocal creativity. Among the two series of romances op. 21 and , written in the period between the Second and Third piano concertos, we find a number of the most perfect examples of Rachmaninov's lyrics, in which the composer appears as a fully established master with his own unique creative personality. “Rachmaninov’s romances, like “Lilac”, “At My Window,” notes Asafiev, “although they were not a confession of symbolism, in reality they were a reflection of the atmosphere of a new, subtle (but not modernist refined) soulfulness and a touch of the music of Russian nature - quality, which was heard both in Chekhov’s wise “Pipe” and in a number of lyrical moments in Bunin...”

The romances “”, “The Night is Sad” are imbued with a similar Chekhov-Bunin poetic feeling of nature. At the same time, the composer is not interested in the landscape as such: nature in all these romances is only a kind of resonator of lyrical experience. Sound-written elements are kept to a minimum and are entirely subordinated to the expression of internal emotional experience. The selection of expressive means is strictly thought out and excludes everything unnecessary, unnecessary, serving only to fill the sound space. In “Lilac” to the words of the once popular poetess E. Beketova, the vocal part, accompanied by an invariably smooth rhythmic ostinato movement at the piano, is born from a short half-tone trichord chant. The predominance of anhemitonic turns conveys both a feeling of morning freshness and a state of unclouded mental peace. Only gradually does the expression grow, thicken, and the chromatic progression of the melody on the final words “My poor happiness is blooming” introduces a hint of aching sadness.

The melodically prominent initial phrase of the voice becomes the source of all further development in the romance “” to the words of G. Galina. In the second stanza, a gradual increase in sonority, leading to a pitch climax, is accompanied by a simultaneous thickening of the texture; the piano has an independent melodic voice, intertwined with the vocal melody. This counterpointing voice continues to develop even after the end of the vocal part, as if proving what was not fully expressed in words. The constant fluctuation of modal coloring between major and parallel minor emphasizes the peculiar duality of the expressed feeling. As in “Lilac,” the mood of quiet, serene joy and peace is mixed with a note of some hidden, unaccountable sadness.

The same subtlety of nuance, constant “play of chiaroscuro” with unity and consistency of the main emotional tone is distinguished by the romance “At my window” to the words of G. Galina, close to the previous one not only in general color and language, but also in the nature of the presentation and even the direct similarity of some intonation turns.

One of the most remarkable examples of Rachmaninov’s vocal lyrics in terms of depth and capacity of figurative content is the romance “The Night is Sad” to the words of I. Bunin. The image of a lonely traveler wandering at night in the remote steppe towards a distant, unclear, but irresistibly attractive goal acquires symbolic meaning in this short, laconic poem by Bunin.

The eternal desire for the unattainable is one of the main motives of romantic art - such, in the view of the romantic artist, is the whole of human life. Rachmaninov subtly grasped the lyrical ambiguity of the poetic text, which he conveys through the simultaneous combination of several independent musical planes. The even, monotonous movement of fifths at the piano, which forms a constant background, is associated with the infinity of the wanderer’s path and at the same time contributes to the unity and consistency of the main mood of hopeless melancholy. The vocal part, unfolding in a relatively limited range, is stern and restrained in expression. At the same time, a broad, expressive melody emerges in the piano part with a typical Rachmaninov long, gradual ascent to the top, in which one can hear a passionate thirst for life.

The other side of Rachmaninov's lyrics is represented by romances of the dramatic type, imbued with feelings of loneliness, dissatisfaction or passionate protesting pathos. This group includes “Excerpt from Musset” (translation by A. Apukhtin), “I’m lonely again” based on the words of Bunin and a number of others. In the first of these romances, Rachmaninov unexpectedly comes close to Mussorgsky: in terms of the power of tragedy, it can be compared with some of the songs in the “Without the Sun” cycle. Stormy outbursts of despair are contrasted with an eerie numbness of silence and silence in the declamatory middle section, distinguished by a subtle differentiation of expressive means. Each phrase of the text, each word is intonationally outlined and shaded with the help of special textural and harmonic techniques.

The large dramatic monologue “Fate” based on poems by Apukhtin, dedicated to Chaliapin, is also presented in a declamatory manner. In form, this romance is an expanded composition of a ballad-narrative type, consisting of a sequence of more or less independent contrasting episodes. The unifying principle is the “rhythm of fate” from Beethoven’s Fifth Symphony as a symbol of inexorable fate that overtakes a person at different moments of his life and in different situations. However, a certain touch of stiltedness and monotony of color reduce the artistic value of this work, which does not belong to the best examples of Rachmaninov’s vocal creativity.