Rachmaninov. Romances

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 destiny. 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 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.

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.

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 just emerging breadth of breathing, processuality, embodying the features of the original Russian epic melodies. This is how Rachmaninov’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 most significant philosophical works of the composer 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 -

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Rachmaninov's romances rival his piano works in popularity. Rachmaninov wrote about 80 romances. Most of them were written on texts by Russian lyric poets of the second half of the 19th century and the turn of the 20th century, and only a little more than a dozen on poems by poets of the 1st half of the 19th century. - Pushkin, Koltsova, Shevchenko in Russian translation.

He interpreted romance as an area of expression of lyrical feelings and moods. Occupies a very special place in Rachmaninov’s vocal lyrics. "Vocalize", written in 1915 (dedicated to the great singer Nezhdanova). The breadth of the melody, the leisurely and seemingly “endless” nature of its development speaks of the connection of “Vocalise” with Russian plangent song. 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.

"Lilac"(lyrics by 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 feelings and images of nature.

Romance "It is nice here"(lyrics by Galina) also belongs to the outstanding examples of Rachmaninov’s lightly contemplative lyrical works. This romance reveals with great clarity the fluidity of musical development characteristic of the composer's mature romance style. The romance is built “in one breath.” The music of the romance is particularly spiritual and expressive.

"In the silence of a secret night"(words by A. A. Fet) is a very typical example of love lyrics. The dominant sensual and passionate tone is already determined in the instrumental introduction.
Rachmaninov's romances have long and firmly entered the golden fund of Russian classics, rivaling in popularity with works for piano. It was in the romances - the pearls of vocal lyrics - that the composer's melodic genius was most clearly manifested: wide chanting and expressive "infinity" of the melody, sensual expression and brightness of national color. It is noteworthy that during 25 years of creativity in Russia (until 1917), Sergei Rachmaninov wrote more than eighty romances, but over the next quarter of a century abroad he did not create a single one.

Lilac

sl. E. Beketova - Spanish Irina Arkhipova

It is nice here

sl. G. Galina - Spanish Alibek Dnishev

Migratory wind

sl. K. Balmont - Spanish Irina Arkhipova

In front of the icon

sl. A. Golenishchev-Kutuzov - Spanish. Valentina Levko

April

sl. E. Payeron - Spanish Pavel Lisitsian

In the soul of each of us

sl. N. Minsky - Spanish Vladimir Zakharov