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Sergey Rahmaninov / Sergey Rakhmaninov (a part II)

the Representative of an old sort of noble family, Rakhmaninov has spent early years in the house with decreasing year from a year a prosperity, in a family which atmosphere became more and more strained. The musical abilities inherited, apparently, from the grandfather and the father, have defined its way to the Petersburg conservatory. There talent of the boy has not been solved. The help of the cousin, Alexander Ziloti, the favourite pupil of Sheet, has come in due time: it has estimated abilities of the twelve years musician and has defined it in the Moscow conservatory in N.S.Zvereva's who has incurred all cares and expenses on its further education class. The years spent in the house and a class of Zvereva, are filled by the incessant precisely regulated employment which have developed in Rakhmaninov the strict discipline, a high standard of work. Here, in a class of Zvereva, bases rahmaninovskogo pianizma, received on a conservatory older year artistic "°ыш¶ютъѕ" have been put; at Alexander Ziloti. Over employment on a composition supervised Taneev and Arensky. Tchaikovsky cult reigned everywhere in the Moscow conservatory, and in classes of Taneeva and Zvereva - especially.

At the age of 14-15 years Rakhmaninov writes some piano plays, including "¦хыюфш¦" kept poetic appeal up to now. From the beginning of 90th years there are mature products in different genres: the First piano concert, an opera "+ыхъю" "¦ыхушёхёъюх =Ёшю" Tchaikovsky memories, a symphonic poem "Л=хё" the first romancing opuses including such masterpieces as "-х sing, ъЁрёртшчр" "- molchani nights =рщэющ" "¤юы¦сшыр I on grief ётю¦".

Twenty years' Rakhmaninov is hotly accepted by public of the Bolshoi theatre in evening of the first execution "+ыхъю". This evening two prime ministers have taken place: Rakhmaninov's first opera and "Ђюырэ=№" - Tchaikovsky last opera, as though symbolising relay race of generations...

Unexpected accident has burst in spring of 1897 in connection with a premiere of the First symphony. Movable by the best feelings, in every possible way sympathising with the young composer, A.K.Glazunov undertook to acquaint Petersburg with its symphony. Avoiding unnecessary "§Ёхё=юьр=шщэюё=ш" it is necessary to tell that conducting at all was not the strongest aspect of activity of the well-known composer.

The Symphony has failed. Critics, especially T.Kjui, have shown ruthlessness. But the author has appeared the most severe critic. Understanding that languid, amorphous conducting without dynamic shades, in the slowed down rates has deformed sense, character of music, Rakhmaninov nevertheless brings down on itself monstrously unfair reproaches. This failure has led to the most terrible: the composer has lost a self-confidence. Here a fragment from his letter. V.Asafevu: "¤юёых this Symphony did not compose anything about three years. It was similar to the person who has sufficed blow and from which for long time were took away both a head, and hands... The Symphony I will not show and in the will I will impose a ban for shows. ."

From a condition of extreme apathy of Rakhmaninov deduces S.Mamontova's offer, the patron of art, the owner of opera theatre, to take a place of the conductor. So in 1898 conductor's activity, one more display of universal musical endowments of Rakhmaninov begins.

The Exit from sincere crisis was marked by creation of the Second piano concert devoted to doctor-hypnotist N.N.Dalju in gratitude for unusual keenness, shown by it during the difficult period of a life of Rakhmaninov. As though making up for years of creative apathy, the composer enters a time of intensive creation of music, since first years of a new century. A cantata "-хёэр" violonchelnaja a sonata, Ten piano preludes, two operas ("Ръѕяющ Ё№чрЁі" and "ИЁрэёхёър yes ршьшэш"), 27 romances are composed by the composer between 1900 and 1905.

And further, within twelve years, the creativity stream does not weaken. During the same time the tours bringing a triumphal recognition of its pianistic talent are developed. In 1904 Rakhmaninov becomes the conductor of the Bolshoi theatre, gaining at once unshakable authority. Already at that time he is disturbed by the thoughts formulated in many years: "Ї never could solve, what my original calling - the composer, the pianist or the conductor. There are moments, when it seems to me that followed to be only the composer, sometimes I think that I only the pianist. Now, when the life most part is lived, I am am tormented constantly by thought that, being scattered on different areas, I have not found original яЁшчтрэш ".

So unfairly great musician estimates happy property of the talent, its amazing many-sided nature. We repeat: Rakhmaninov - difficult nature. Already in the earliest his compositions it is possible to hear that manner of direct, open expression of feeling which is inherent in Glinka, Schubert, Tchaikovsky. Everything close knowing it, are unanimous in an appreciation of its sincere qualities among which cleanliness, truthfulness, adherence to principles are marked especially. But Rakhmaninov for all life has let in the sincere world schitannyh people.

The Romanticist on spirit, it in a life avoids a romantic pose, does not search for sympathy, empathy. But in music it it is uneasy, always sincerely speaks about the world surrounding it. Even in the most impulsive dynamics it does not lose the control over itself(himself), it is not overflowed by temperament though both in its music and in game the flame quite often storms. Also there is it from requirement for the sake of music to rule over itself, just as an orchestra and a scene.

Unsociable in a life, revealing only in the narrowest circle, Rakhmaninov felt burning requirement for dialogue with people, with weight of people and it carried out it only in the performances behind a grand piano or a conductor's stand.

To the concerts Rakhmaninov concerned as festivals. In it was not only clear in a life of each actor requirement of success, and something bolshee and deeper: "+=эшьш=х at me concerts and then to me will come ъюэхч" - he spoke to the close friends.

The Ingenious pianist, the successor of traditions of Sheet, Rubinshtejna Rakhmaninov grasped an audience passion of a confession and the sermon, following of properties and features of its person. Its piano concerts - "ьѕч№ърыіэ№х Ёюьрэ№" depth, charm, typically Russian spiritual atmosphere Tolstoy, Chekhov's reminding pages, Levitan's cloths, verses of Nadsona, Bunin, Tyutchev...

In the memoirs of Marietta Shaginjan concerns one of the most important problems, speaking about Rakhmaninov, as the spokesman of the epoch: "+ыѕсюъю modern understanding of that such disclosing in music of the society, inquiries and character of the person of the epoch. The story in sounds about historical crossroads, about the Chekhovian weak-willed intellectual who grieves for action, on definiteness and is not able to find an outcome internal ёшырь". And further Shaginjan sensitively notices that the exit has been found "т great warm humanity, in that love to fine in the person which moves struggle for the best life for эхую".

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