In each of four concerts - fanned by youthful romanticism the First (1891), the most magnificent, sparkling and heart-felt the Second (1901), bewitching refined poetry the Third (1909) and more severe the Fourth (1926), and especially the Second and the Third - most full best lines rahmaninovskogo talent reveal; he in bolshej мepe is obliged by this concert to an international recognition. Attracts attention that in the endings of concerts music brightly optimistic sounds, in an especial way contrasting with many rahmaninovskimi products of drama and tragical character, tragical moods affect in Rakhmaninov's music so often that naturally there is a thought on presence "=Ёрухфшщэющ" lines in its creativity. This line begins with the Youthful symphony in which the first part is written only.
Severe drama paints express the maintenance of an early symphonic poem "-э чі рюё=шёырт" the poem cast in the images of A.K.Tolstoy. Dark colour prevails in Rakhmaninov's three operas since "+ыхъю" (1892). The theme of magic loneliness is opened in orchestral imagination "Л=хё" which figurative system is cast by Lermontov's poem and Chekhov's story "-р яѕ=ш". An epigraph to the First symphony Rakhmaninov took the same citation from the Gospel which appears in the beginning "+ээ№ -рЁхэшэющ": "¦эх vengeance and Az тючфрь". In 1892 and 1893 two Elegichesky trios from which the second is devoted Tchaikovsky memory are written. Are tragically sated the Musical moment si a minor (1896), romances of the beginning of 900th years - "Рѕфіср" on Apuhtin's verses and on a theme of the Fifth symphony of Beethoven and - "-рф fresh ьюушыющ" on verses of Nadsona. In 1909 there is a symphonic poem "+ё=Ёют ьхЁ=т№§" cast by the picture of Arnold Beklina with the same name. At last, all four large products composed in the USA - piano Variations on a theme of Korelli (1931), the Rhapsody on Paganini's theme for a piano with an orchestra (1934), (1936) and Symphonic dances (1940) - include the ending of the Third symphony and develop a theme of a medieval funeral sequence "Dies irae".
So constant creative gravitation of the composer to tragical themes since 90th years of the last century and till last years lives is traced. What events are accompanied by Rakhmaninov's music? What in a life of Russian society set such tragical seal to the sincere world of the composer? Is better on it will answer blokovskie lines from "-ючьхчфш ": "- those years, distant, deaf, in a fit of temper reigned a dream and a haze: pobedonostsev over Russia has stretched owl's ъЁ№ыр". And behind these years after - revelry of reaction after 1905, dissonance in a camp of Russian intelligency. Then - the First World War and hurrah-patriotic charcoal fumes, hated to Rakhmaninov and its nearest environment; the February and October revolutions which have been not understood by it and, at last, twenty five years of emigration. Here that social background on which take place images, ideas, emotional conditions, the human destinies reflected by music of Rakhmaninov.
But the same years the protest developing into great national anger against suffocation of the person, against lawlessness, against autocracy is born. In the sky tightened by clouds, there are azure islets, giving to hope, multiplied forces of those who struggles; the belief in the forces, belief that "шч sparks will flare up яырь " reaches manhood;. Rakhmaninov sensitively catches this fresh breath of a life, reflecting in the music that rises against a gloom and harm. "¤ючэрщ where light, - you will understand, where =іьр" - wrote the Block in the Prologue to "-ючьхчфш¦".
"-хёэр goes, spring шфх=!" For the first time this feeling of spring updating of a life has begun to sound in a romance "-хёхээшх тюф№" (1896) on Tyutchev's verses. Then - in the mid-flight gait finishing the ending of the Second concert (1901). As though responding to a cheer "-хёэр шфх=!" - in a cantata "-хёэр" (1902) in orotund, deep chorus Nekrasov's verses have spread: "Ђфх=, gudet green °ѕь!". A year later there are ten preludes. One of them, re-major, has bewitched Repin. "+чхЁю in spring flood... Spring яюыютюфіх" has felt, the great artist has seen.
Nearby - other prelude - a mi-flat-major, related on character to Chopin etudes. Both in a si-flat-major and in salt-minor preludes fanfare calls rise, the mid-flight rhythms calling behind self in the blossoming world which exists sound, but the way to which is difficult. These images and emotional conditions are close to the Second symphony written and 1906 and for the first time executed after two years. Charm of Russian landscape gives to drink pages of the introduction and III part of the symphony. Drama collisions of I part as though dissipate in enthusiasm of a martial music II and sanguineous, wide expanse of the ending.
The Second symphony - one of the most national on spirit of products of Rakhmaninov, probably, has arisen under the influence of the thoughts caused by events of 1905. In the music - belief in the future.
Like Tchaikovsky, Rakhmaninov constantly reflects on a human life, destiny, death. These themes embodied in different products, unite in one of the most difficult scores of the composer - "-юыюъюыр" - a poem for an orchestra, chorus and soloists on verses of Edgara On in Balmont's transfer (1913). Rakhmaninov concerned to "-юыюъюырь" as to the most favourite product. In it the composer has expressed all that - both light and gloomy, - that pleased him and wearied. In a four-private composition were embodied a silver ring of a springtime of a life; a gold wedding ring; a copper, disturbing rumble of an alarm and "цхыхчэ№щ mournful чтѕъ" a funeral ringing of bells. Near to the Second and Third concert "-юыюъюыр" - one of the highest points of a creative way of Rakhmaninov.
Years before the First World War are sated not only the music composition, but also numerous concert trips on the European countries and across all Russia, including such cities, as Kursk, the Eagle, Kishinev, Poltava, Ekaterinodar, Warsaw, Minsk, Kazan, Kiev. These are years of close friendship with Shalyapin, meetings behind a grand piano with Nezhdanovoj, Sobinovym, Koshits - the actors who have become by the first interpreters of romances of Rakhmaninov, founders of the performing style in many respects developed together with the composer. In Rakhmaninov's romances the riches of Russian poetry from Pushkin and Lermontov to Bryusov, Balmont, the Northerner and the Block were reflected. From 80 romances only six it is written on verses of foreign poets: Goethe, Heine, Hugo.
Both in piano music, and in romances, Rakhmaninov acts as the advocate of brightly concert character of execution. Some researchers of its creativity fairly specify that Rakhmaninov - one of the brightest phenomena of Russian performing Renaissance, near to Shalyapin, Kachalov, Komissarzhevsky. As a result of several foreign tours Rakhmaninov's name, the pianist and the conductor, becomes more and more known in the countries of Europe and the USA.
Soon after October revolution, in the end of November, 1917, Rakhmaninov with a family, with the permission of the Soviet government has gone abroad, at first to Sweden, then to Denmark and in November, 1918 - to America. Here long-term concert activity of the great Russian musician was developed. Very soon Rakhmaninov gains foothold of the first pianist of the world. Its each performance becomes event. Most of all he plays the products. Especially often - the Second concert, and in solo programs - Preludes, Etudes-pictures, the Musical moments and music of other composers: Skryabin, Metnera, Beethoven, Schuman, Chopin, Sheet, Brams, Grieg.
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