There are years. They multiply glory of the greatest pianist. Rakhmaninov as before, in days of study at Zvereva, every day on mnogu hours spends behind a grand piano. It the sample of high artistic professionalism. Despite successes, an enthusiastic reception of any audience, on full well-being in a family, all time any worm undermines it, without giving rest. Where it has located - in America, France or Switzerland, it puts many forces to create conditions, even whenever possible - a landscape reminding native, Russian open spaces. Still favourite trees - the birches, a favourite smell - "ф№ьюъ" a fire. And people? At infinite set of acquaintances, a kaleidoscope of meetings, behind the rare exceptions, close people, friends - people from Russia. There are years. And composer Rakhmaninov is silent. Only in nine years it finds forces to put in order old sketches of the Fourth concert and to finish it. The first new product written in separation from the native land - Three Russian songs for chorus and an orchestra. Whether it is significant! He has written down the first of them from Shalyapin's tune - "+§, you, -рэіър" the second - "…хышышч№, rumjanitsy you ьюш" - the known performer of Russian songs N.Plevitskaja sang to it; the third since the childhood was familiar - "ОхЁхч small river, small river с№ё=Ёѕ".
After a new break in five years, Rakhmaninov addresses to reused by different composers, including Sheet, the Spanish song "Folia" also writes on this theme a cycle of the piano variations closed in the form, close to the rhapsody. In three years there is one of Rakhmaninov's the most considerable compositions, it "рряёюфш on a theme ¤рурэшэш" for a piano with an orchestra. 24 variations on Kaprisa Paganini's widely known lja-minor melody can be named by Rakhmaninov's Fifth concert. They can be named and a symphonic poem, especially after great Russian ballet master Michael Fokin with the consent of Rakhmaninov has created the ballet scenario in detail opening subject dramatic art rahmaninovskoj of the score and approved by the composer. The tragedy of the great actor surrounded with envy, gossips, the intrigues, dying in the loneliness, searching last minutes protection at the violin, this tragedy very much excited Rakhmaninov who has taken unexpectedly active part in destiny fokinskogo of ballet.
The Special place in Rakhmaninov's heritage is occupied with its Third symphony, product in which with tragical force the melancholy theme on the native earth reveals. Epic, Borodino intonations sound in its main theme. Captivating rahmaninovsky "тюё=юъ" it is given by a garland of the falling sequences, which melodic grain to close collateral theme of I part of the Sixth symphony of Tchaikovsky. In III, a final part movement of a fast march enters, on change to which rushes sharply sounding fugato on a theme mentioned already "Dies irae". Imperative gesture the composer as though drives away delusion, and underlines that light, mighty that is concluded in Russian pljasovoj popevke. Its development gives to music figurative brightness and character of Russian molodechestva in which circle the initial theme of the symphony lifted up, on level of the culmination solemn and pride is involved also. All authors writing about Rakhmaninov, converge that the Third symphony - product autobiographical that the constant thought on Russia did not give rest to the person, all roots, environment, education, creativity inseparably linked with the native land. He wrote: "Лх§рт from Russia, I have lost desire to compose. Having lost the native land, I have lost myself. At the exile who has lost musical roots, tradition and native soil, does not remain desire to create, does not remain other consolations, except indestructible silence netrevozhimyh тюёяюьшэрэшщ".
Last product - the Symphonic dances consisting of three parts. Dancing movement by the composer is taken very conditional, for not dance, and states of mind of day, twilight and involve half-night its thoughts. Like other compositions of last years, Symphonic dances comprise deeply tragical pages.
In days when the Great Patriotic War has begun, Rakhmaninov has especially sharply felt communication with the fatherland. Concerts in favour of the Red Cross, checks for the large sums which have been handed over to the Soviet consul in New York, - such is that concrete help which he aspired to render to the native earth during difficult time for it. The alarm about destinies of the native earth interfered in a life of the great Russian musician in its last years, days, hours.
... There are composers the thought about which gives rise to sensation of the fault, not paid debt; these are what music is highly appreciated, but a little executed. At thought on Sergey Vasileviche Rakhmaninov conscience is pure. It is favourite. Its music sounds constantly. Whether in concerts or in a house life, it pleases with the amazing beauty, excites with a never-ending stream of images, clear everything, on especially close to everyone who has nestled lips and heart to a spring of Russian culture.
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