Rakhmaninov's Music is immeasurably more difficult, than it seems to those who has got used to consider difficult only that music which is hard, not at once is perceived and demands efforts to step over a notorious threshold of discords. The naive people considering a discord by the originator of all troubles of music of the XX-th century, are convinced: as soon as the threshold of unusual soundings is overcome, music immediately will open before them all values - beauty, depths, a talent and originality measure. For them Rakhmaninov - the phenomenon simple. Really - having lived almost half of twentieth century, Rakhmaninov and has not given in to temptations of a modernism. And if in its last opuses language considerably "яюыхтхы" this leftism in comparison with language of the majority of its most glorified contemporaries - children's game. From here the scornful relation to Rakhmaninov of musical snobs, "Іыш=№" avant-gardists, in different forms and scales stated throughout half a century. During lifetime of Rakhmaninov mercilessly scolded for three "уЁх§р": Old-fashionedness, backwardness, salonnost.
. V.Asafev in article about Rakhmaninov results the interesting statement of the composer: "-х I want for the sake of that I consider only as a fashion, to change constantly sounding in me, as in shumanovskoj imaginations to tone through which I hear surrounding me ьшЁ".
Complexity about which with reference to Rakhmaninov there is a speech, and consists in epoch parities, "ърэюэшчшЁютрээ№§" norms of its expression in music and Rakhmaninov's individual style, going the way selected it without thinking about such large phenomena of the musical present, as Debussy, Ravel, Rihard Strauss and others - up to Arnold Shyonberga.
Whether Rights Rakhmaninov considering that in all that is impossible to its aesthetic ideals, it "=юэѕ" the fashion is guilty? We know that in it Rakhmaninov was wrong that much, born in XX-th century art, is caused by much more serious laws, than whims of the changeable ruler of tastes. But speech about other. Whether there were bases to reproach Rakhmaninov in old-fashionedness? And yes, also is not present. In any kind of art is not present and there can not be an artist, free from communications with traditions. A question that one feel them as jarmo, painfully oppressing their creative freedom; others - joyfully perceive communications with great predecessors and continue the way laid by them to a direction most answering to own creative aspirations.
They test pleasure and the completeness of creative self-sacrifice convinced in not smaller measure, as on this way it is possible not only "юсючЁх=і" the life phenomena but also to realise them into the music, capable to excite and carry away contemporaries truthfulness, a high system of thoughts, perfection of the aesthetic form. That Rakhmaninov felt the big affinity with Tchaikovsky, Roman-korsakovym, - if is a question of character of melodic and harmonious language, - than with Skryabin of last opuses or Ravel, hardly can be considered as its sign "ё=рЁюьюфэюё=ш". Here before us two great poets: the Block and Mayakovsky. Whether it is possible to judge about "ё=рЁюьюфэюё=ш" on the ground that its poetic technics is closer than the Block to Pushkin, Tyutchev, Fet's traditions, a household romance, than "ыхёхэъх" Mayakovsky? "Р=ш§ш about рюёёшш" "Ръш¶№" "урЁьюэшхщ ё=ш§р" do not break off with captivating secrets "Рэхцэющ ьрёъш" "Рюыютішэюую ёрфр" or "Ђ=рыі эёъш§ ё=ш§ют". And in "-тхэрфчр=ш" Echoes of a Pushkin melody, and in a poem "-ючьхчфшх" are heard; combining detail of the newspaper reporting with philosophical judgement of events of many years, the rhythm Pushkin tetrameter jamba indefatigably fights.
Rakhmaninov belonged to that breed of musicians which with conviction considered a melody as the major element of the music most flexibly getting into depth of the phenomenon and most precisely recreating its most essential line. But recreating so that listeners truthfulness of reflexion, validity display, and a specific manner odnogolosnogo grasps also the statements, delivering special aesthetic pleasure. This manner in popular speech, name melody.
Allocated with huge melodic talent, Rakhmaninov generously gave to its any genre. It is enough to recollect themes of each of four piano concerts, an opera "+ыхъю" its romancing lyrics, piano preludes and "¦=¦ф№-ърЁ=шэ№" again to be convinced of how the inexhaustible melodic current rahmaninovskogo creativity is powerful in the expressiveness.
The Bright emotionality of its music - the line inherited from Tchaikovsky, in a combination to figurativeness and beauty of the melodic statement (without speaking about other, not less perfect elements of its composer handwriting), also have made Rakhmaninov's music accessible, easily perceived and understood. It also has entered its music into very wide range not only professional musicians, but also fans.
In years when modnichane and foppery stood out for for certain modern direction in art, Rakhmaninov sincerely and very with emotion said the music that on a shower. And on a shower happened both it is joyful, and it is gloomy, both it is thoughtful, and it is pensive. As in a life.
In Rakhmaninov's music that was pulled out from depth of soul sounded only and reached keyboards, musical pages, and then - concert halls, giving rise to the instant response of the people capable directly to respond on music. Such people - the majority. From here Rakhmaninov's popularity.
At it is not present "-Ёхьхэ уюфр" "-х=ёъюую рыісюьр" "-р=р--рыіёр" "¦рыхэіъш§ ыхсхфхщ" played an appreciable role in development of house playing music, in oblagorazhivanii musical tastes. But that of its creativity that was on forces, - Preludes to-sharp a minor and salt a minor, the Elegy, "РшЁхэі" "¤юыш°шэхыі" the Pole and many other things - constantly sounded and sounds in house and "тхёхЁшэюёэюь" to a life.
From here, apparently, the legend about "ёрыюээюё=ш" also originates; Rakhmaninov. In what "ёрыюэр§" its music sounded? Who they, these fans "ёрыюээющ ьѕч№ъш"? We name only a few names; Tchaikovsky, Lev Tolstoi, Chekhov, Repin, Stanislavsky, Shalyapin, Bitter. Here the small group of admirers of composer gift of Rakhmaninov, in turn - the admirer of each of them is named only.
It is impossible to tell About Rakhmaninov's composer talent: it developed. No, it has flashed as a fire. In the young, first conservatoire years given mainly pianizmu, talent as though waited, when the musician chelovecheski will ripen. Then - the fire flame has risen. And further - the life, an epoch, riches of the sincere world of Rakhmaninov sustained creative combustion, and a flame, grasping more and more broad lands, all rose above. But twice the flame died away. For the first time for three years, in the second - for ten years. Two these accidents have played a huge role biographies of the composer.
Listening attentively to Rakhmaninov's music, getting a grasp of memoirs of contemporaries, in his letters, you see before yourself nature unusually integral, pure, strict almost to severity. The creative biography and the biography personal are weaved at Rakhmaninov in often most tragical image since children's years and till last vital boundary...
Hardly it is possible to deduce a tragical line in its creativity, and this line - one of the cores - from textures of spiritual wounds, failures, passing the facts and factors of a social life of tragically intense epoch "схчтЁхьхэі ". But it would be incorrect to ignore and a chain "ѕфрЁют ёѕфіс№" in days of intensive process of formation of the person of the composer.
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