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In 1890-1900 in the chapter of Ladies' charitable prison committee in Moscow stood certain knjazhna A.Liven, rich Moscow aristokratka. It suited annually one or two concerts in favour of this committee. Shalyapin to whom Rakhmaninov accompanied usually participated in them, and we with Rakhmaninov played on two pianoes. These concerts occured some times. Shalyapin's ingenious execution together with Rakhmaninov's absolutely amazing piano support has left at everyone who happened in these concerts, unforgettable impression. We with Rakhmaninov played these concerts its First suite and a number of other large and fine products for two pianoes: Suite Arenskogo, « Dancing of death » sen-ßá¡ßá, Bizet's Minuet and others. Sometimes these concerts were arranged with an orchestra. In one of such concerts with participation of an orchestra Rakhmaninov should play for the first time under the manuscript the Second concert. Composing the Concert, it has quickly and easily written the second and third parts, but to it the first long was not given. It was at it in several variants, but it on one could not stop. As a result the second and third parts were ready to day of the appointed concert only. Therefore at the first execution Rakhmaninov played only two parts which at once have made huge impression both upon public, and on musicians and made exclusive success. Soon after that Rakhmaninov has written the Suite for two pianoes op. 17 and has devoted to me, as to the frequent partner in game on two pianoes. In one of the musical assemblies constantly occured at me in the house, Rakhmaninov wished to show musicians the new Suite. When we have terminated rehearsal, Rakhmaninov has gone to a vestibule, has got the manuscript curtailed by a tube from a pocket of the coat and has told:
— I, at last, have written the first part of the Concert, and I would like it to try with you.

We it have played; it has made upon me at once irresistable impression, and I have persuaded Rakhmaninov the same evening to play to the gathered musicians not only the Suite planned to execution, but also the first part of the Concert. It has agreed, and after the Suite we it have played.

It is known, that the work of art far not at once receives, even at the most qualified experts, a correct estimation. At display of the first part of the Second concert by Rakhmaninov has repeated this frequent phenomenon.

The gathered musicians at once have highly estimated Rakhmaninov's excellent Suite, and in relation to the first part of the Concert of special delights have not shown. On the general response, it has seemed to conceding second and third parts of the Concert. I was at special opinion and at once have highly estimated this part. And it is valid, if in this fine composition to mark the best part, that, certainly, will have to name the first. Soon Rakhmaninov has publicly played all Concert, but the majority, despite of its ingenious execution, remains at the same opinion including Ziloti too has found, that the first part is weaker than others.

After the Concert op. 18 and Suites op. 17 Rakhmaninov has soon written excellent Violonchelnuju a sonata. It also in one of concerts arranged by Ladies' charitable prison committee has played it for the first time from A.A.Brandukovym to whom this Sonata is devoted.

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After fiasco of the First symphony Rakhmaninov has begun the activity as the conductor. It has invited Mammoths the second conductor in the opera. Performances of opera Mamontova occured at theatre Solodovnikova (there where there was a branch of the Big theatre). These performances have played very much a greater role in an art life of Moscow.

Mammoths was an original figure. It was the large financial businessman, the builder of railways, by the way, the railway Moscow— Arkhangelsk, The talented person, the fan-sculptor in which manor Abramtzevo once belonged Aksakov, artists and musicians gathered. There has written some masterpieces young Serov, in particular the well-known portrait of the girl with peaches. In the same place wrote and Repin, and a number of other artists. Mammoths uslyhal in Petersburg also has involved in Shalyapin's theatre.

Shalyapin, as is known, has begun the career as the chorister in an operetta in Tiflise. Then to it have paid attention, and it has been invited in Mariinsky theatre. But there it have not estimated. It has sung Ruslana. Whether Because, that it was the beginning singer, or for any other reason, it has sung it unsuccessfully, and as it to me told, this failure has made upon it so depressing impression, that it since then never for this party undertook. In an opera « Ruslan and Lyudmila » it subsequently some times sang party Farlafa. After this failure in Mariinsk theatre of visible roles to it did not give; it received compensation small and an appreciable role at theatre did not play. Mammoths from it chutyom, uvidav Shalyapin on a stage and uslyhav its singing, at once has understood, it deals with what remarkable nugget; it has invited it to itself(himself) in an opera to Moscow, having paid for it the penalty of management of Mariinsky theatre. In opera Mamontova Shalyapin's brilliant actor's career has begun, here it has created a number of the best roles — Ivan Groznogo in "Pskovitjanke", Boris Godunov (and it some times sang in Godunov's one performance and Varlaama) and many other things remarkable images. Subsequently, as is known, Shalyapin has passed to a stage of the Moscow Big theatre, and Mamontova has comprehended crash; it was ruined, has got under court for any ostensibly abusings in the financial operations. On court it has been justified, but its role of the patron of art together with impoverishment of material means has terminated, and it has modestly finished the days.

And so, in this opera the second conductor Mamontov has invited Rakhmaninov. Theatre Solodovnikova just at this time has burned down *. [To this theatre did not carry: it subsequently has burned down still once.] After a fire opera Mamontova before repair of a premise temporarily was in so-called (named the actor held there an enterprise) theatre " Paradise " (On Big Nikitskoj) which after October revolution one time referred to as Theatre of revolution. Theatre " Paradise " on the sizes and acoustics approached for opera performances a little. Rakhmaninov's debut as the conductor of Russian private opera there took place. Rakhmaninov's position was heavy. It had no still as the conductor any name and authority, and orchestral musicians, as usual, have given a hostile reception to it. Rakhmaninov at the strong strong-willed nature has quickly enough managed to take an orchestra in hands, but first time to it it was heavy. It to me told, that when it (it seems, it was the open dress rehearsal) has started to play the introduction, I do not remember to what opera has heard, that the bassoonist instead of the party has started to play any nonsense, having taken advantage of that execution was public and an orchestra it was impossible to stop. However concerning to the young conductor orchestral players should stop such acts soon. First, they have felt, with what talented conductor deal, and have like to it artistic respect, and secondly, Rakhmaninov has shown greater hardness and did not stop before that for such acts of musicians to fine, and, thus, it quickly enough managed to install in an orchestra discipline. All this work at private theatre was not for it especially interesting as conductors served there were completely not inclined to divide the duties with young beginning comrade.

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Rakhmaninov's outstanding conductor's talent should attract attention, and in 1904 it has been invited by the conductor in the Big theatre. There Rakhmaninov first of all has made small revolution. Until then at our opera theatres the conductor sat before most suflyorskoj a box; it was well visible to singers, but the orchestra was located behind it. Meanwhile at greater opera theatres of the Europe and, America the conductor for a long time already was located so that the orchestra was before it. Rakhmaninov, having come in the Big theatre, at once and has made. It has caused sharp attacks of singers which have declared, that they do not see a stick and cannot so to sing. Conductors including Altani, too protested, but Rakhmaninov has shown persistence. Singers very quickly, however, have got used to a new site of the conductor. Contact between the conductor and an orchestra is done, certainly, thus by more alive.

The first opera which Rakhmaninov conducted at the Big theatre, was an opera "Mermaid" Ampere-second. Dargomyzhskogo. Rakhmaninov-conductor's success in the Big theatre was absolutely exclusive; those two seasons when it there conducted and constantly sang Shalyapin, nezhdanova and a number of other outstanding singers, it is possible to name the Golden Age of the Big theatre. The impression of statements of operas under control of Rakhmaninov was unforgettable.
Rakhmaninov has created at that time two one-act operas: one on the text Pushkin « the Avaricious knight » and another — « Francheska yes Rimini » — on libretto Modesta of Tchaikovsky on a drama episode of the fifth song of "Hell" from « the Divine comedy » Aligieri Dante. Still working above them, it assumed, that Shalyapin will sing a party Avaricious in « the Avaricious knight » and party Lanchotto Malatesty in an opera « Francheska yes Rimini ». Having finished operas, it has invited to itself(himself) Shalyapin that it them to show. We were three together: Rakhmaninov, Shalyapin and I.

Shalyapin amazingly read notes at sight. This ingenious actor was lazy and did not like to learn new roles and new things of chamber repertoir. I remember, once it has become interested in romances Metnera. I thus was not, but Metner to me told, that when it showed Shalyapin the things (very difficult), Shalyapin so surprisingly sang them at sight, that it could dream only that its things could be so are executed in a concert. Notwithstanding, however, that songs Metnera have very much liked Shalyapin, it has not learnt them and publicly did not sing.

When Rakhmaninov showed us the two operas, Shalyapin sang a party Avaricious and party Lanchotto Malatesty and has made upon us huge impression, notwithstanding, That sang at sight. Nevertheless, It was too lazy to learn Avaricious; this party was not given by something to it, and it has refused to act in these operas. This refusal was an occasion to quarrel between Rakhmaninov and Shalyapin which proceeded many years. At the first execution of a party Avaricious in « the Avaricious knight » as well as party Malatesty in « Francheske yes Rimini », sang Cormorants.

Dirizhyorstvo Rakhmaninov at the Big theatre proceeded two seasons, but then it has decided to be given entirely to creative work and has left the Big theatre as conducting always very much tired it physically. In 1906 as it was already spoken, it has left abroad and has lodged in Dresden where has lived till spring of 1909. From large compositions to them in Dresden have been written the Second symphony op. 27, The first piano sonata op. 28 And a symphonic poem « Island dead ». When I have been invited by autumn of 1906 abroad for participation with Kusevitskim in its concerts in Berlin and Leipzig, we with the wife have gone and to Dresden to look local well-known picture gallery and to meet Rakhmaninov. They lived in the remote part of Dresden, in the house, referred to the úáÓÔÑ¡-country house, in a private residence which was located inside of a court yard and a garden. It was small and very cosy. We there have lead with the wife some very pleasant hours per a warm atmosphere of family Rahmaninovyh. In Dresden we have stopped only one day, therefore appointment with Rahmaninovymi was short.

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Per 1909 Rakhmaninov with the wife and to two dochermi — Irina and Tatyana — has returned to Moscow in the apartment in Passionate parkway, where a floor below a vein family of its father-in-law of Sateen. After homecoming Rakhmaninov used then already big popularity, began to act very much as the pianist in Moscow and other Russian cities. Its concerts were always accompanied by an outstanding success and gave it good money. The Moscow philharmonic society has invited Rakhmaninov for conducting by symphony concerts which happened ten in a season. Rakhmaninov was the conductor of symphony concerts of the Philharmonic society one or two seasons. As I already spoke, Rakhmaninov has brought with itself from abroad two new partitas: the Second symphony and a symphonic poem « Island dead ». In Russia in 1909 Rakhmaninov has created the Third piano concert op. 30, Which for the first time I uslyhal at our general friend of Century R.Vilshau in its small apartment on the First Petty-bourgeois.

In April, 1910 the Concert has been executed in one of symphonic assemblies of the Moscow philharmonic society. Brandukov these years represented itself as one of conductors of symphonic assemblies of the Moscow philharmonic society. Once Rakhmaninov under its management played the Second concert; support it was extremely unsuccessful, as, notwithstanding, That A.Brandukov was the excellent musician and the excellent violoncellist, it all had no conductor's abilities and experience. Rakhmaninov was in friendly attitudes with Brandukovym and still, remembering the performance with the last, has categorically declared it, that it to play the Third piano concerts not begins, if will conduct Brandukov. Violoncellist E.E.Plotnikov who at that time served as the conductor in Zimin's private opera has urgently been invited as the conductor. Notwithstanding, That accompaniment of the Third concert is very difficult also the composition it to it it was not known (Carpenters should prepare for execution in two-rub days), it has well consulted with the problem and proakkompaniroval is absolutely satisfactory. Certainly, this execution in any measure cannot be compared to Rakhmaninov's subsequent performances with the Third concert under control of Kusevitskogo, nevertheless accompaniment has been lead so not bad, that already at the first execution this Concert made an outstanding success.

In August — September, 1910 in Ivanovka Rakhmaninov had been wrote a series of Preludes op. 32. Preludes G-dur and gis-moll, apparently still not written down, have been executed by it encore in April, 1910 when for the first time in Moscow in a concert of the Moscow philharmonic society its Third concert has sounded.

In the summer of 1913 in Ivanovka Rakhmaninov has finished the poem of "Bell" on text Edgara On in Balmont's translation. This poem for the first time was executed in one of concerts Ziloti in Petersburg. It I very well knew the composition, as, under Rakhmaninov's recommendation, Guthejl have ordered to me to make its piano transposition. I extremely was interested in execution of a poem and by day of a concert have gone to Petersburg. Rakhmaninov conducted. In execution participated: an orchestra and chorus of Mariinsky theatre, soloists E.I.Popova, A.D.Aleksandrovich and Z.Andreev's Item. The Petersburg execution was very good, and the poem made an outstanding success; even the Petersburg musicians who were shown ill-will to creativity of Rakhmaninov usually extremely, here puzzly shrugged shoulders and with indulgent surprise spoke, that the composition good. After execution of a poem have gathered at Ziloti which lived then in an excellent apartment on Krjukovom the channel.

Soon "Bells" have been executed and in Moscow with extreme greater success. E.A.Stepanova's soloists Here have taken part, and. Century Bogdanovich and. Century Pavlovsk.

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Rakhmaninov-pianist cannot be named differently, as ingenious. Owing to that, That Rakhmaninov gave main time of a composition to young years, it was not engaged much on a piano though loved piano game, liked even to play exercises, and usually played rather widespread exercises Ganona. It had amazing hands — greater, strong, with long fingers and at the same time unusually elastic and soft. Its hands were so are great, that it freely enough could play double thirds in two octaves one hand. Its boundless, incomparable virtuosity nevertheless was not the main thing in its execution. It pianizm differed unusually bright, original individuality which is extremely difficult for imitating. Rakhmaninov did not love in the execution of semitones. It had a healthy and full sound in piano, boundless power in forte, never passed in roughness. Rakhmaninov was distinguished extraordinary brightness and force with temperament and any severity of performing shape. Its rhythm was absolutely exclusive; Increase of dynamics and rhythm at one executor did not make such irresistable impression, as at Rakhmaninov.

Not less ingenious executor was Rakhmaninov as the conductor, but, in the strange image, Rakhmaninov-conductor's individuality was a little other, than as pianist. Rakhmaninov-pianist execution differed big rhythmic freedom. It quite often applied rubato, seemen sometimes a little bit paradoxical and not giving in absolutely not to imitation. With its execution of this or that product, especially when it played not the things, here and there it was possible to disagree, as the press of its person especially affected in rhythmic freedom of execution was too bright. But it imperously submitted the listener and did not give an opportunity critically to it to concern. Rakhmaninov-conductor was in sense rhythmic much strozhe and sderzhannej. Its conductor's execution differed the same force of temperament and the same force of influence on the listener, but it was much strozhe and is easier, than Rakhmaninov-pianist execution. How much gesture Nikisha was beautiful and teatralen, so Rakhmaninov's gesture was avaricious, I even would tell — is primitive, as though Rakhmaninov simply counted a step, and meanwhile its authority above an orchestra and listeners was absolutely irresistable. Execution of such products as the Symphony g-moll Mozart, « Francheska yes Rimini » Tchaikovsky, Skryabin's First symphony, Rakhmaninov's Second symphony and many other things, has left absolutely unforgettable impression. As its execution and as opera conductor was incomparable. Operas which to me should be heard under control of Rakhmaninov, have not been never executed any more so that it was possible to compare their execution with rahmaninovskim. As I already spoke, Rakhmaninov to conduct did not love; physically it tired it, and last years, living abroad, Rakhmaninov as the conductor acted rather seldom, apparently, only with the new products.

Rakhmaninov as the person made dual impression. On people, a little its known, to it far, it made impression severe, a little dry, perhaps, the haughty person. Meanwhile this constrained severity in relation to people substantially was consequence of shyness of its nature. With those people who were close to Rakhmaninov which it loved, it was exclusively charming.

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Not having received the regular general education, Rakhmaninov nevertheless was very widely-read, developed person, French, German well knew, and subsequently — abroad — and English language and was by nature originally clever, had about all the certain original judgement. It was the touching family man, a little starozavetnogo a warehouse. In family — the wife, the sister and house — it adored all and looked after it. Sergey Vasilevich very much loved both daughters. Going to bed, girls came to say goodbye to the father. I did not notice display of religiousness in Sergey Vasileviche, have not heard, that it went to church. However, saying goodbye to children, it touchingly christened their big beautiful hand.

Despite of high growth and strong as though addition, Rakhmaninov was physically not so strong. It was hurted often with a back; it differed some suspiciousness and when badly felt physically, ran into a gloomy melancholy. It often doubted of the forces, tested disappointment from kompozitorskoj works which was most dear to it on light. During the periods of heavy doubts the warm family atmosphere by which it has been surrounded, very much facilitated its life.

We were close with Rakhmaninov. It liked to happen at me, loved my sisters, and subsequently when I married, very warmly concerned to my wife. Its arrival to me was always for me and my relatives the big pleasure and brought an atmosphere of natural geniality and simplicity. Greater Rakhmaninov ordinarily spent a part of evening behind a grand piano. It liked to sit at the tool; talking, recollected this or that piece of music and there and then it played. It knew and played very much and played all with exclusive perfection. These evenings delivered incomparable pleasure.

A little robberov Rakhmaninov liked to play the screw. That at it at me we sometimes gathered and was played by rubs-four robbera. It played masterly and very cheerfully. During game there were no sharp disputes as it often happens among playing; these concerned to these or those failures cheerfully, and two — two And a half of an hour behind game passed extremely pleasantly.

In Rakhmaninov's family it was cosy, there was a good house table. I remember, once in any occasion in day of a family holiday has gathered a lot of people; Shalyapin has come and has declared, that it will treat us with macaroni in Italian. In really, any very complex way it has prepared for extraordinary tasty dish, having found out unexpectedly uncommon abilities of the cook.

Rakhmaninov, as well as at all greater people, had features of childishness. It loved any bagatelles of type of toys: any unusual pencil, the machine for a fastening of a paper and t. Item I Remember, someone has presented it a vacuum cleaner, it showed excellent qualities of this device to all friends and was pleased as the child.

Possessing at that time already good money, Rakhmaninov one of the first private people in Moscow, not from a circle of richmen, was got with the car and has become in very short term the masterly driver.

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I remember, when in Moscow on Hodynke air loops of the arrived French pilot of Pegu for the first time were shown, Rakhmaninov has invited me with the wife to go together with it to look at these flights. We have gone in Rakhmaninov's machine — it, its wife Natalia Aleksandrovna and I with the wife. Sergey Vasilevich showed to us the driver's virtuosity.

At Satinyh there was in the Tambov province an entail property Ivanovka which all family valued and extremely it was loved. I, unfortunately, had not to be there; we with the wife some times fixed to go to stay for a while to Ivanovka, and each time for whatever reasons it could not take place.

A.F.Gyodike once was there. Rakhmaninov just at this time has written "Bells". Together with it Rakhmaninov showed then to Alexander Fyodorovichu one certificate of the not ended opera « Monna the Bath ».

Manor Satinyh has been burdened by greater debts, three times incorporated and repawned and, eventually, should be sold by auction, That for family would be a hard blow. Rakhmaninov has decided to rescue a manor. It from a consensus has taken it together with debts on itself(himself). For a number of years, refusing to itself(himself) in many respects, it almost all earnings which at that time were already enough greater, used on paying the debts laid on a manor. It managed to clear, at last, a manor from debts and to result in arranged well enough condition, than it very much was proud, fondly imagining itself(himself) the quite good rural owner whom it, certainly, was not. In the summer Rakhmaninov took in village the car and there on open space showed the driver's qualities.

Soon after October revolution, in the end of 1917, Rakhmaninov, having received the concert offer to Sweden and the exit visa, has left there with semyoj and more home has not returned.

Within the whole ten years Rakhmaninov was engaged mainly in wide concert activity as the pianist, playing along with the and another's products, and has won to itself position of the first pianist in the world owing to what has become is rich enough. As the composer it had no Rakhmaninov's continued a realistic line of Tchaikovsky creativity in the West of the big success as there at this time took a great interest mainly in modernist currents, and, from these currents stood very far. Its music always reaching the wide listener, at criticism of the modern West in overwhelming majority of the sympathetic response almost did not find. It and, that is even more important, otryv from native ground have caused this time the longest in Rakhmaninov's life a creative break. It of years ten after departure from the native land almost anything, except for several transcriptions, has not written. It very hard experienced the otryv from the native land. Upon me has made strong impression the following story of the Moscow musician, the conductor of Jewish theatre L. M. Pulvera. The Moscow Jewish theatre went in the twentieth years abroad and was in Paris. There Pulver has entered somehow into musical shop, began to consider notes on a counter and has suddenly noticed, that near to it there is Rakhmaninov. Rakhmaninov has learned it; they have greeted, and Rakhmaninov has started it to ask on Moscow and the Moscow affairs, but after several words has begun to sob and, not having said goodbye with Pulverom, has run out from shop. Usually Rakhmaninov not was especially ekspansiven in display of the feelings; from this it is possible to conclude, up to what degree painfully it felt otryv from the native land.

The next years Rakhmaninov again has creatively revived and has written a lot of excellent products: piano Variations on theme Korelli, the Fourth piano concert, « Three Russian songs », the Rhapsody on Paganini's theme, the remarkable Third symphony and the swan song of exclusive force and tragical depth — « Symphonic dances » for an orchestra.

Rakhmaninov's which has come for some days before its seventieth anniversary the death with which at us wished to celebrate widely, — result of immediately developed cancer.

Long-term affinity, friendship with Rakhmaninov — one of the best memoirs of my life. I always hoped to meet it in a life. Its death hard has amazed me.

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Hoffmann

Rakhmaninov has been created from steel and gold:
Steel in its hands, gold — in heart.
I can not think without tears of it.
I not only admired the great actor,
But loved in it the person.

Los Angeles
16 May, 1945

Century Grejner

For the first time I "have met" with With. Century Rakhmaninov in 1913 on one of concerts of " modern composers » in the Small hall of the Moscow conservatory. I remember, how the friend-musician has addressed to me: « Here Rakhmaninov has come! » I and without it have noticed a high figure of the composer-pianist with short ostrizhennymi hair and strict features. This first impression remains at me for ever, and is frequent, when subsequently I was lucky enough to get acquainted with Rakhmaninov personally and to learn this exclusive and charming in every respect the person, I saw its such, as then at a concert.

There has passed a storm of war and revolution, and I among many eventually have come to be in the United States. And here on a duty of service in concert business of piano factory Stejnvej in New York I for the first time had to meet Sergey Vasilevichem played on grand pianos Stejnvej personally. And again that first impression in Moscow has repeated! I as though was transferred to the Small hall of a conservatory and saw Rakhmaninov entering in a hall …

Business relations with Sergey Vasilevichem, twenty years proceeded almost, before its most death have begun. I have only once received "reprimand" for all this time from it — deserved! I mention it only for fuller obrisovki persons Sergey Vasilevicha as I knew it and deeply appreciated.

Sergey Vasilevich wished to listen to any young pianist in one of studios Stejnvej and has agreed to me about day and hour. There are misses to everyone, and, as to spite, Such miss at all my accuracy has happened with me right at the beginning of my business tie with Rakhmaninov. It has appeared, that the appointed day was after any American holiday about which I did not know before the closing office. In the evening already late was to give the order to put in studio two grand pianos. When I immediately for other morning have disposed about it is there were no people! And here, Sergey Vasilevich has come precisely in uslovlennoe time, and I had to apologize and, having explained position to ask to wait. Sergey Vasilevich has rather strictly looked at me and "has rapped out": « it would be necessary to think of it in advance ».

Such severity was consequence of one characteristic feature of Rakhmaninov — its surprising accuracy and accuracy! For twenty almost years of our business relations Sergey Vasilevich uniform time was not late even for five minutes! If for any reason it could not be in due time, it always beforehand informed me. From all actors whom I know and with which I have business and personal communication, and such very much and it is a lot of, besides Sergey Vasilevicha, only one Joseph Hoffmann as is exact and accurate.

Yes will forgive to me, that I am proud, that recurrences of described "failure" at me any more were not. Moreover, for all the next years I neither uniform time had no with the great actor nor the slightest difficulties, even the most insignificant. Why? Yes because Sergey Vasilevich never asked, did not demand, did not expect impossible as it actors do almost all. It in accuracy carried out of all the obligations taken on and fairly demanded the same attitude from others.

Has passed some months after our first meeting, and I have received from Sergey Vasilevicha the invitation « on a cup to tea », and in some weeks the invitation to a cup to tea not only me, but also my wife has followed. And here since then the attitude to us and Sergey Vasilevicha and its family was invariable tender and nothing was saddened. We have lead what happy hours in hospitable house Rahmaninovyh in New York, near Paris, in their wonderful house in Switzerland! As cheerfully we played with Sergey Vasilevichem in its favourite "preferansik" while dear Natalia Aleksandrovna "battled" in the next room in poker … As laughed at tea! Yes, who did not know Rakhmaninov in this intimate conditions, did not know it in general. As the rare jewel is many-sided, so Sergey Vasilevich possessed many qualities. Them it was necessary the nobility! Seen it only on a concert platform speak: « Such strict, seryoznyj ». Others add: « As it is possible to live without a smile? » And it only because on a platform Rakhmaninov has not scattered smiles, as the coloratura prima donna.

Always after arrival to New York from the Europe in the autumn, before the beginning of concert tour, Sergey Vasilevich one, and sometimes and with the wife came into board Stejnvej to greeted the president and directors of firm. Upon termination of tour, before departure to the Europe it also invariable came to say goodbye. What in it surprising? Yes that anybody from other actors also connected with firm Stejnvej, simply did not do it. It really corresponded to the characteristic of an outstanding person given by English scientist and thinker Thomas Geksli: « It loves all fine, be it in the nature or art. It hates all low and trite. It honours others, as itself(himself). It completely uses everything, that the nature has given it, and the nature, in turn, uses everything, that it has given it. Only such person — really person ».

Unforgettable Sergey Vasilevich Rakhmaninov was such.

New York
February, 1945

M. of Century Dobuzhinsky

To my regret, at all my sympathy to person Rakhmaninov and admiration of its music, I had not to come nearer to it. My memoirs on it are not so rich, but our fleeting meetings and all the trifles connected with Acquaintance, memory keeps with love.

I have got acquainted with Sergey Vasilevichem in 1916, but the further appointments were very rare, with intervals on neskolku years. Many of my friends and the friends, close known Rakhmaninov, spoke, that in general to it to approach it was difficult, that at heart it was the person closed, but that seemed to much coldness and even arrogance, often spoke only its shyness. I was convinced of last repeatedly.

Up to the first meeting with it its high round-shouldered figure and it seryoznoe, the concentrated long person was familiar to me from afar, on concerts. When I have got acquainted with it near to me has especially amazed this person. I at once have thought: what remarkable portrait!

It was short strizhen, that emphasized its Tatar skull, cheekbones and large ears — an attribute of mind (same were at Thick). It is not surprising, that so many artists did its portraits and that the some people took a great interest in "documentary" transfer of strange features of its person with a grid of deep wrinkles and the intense veins. Perhaps, Rakhmaninov's the best portrait — one small, extremely thin and strict and at the same time K.Somova's as though "veiled" figure. Here it izbeg temptation of underlining of a pattern of these details also has most close expressed spiritual essence of this person.

First my meeting with Rakhmaninov has happened in foyer of the Moscow Art theatre. Then the Rose and the Cross » the Block was put at theatre «. The block and I have arrived to Moscow for negotiations about statement, and it was offered to Rakhmaninov to write music for this play. In this occasion it then has appeared at theatre and Nemirovich-Äàí÷åíêî us and has acquainted.

I do not know, for what reasons, but, apparently, music has not been written to them, and the play though prepared two years, and has not been put. I result only this fact of the reference of Art theatre in Rakhmaninov what, apparently, in its one biography it is not mentioned.

I have met Sergey Vasilevichem again only in 1927 or to 1928 in Paris. Then from my friends, K.Somova and known dancer Alexander Saharova which before that, being in America, often happened at Rakhmaninov who is there gone on tour, I heard about it a lot of lovely — about its personal charm and about its cosy domesticity. Sugars with affection told to me as Sergey Vasilevicha's farewells for the night with already adult then it dochermi (senior were touching, Irina Sergeevna, was already married). It precisely saw off them in a long trip, long blessed and did not release from itself.

« As I follow » has got acquainted with Rakhmaninov in Paris, be at its daughter Tatyana Sergeevny. Once there was a big assembly, there was Shalyapin especially shining that evening. It willingly sang, told and made laugh with different talented nonsense. Such cheerful, affable and at the same time is lovely-timid I saw Sergey Vasilevicha for the first time and from this party for the first time learned it.

Since half 30th years, it is a lot of living in London and I am frequent from it leaving, unfortunately, as to spite, Always passed a case to meet there Sergey Vasilevichem. It almost each arrival — and just in my absence — happened in family of M. of Century Brajkevicha which and was close to me. At them I have somehow blabed out my idea of ballet on a theme andersenovskoj « Princesses on a pea », and Brajkevichi have told about my libretto to Rakhmaninov.

As it, apparently, has interested it and zabavilo Brajkevich has advised me to develop a plot and to send Sergey Vasilevichu to Switzerland where it then veins, — can be, de it will be inspired and will write music …

So I also have made. Sergey Vasilevich has sent very much me touched letter With the promise when it will be free to undertake on this theme. But so it also it was not necessary to wait, though later, once at a meeting, it has recollected the promise with a smile.

In 1937 the Pushkin exhibition has been arranged in Paris S.Lifarem. Even earlier I had an opportunity well to familiarize with Pushkin's remarkable sketches, very much in them have taken a great interest (even have dared to copy many of them, trying to be forged under inimitable ease of a Pushkin feather), and was by the way prohonour at an exhibition the report, devoted to Pushkin-schedule. Audiences have been shown also these copies. During lecture I have been much confused, having seen in Sergey Vasilevicha's closely listened and considered figures first number, and iskrenno have been pleased, when after lecture it thanked me for "opening" which for it were in some of my ideas.

Again I have met Rakhmaninov only in 1940 already in New York, soon after my arrival to America. We had dinner at the general friends, and unexpectedly it has suggested to acquaint me with Metropolitan Opera, obeshchav to advise managements to put "Queen of spades" with my scenery (to this opera for the Bruxelles theatre de la Monnaie it saw my sketches in London). Certainly, on first my steps in America when I as the artist, to anybody here has not been conducted, its participation was for me very valuable. Acquaintance to director Metropolitan Opera to which accepted my sketches soon took place. Friends have already started to dream, that Sergey Vasilevich will agree to conduct its favourite opera … But after long fluctuations of management, for different extraneous reasons, it has appeared, that the opera of Tchaikovsky is put cannot be, and then to me, as though instead of "Queen of spades", it was offered to make scenery to Verdi's "Fansy-dress ball", that I and have executed. Thus, it has left all as though « from an easy hand » Rakhmaninov.

It is remarkable, that its friendly participation in me remains unknown even to its relatives — so it was modest in similar benevolent acts, not giving it of value and not liking to speak about them to anybody.

Once in the summer of 1941 under Sergey Vasilevicha's invitation I have visited it in its country house on Long Island. It has arrived on the car to meet me on station. It corrected, and to me it was strange — as hands of the actor can snizojti up to a rough automobile rudder? I have told to it it and have received the amusing answer: « do not forget, that I not only the pianist, but also the conductor and after an orchestra my great pleasure to operate machine. I in fact the conductor!»

In this my visiting Rakhmaninov again has seemed to me same what I have learned it in Paris, and it seryoznost already me did not frighten.

In New York I tried to not pass Rakhmaninov's concerts on which originally enjoyed and together with crowd egoistically demanded encore. Meanwhile, despite of all amazing force and freshness of its marvellous game, it was necessary to notice, what improbably tired it was last years. After concerts happened korotenkie appointments in close artistic room Carnegie Hall where, as though devastated by the game, Rakhmaninov, having put on a white glove, mechanically shook hands with the infinite admirers.

Last my meeting with it was at performance of an opera « Sorochinskaja fair ». (Direction was A.Chekhov's M., and my scenery.) it was joyful to me to see happy Sergey Vasilevicha. During performance I sat behind it, and it, having turned back, have told to me, specifying on mine malorossijskuju village and prigorok with tserkovkoj and poplars: « Here dachku here to me to construct! »

"Dachku" soon it also has arranged to itself(himself), though and on the American ground, But, alas, already before the end of the life.

Newport R. I.
May 1945

Of N.Ivanov

My first personal meeting with With. Century Rakhmaninov has occured on October, 5th, 1940. Vidala I of Sergey Vasilevicha before all only once at any charitable concert, from afar, sitting. And never to me occurred, that to me will have it to see not from afar, and absolutely close and daily, and hourly, and not only to see, but also to speak with it and to serve it.

I have acted on service to Rakhmaninov for the lack of Sergey Vasilevicha, and the meeting with it excited me and frightened, as my friends, vidavshie Sergey Vasilevicha the same as also I, once and from afar, spoke me that is the gloomy, unsociable, severe person it will be difficult to them to please, and after even envied me! One Russian artist has told to me somehow: « Happy you as you can listen Sergey Vasilevicha's to game every day, let even it will be exercises, and here I even on its concert not always can get the ticket ».

And absolutely I have lost courage, it when before receipt on service had conversation with Natalia Aleksandrovnoj, wife Sergey Vasilevicha, and it to me has told: « I do not worry About myself, and here Sergey Vasilevich whimsical and in meal is legible. It works much, and it is necessary for it to eat well that is why it needs to please ». Here I have solved, that to me to not be kept in any way in their house.

Sergey Vasilevich was on a summer residence, and I every day asked the god to delay its arrival still on denyochek.

And here in the afternoon on October, 5th there comes Sergey Vasilevich, unexpectedly when at home there was I one, and uvidala I it before itself really such what I imagined under the description of my friends. But when I have heard its voice, quiet as though slightly tired, at me fears have passed all. I shall tell the truth, that for all life I still did not meet the person at whom the external image so mismatched its internal qualities.

This person, on a kind gloomy, as if never smiling, had healthy humour, so much neat and witty remarks, that I sometimes so much, working in the next room, hardly restrained loudly to not burst out laughing, hearing its any remark. And to hear and see to me it was necessary Sergey Vasilevicha of kind midday within several years. Then I also have thought, here is how it is possible to be mistaken in the person if to judge it only by the form.

One time all of us have been concerned Sergey Vasilevicha's by state of health and have decided to give with Natalia Aleksandrovnoj to it coffee without caffeine as Sergey Vasilevich loved coffee and sometimes abused it. I have welded coffee, I shall tell under the truth, very much tried, have brought to Sergey Vasilevichu. All sat at a table, except for Natalia Aleksandrovny who was spoken by at this time phone. I have not had time to leave for a door as I hear, Sergey Vasilevich speaks me with such complaint and insult in a voice:
— Galina Nikolaevna, yes for what you offend me? What I to you bad have made? Well, what for muck you to me have brought? Give me some the present coffee.
I bring coffee, Natalia Aleksandrovna already sat at a table and asks Sergey Vasilevicha:
— Well, what, has drunk some coffee? It was pleasant?
Sergey Vasilevich easy so answers:
— As, has drunk. Very much it was pleasant! It is necessary to think up such drink.
Then Natalia Aleksandrovna udivlyonno asks:
— To whom this coffee?
And Sergey Vasilevich answers:
— To me, I shall drink here. One cup for health, and another for pleasure.

Sergey Vasilevich loved and to attempt. Not so many to attempt — appetite at it was very moderated, — and loved, that on a table a lot of the various meal was. And each time before a breakfast or a dinner, entering into a dining room, okidyval a sight and with pleasure in a voice spoke a table the Basque:
— Fu you, meal a precipice what.
Very much Sergey Vasilevich pilav — loved food from mutton and fig. When I submitted to it somehow this dish, Sergey Vasilevich asks me:
— And you give the tenants this food? podi as they overeat.
There was in memory such still a case. The photographer and Sergey Vasilevich three days prior to its arrival should come muttered and stated displeasure in this occasion.
— Yes for what it is necessary, whether yes it is necessary and whether it is impossible to postpone?

This day has approached, the photographer expected, but it for any reason, I do not remember what, late. Sergey Vasilevich was terribly happy. On the person at it simply pleasure of the schoolboy to which has carried that it is not necessary to answer a lesson. Sergey Vasilevich skorenko, on the move putting on a coat, on kitchen through okoshechko has looked in a drawing room: whether there was a photographer — and through a rear entrance has left.
— If the photographer is, tell, that waited and has not waited.

It is remembered to me still as touched me Sergey Vasilevicha's attention. I not spoke time to the children: here you the, and never ask me, whether I am tired, whether have had time to eat. And if Sergey Vasilevich saw, that I on service have come before ordinary, always asked:
— Galina Nikolaevna, and something you early today? And coffee you drank houses?

Almost every day consulted: whether my children are healthy? Whether there live at me my tenants? Whether All is safe? In fact here, apparently, such big, world renowned to the person, whether with its greater affairs and cares up to still to worry about me, about my children and about my small affairs. And it is so much thus it was shown sincere simplicity and so much to all people surrounding it, and another's, kindness and keenness!

Much I could tell still episodes from Sergey Vasilevicha's life, But unless it is possible to transfer in accuracy all on a paper? It should be heard and seen to understand and estimate, in fact neither voices, nor intonations, humour, and sometimes and irony you will not transfer how it should apprehend.

New York, October, 1944

Of M. Kogan
From clause « Rakhmaninov and Skryabin »

From all slyshannyh me I put pianists on Rakhmaninov's first place: Its only thing I can name the genius, all the others — no more than talents (that, certainly, also it is a lot of).

For the first time I have heard it in Kiev in 1913. To Rakhmaninov was then forty years. It was already rather known as the pianist and the composer, however it was considered as the first pianist of the world in Russia all not, and Hoffmann; at least, the opinion of general public, and very much many musicians was those. Well I remember, with what worship and delight my teacher of the music convinced me in the doubtless superiority of the idol both above Rakhmaninov, and above all other pianists spoke about Hoffmann.

Rakhmaninov gave the concert in a hall of Merchant assembly (nowadays — the Columned hall of the Kiev philarmonic society); it played the piano firms " Áåõøòåéí ". Now at all of us pianists are compelled to play on the same grand piano which costs in a concert hall. Then was not so. To each pianist brought on a concert other tool — that firm on which grand pianos it has got used to play. Grand pianos undertook for rent in one of two depots available in city. Rakhmaninov demanded, that to it put not only a grand piano of the certain firm, but also the certain tool. Such, in advance it chosen and with own hand addressed (on a deck) behshtejnovskie grand pianos stood, prepared for its concerts, in depot of large cities of then Russia; on one of such grand pianos marked by its autograph I subsequently could play once (in Saratov).

Rakhmaninov's concert has made upon me enormous impression. I at once have become (and have for ever remained) its enthusiastic admirer both as pianist, and as composer. I to hear did not want about its any comparison with shortly before that gone on tour Hoffmann and hotly was at war with everyone who "dared" to prefer it before the author of "Lilac". I have immediately bought all piano compositions of Rakhmaninov available on sale and have begun to assort and study them. And the same as I was at war with "gofmanistami" for Rakhmaninov-pianist, as I was at war for Rakhmaninov-composer with those representatives radical (in the musical attitude) youth, whose centre of gravity was Skryabin's creativity.

Rakhmaninov I heard during four years — with 1913 for 1917 — in total eight times: six times in solo klavirabendah, once in symphonic and once in accompaniment to singer Nina Koshits who has devoted the whole evening to execution of its romances [Except for these eight performances Rakhmaninov in specified years played Kiev still three times in symphony concerts, but I on them was not.]. On all these performances it played only the compositions, except for one solo concert where it executed products shortly before that the died Skryabin (the Second and Fifth sonata, preludes, etudes, etc.).

What was remembered to me Rakhmaninov's game? What more all has drawn in it attention, than its "magic" action on listeners spoke?

This game differed from game of the others slyshannyh me of pianists special authoritativeness. It did not go at all towards to the listener, its expectations, its understanding of executed product; on the contrary, it went more likely counter to it, sharply, rigidly opposing expected other interpretation, ruthlessly imposing to its audience. I observed the same feature and at other ingenious executors, for example at Shalyapin; it makes, in my opinion, characteristic difference of the genius from talent. But in this opposition it was not felt anything far-fetched, deliberate. Rakhmaninov played so not because aspired to execute differently, than others that is why, that its individuality, its art nature because it could not play differently was those. Skryabin proclaimed leadership of will of the artist, it I "want"; Rakhmaninov proclaimed nothing, it simply carried out the I "want", subordinating it a hall.

Authority of it I "want" it was carried out via shattering, not knowing obstacles of technics, energetic dynamics, unprecedentedly powerful tone. More all — through a rhythm. Rakhmaninov's rhythm, steel on unshakable uniformity and "aktsentnosti" in one episodes, in others amazed with the flexibility and seeming "freedom"; actually it was "freedom" of a bent steel spring, which force of resistance all increases, than more it bend, while it, having pulled out, does not come back in the natural position. The combination, original harmony of these "bendings back" and joyful, sharply accented returnings in meter made main, original and absolutely insuperable charm rahmaninovskogo deeply organic rhythm [Good representation about this feature rahmaninovskoj games gives grammofonnaja record of accompaniment to the singer. Century Plevitskoj in its processing a song « Belilitsy, rumjanitsy You mine » — the present miracle of rhythmic elements.].

What from rahmaninovskih executions more all was embodied in memory?

Unusual on power crescendo which it "exhausted" from a grand piano in the beginning of the Concert c-moll [I Mean not only initial chords, but also the subsequent passages through which powerful "waves", hardly making the way, indistinctly, as a voice from a cave, the orchestral theme sounded. Sat next me the cousin — enthusiastic admirer Hoffmann — never up to that heard Rakhmaninov, at the first sounds of a grand piano, having turned pale, osharashenno was removed deep into Armchairs. « Well, what your Hoffmann? » — I have mischievously whispered to it. « That Hoffmann! » — it has answered, with the killed kind having given up as hopeless.]; severe, "panihidnaja" grief of the Prelude h-moll; poetic charm of "Lilac"; victorious flood of " spring waters » in the Musical moment es-moll; shattering virtuosity of Prelude B-dur; "piquancy" and technical shine « polki Century »; game of rhythms in it, in a severe Prelude d-moll and a quivering Prelude gis-moll, in "JUmoreske", in "Etude-picture" h-moll. Well I remember, in particular, as in last play, in an episode:



Rakhmaninov, with a greater dynamic pressure and accelerating, directed to dominantseptakkordu on fis; straight off "having rushed" into it, it at once « pulled reins » and compensated the previous acceleration by the intense delay of both tonic chords (on h). Then the delayed spring with force "jumped aside" (sf on sekstakkorde fis-moll), and, coming back in rate, Rakhmaninov "all at once" finished an episode, sharply, rhythmically minting last chords.

Rakhmaninov played many products at all how they are treated by other pianists. So, the known Prelude g-moll, sounding usually as joyfully exulting march, got in its execution absolutely other character — ominously approaching threat. Elegiju, it played the Barcarole both other "lyrical" plays and episodes courageously, even is severe, steady « aspiration forward » removing from them any strike of sentimentality. Sentimentality, slackness in general was alien, opposite Rakhmaninov-pianist to nature; In it it went in defiance even Rakhmaninov-composer's to some features (in particular in early products), and it is necessary to tell, that from such "inconsistent" execution similar places in its music only won.

It especially « rushed to ears » at comparison with other interpreters of the same products. As is known, Rakhmaninov's compositions often also are willingly played by pianists. But in most cases — I recollect only few exceptions — their executions, being quite serviceable concerning technics and correct transfer of the musical text, seem to me artly unsatisfactory, leaving at all that impression what this music should make.

Why?

Well-known, that Rakhmaninov's products alongside with other advantages are full of deep feeling and at the same time rhythmic energy. These qualities lay, it is possible to tell, on a surface of its music. Many executors, not philosophizing crafty, go towards to its named properties, « give vent to heart » in its lyrical pages, play strictly in a step "strong-willed" episodes — and that vulgarize rahmaninovskuju music, leading up its advantage up to that limit behind which they, according to a known French proverb, turn to lacks.

Rakhmaninov absolutely differently played the music. Rakhmaninov-executor did not go towards to those properties that laid on a surface of its music, and, on the contrary, as if tried to hide, suppress them. Playing, it as though struggled with a material, struggled with itself, went counter to the geniality, the organic rhythm. This internal struggle sated its execution by dramatic nature, is frequent "demonizmom", involved, involved in itself listeners. The feeling did not flow a free jet, and broke as if against will of the executor, "meter" was given not "by itself", and overcoming temptations of constant "delays". On this struggle, on these overcomings and breaks the main force of influence rahmaninovskogo executions was based. Owing to its described feature the best acted on the foreground in its music — its courage, nobleness and its weaknesses left in a shadow. Not without reason many contemporaries disliked rahmaninovskie the compositions, reproached them for "sentimentality", did not learn this music, did not find this feature in author's execution.

Here the eloquent certificate: « Take in hands of the note … — Skryabin spoke, — and familiarize „ on hearing eyes “, and then listen same in rahmaninovskom execution: the same notes, and quality of music became others, certainly fine, convincing … »

Here this skill to make that « notes were the same, and quality of music became others », and does not suffice at the majority of executors rahmaninovskoj music (does not suffice even at such remarkable pianist as Klajbern when it undertakes interpretation of the Second rahmaninovskogo a concert). They, these executors, put Stanislavsky's by words, « salty salt » so many high advantages of music of Rakhmaninov are belittled, its art and ethical value.

Properties rahmaninovskoj individualities were less convincingly shown at execution of products of Skryabin (Rakhmaninov in described concerts did not play compositions of other authors). Pianistic shine in this execution (for example, in Etudes op. 42) was much more, than in shortly before that slyshannom me execution of the author; but characteristic fragility of many pages of this music and skrjabinskoj games has given a up the place of mighty authority of iron and steel. In one of reviews (in the newspaper « the Kiev idea ») it was written, that Rakhmaninov played « the Devilish poem » angrily, allocating in it everything in what it is possible to see skolok with listovskogo "¼Ñõ¿ßÔ«-waltz". I do not think, that Rakhmaninov was meaningly set by the similar purpose, "malicious" execution was required by character of product. But it is true, that rahmaninovskaja interpretation of this composition involuntarily "exposed" if not music, Skryabin-composer's "titanic" claims.

Impressions of Rakhmaninov's game I shall add with the story about some fine episodes which are taken place at its concerts. On one of them it after many "encore", in reply to proceeding calls of the youth which has gathered at doors artistic, has looked out therefrom, already having replaced a dress coat on a jacket, and has invited interested persons in artistic behind autographes. Interested persons have rushed there crowd, and I together with them.

Rakhmaninov signed to whom programs, to whom photographs, to whom notes; has inscribed also to me a photograph and the program, notes at me with themselves were not, about what I very much regretted. On a following concert of the pianist I have grasped with myself notes. Rakhmaninov after a concert has again invited interested persons in artistic and, distributing autographes, joked and made jokes, causing laughter of associates. When I have stretched to it thick volume of the preludes opened on the Prelude h-moll, it with a smile has told: « About, already and notes have gone! » And, obviously, has gathered poostrit for this account. But, having lifted eyes and having seen the teenager who looks at it it is alive @ dead, with delight and horror, that just about its idol above it will be dared and will shame it before everything, Rakhmaninov, probably, — so, at least, seemed to me — has understood my sincere condition and, having holded available to be broken from language an acuteness, has silently undersigned on notes and is somehow careful, has validly submitted them to me, steadfastly thus having looked to me to eyes.

On Rakhmaninov's performance in a symphony concert Shalyapin gone on tour at that time in Kiev has come. The box where it sat, drew the general attention; Rakhmaninov, exchanging bows with public after the performance, gave there separate bow; and the student sat about me up to that was forgot, that, violently applauding Rakhmaninov, has cried in all throat: « Gallantly … Shalyapin! »

Except for concerts I saw still Rakhmaninov on student's evening in a conservatory. For this evening where the best pupils of different classes have been selected, have been invited also given concerts in those days in Kiev Grechaninov and Skryabin, but one Rakhmaninov, and that only to the second branch has come. I played the first so it did not hear me, and I saw only as it in a jacket, in an environment of conservatoire professors, has left a cabinet of director and have directed to a hall. According to professor Mihajlova (the then inspector, after the rector of the Kiev conservatory) I know, how Rakhmaninov about one of the pupils has responded, played technically is very strong, but is somehow indifferent: « It plays as if not, and its cousin ». And when one of teachers of a conservatory has led to Rakhmaninov of the pupil, differed greater technical abilities, and that has played any play in very fast rate Rakhmaninov, having stopped it, has asked to play the same much more slowly. That has not managed it to make, and then Rakhmaninov has refused to listen to it, having told, that its all technics — « a false coin ».

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S.T.Konenkov
« Memoirs about With. Century Rakhmaninov »

Sergey Vasilevicha Rakhmaninov I remember for a long time, from its first brilliant performances all over again as the pianist, and then as the conductor. That was time to its creative youth, muzhanija talent when in each new composition Rakhmaninov opened to us, to fans of music, all is deeper also versatile. Despite of hushing up, and at times and swoops from a reactionary part of criticism, Rakhmaninov always remained the realist, its music always was to close and clear simple listeners, and they, in turn, answered the composer with gratitude and love. We understood all, that after death of Tchaikovsky and Roman-¬«Óßᬫóá Rakhmaninov was the first musical size of Russia, its hope, glory and pride.

During the Moscow period of a life of Rakhmaninov I with it personally did not meet. For the first time we have got acquainted in 1925 in New York when F.Shalyapin has arranged reception for actors of the Moscow Art theatre which is gone on tour at that time in America. When I have entered into a hall, the first whom I have seen in noisy brilliant crowd, there was a owner of evening, Feodor Ivanovich Shalyapin. Its cheerful voice was heard everywhere. It briskly talked to visitors among whom were K.Stanislavsky, O.Knipper-Chehova, N.Litovtseva, Century Kachalov, I.Moskvin, Century Luga and other outstanding actors; Shalyapin approached that to to another, joked, made jokes, loudly and infectiously laughed.

In crowd of visitors I not at once have noticed Rakhmaninov. It stood, having leant against a column, imperceptibly, private residence from all and, probably, felt alone. I have approached to it, and we razgovorilis. Sergey Vasilevich was modest up to shyness. About what we spoke (and me, naturally, it would be desirable to learn from Rakhmaninov very much much), it all time allocated conversation from itself(himself).

On the same evening I have shared the first impression about Sergey Vasileviche with one of Russian artists present there. « Sergey Vasilevich so is timid only in crowd, — the artist has told to me. — and you would see its houses, among native or with friends! It is talkative, witty, but … about the art, about music and there speaks a little ».

Talking to Sergey Vasilevichem, I have paid attention to how Shalyapin when it « in spirit » is charming. Sergey Vasilevich has smiled, why at once became somehow easier, "house". « Yes, in it at Fedi there are no contenders, it is able to be charming », — it has told. Smiling, Sergey Vasilevich looked after Shalyapin, internally admiring it.

At that time I moulded Shalyapin and have playfully complained to Sergey Vasilevichu, that Feodor Ivanovich poses unimportantly and to work above its portrait difficultly — it sits restlessly, its all time is torn off with phone calls, and it is frequent, not having waited the end of a session, leaves. Sergey Vasilevich was surprised and it has told, that, on the contrary, poses is assidious and (it has again smiled the wonderful smile) it even "is pleasant" to it: here where it is possible to sit, at last, easy, to dream and even to compose a melody!..

I have quickly taken advantage of a case and have suggested Sergey Vasilevichu to pose for a portrait. It has artfully looked at me as if has understood a course of my ideas, and, having thought, has agreeed.

Soon I have started to do Sergey Vasilevicha's portrait. It has constrained the word: came precisely in due time and patiently posed up to the end of a session. As now I remember Rakhmaninov sitting on a chair at me in a workshop in the favourite pose — with the hands combined on a breast. It always had little bit tired kind, it seem thoughtful, indrawn. Perhaps, therefore from the impression, that before you the strict, pedantic person was made. But it was far not so. Sergey Vasilevich was the person alive, sociable.

Person Rakhmaninov was "find" for the sculptor. In it all was simple, but at the same time deeply individually, is unique. Is in a life of the person, which need to be seen even for an instant then to remember long years.

Rakhmaninov was very high growth, and, entering in a room, it always as if on the developed habit, bent in doors. It had hardly muffled, a deep voice, greater, but very soft and gentle hands. Its movements were quiet, slow: it never moved and did not speak sharply. It had correct features: the wide convex forehead extended, hardly with a small hump, a nose, deep radiant eyes. It was always short ostrizhen. Person Sergey Vasilevicha sometimes reminded me a face kondora sharp definiteness large as if cut down fig. But at the same time it always amazed with the deep, raised expression and especially horoshelo and changed, when Sergey Vasilevich laughed, — and it was able to laugh so sincerely and expressively!

During first time I have noticed, that Sergey Vasilevich very soon gets tired. I suggested it to have a rest, it willingly agreed, rose from a chair, strolled on a workshop or laid down on a sofa. But soon rose, speaking: « Anything, I have already had a rest. In fact your time is dear ».

In breaks between sessions we drank tea and talked, and Sergey Vasilevicha's ideas invariable came back to the native land. We have started talking about Rakhmaninov's manor in Switzerland on coast of lake, and almost at once imperceptibly send to … Ilmen-lake — on Rakhmaninov's native land, in the Novgorod ground. Sergey Vasilevich tirelessly and enthusiastically spoke about native its heart to the nature, as the most thin artist to whom its small and greater secrets are known all. Whether this poetic enthusiasm and keenness of the great composer has given us fine images of musical landscapes road to its heart of Russia!.. Conversation proceeded. From Ilmen-lake, from native places Rakhmaninov has passed to an opera "Sadko", and then and to its author Roman-¬«ÓßᬫóÒ with which it always admired. « As it is a pity, that I communicated with it a little, — Rakhmaninov has told. — I, certainly, at it have learned much. Here the great musician, whose music it is continuous from the ground which has generated it. At Roman-¬«Óßᬫóá everyone notka — Russian … ».

Rakhmaninov excitedly recollected and Tchaikovsky, about the work at the Big theatre, about a conservatory. And its eyes were shone by any unusual pure light.

Despite of difficulty obvious to it, Rakhmaninov has enabled me to finish work above a bust. Approximately during same time I have made the small sketch of a figure of the composer in all growth. It was kept at me.

Later I occasionally met Sergey Vasilevichem, and me amazed its patient, a tired kind. But as soon as Rakhmaninov sat down a grand piano, — it changed. It seemed, that forces came back to it. Its hands as wings of an eagle, flied up above the keyboard. The whole world of images and pictures opened to listeners in Rakhmaninov's music.

Rakhmaninov painfully was homesick, and the consciousness of the mistake accomplished by it in the course of time all oppressed it more. The sensation of the native land always lived in it, never dying away. It greedy was interested in everything, that came from Soviet Union, and its interest to the updated native land was iskrenen, is deep. I am convinced is have affected and in gradual revival of creativity of Sergey Vasilevicha who has created in the thirtieth years such compositions, as « Russian songs », the Rhapsody on Paganini's theme and especially the Third symphony named by B.Asafevym "deeply Russian". It read books, newspapers and the magazines coming from the USSR, collected Soviet a plate. It especially liked to listen to Russian songs in execution remarkable Krasnoznamyonnogo ensemble.

The love to the native land never cooled down in Rakhmaninov, and whether music of the great Russian composer speaks about it fine, chelovechnejshaja? I would like to tell only, as at Rakhmaninov « everyone notka — Russian » as it spoke it about Roman-¬«ÓßᬫóÑ.

During war Rakhmaninov grieved about destiny of the native land. It has given many concerts, the income with which has been transferred to them to the Soviet consul. Already being hard sick, feeling approach of death, Sergey Vasilevich has expressed desire that its body has been transported home.

O.N.Konjus

Much wrote and will write about Sergey Vasileviche Rakhmaninov as about the actor-genius. In my clause I wish to share memoirs on it not only as about the exclusive musician, but also the mere mortal the person.

Sergey Vasilevich among the and among another's — two poles. Many, seen it only on a platform, hardly will believe, that this person with a mask on the person can speak, laugh loudly up to I shall fall, to tell jokes, etc.

Some years successively Rahmaninovy came from America to France to spend summer vacations. Their each arrival was greater event. We often met either at Rahmaninovyh, or at Metnerov, or at us, and, certainly, conversations on music was endlessly. Often evening came to an end with game in « bubnovogo king », in which bubnovyj king — the greatest penal card. Sergey Vasilevich very much liked to set the daughters to play this game with Nikolay Karlovichem Metnerom who with the impulsive temperament very strongly reacted when received this ill-starred king. It was necessary to see, how seryozno Sergey Vasilevich worried, if daughters did not manage to beat Metnera.

It was very interesting, when Sergey Vasilevich started to recollect episodes from a conservatoire life. One time it removed a room with other pupil on surburb of Moscow. To both was not so freely, it was necessary to earn for a life. Once at them was only copecks twenty, which were necessary to Sergey Vasilevichu to go on a lesson to the schoolgirl. But as both Sergey Vasilevich and its comrade were hungry Sergey Vasilevich has decided to buy sausages and breads, and on a lesson to go on foot. The winter stood present — Moscow cold, with a wind. Rakhmaninov has come on a lesson, all prodrognuv, but, giving a lesson, in advance was pleased, that it can come back home with comfort as it was day of monthly payment for its employment. What its disappointment when mother of the schoolgirl, having expressed the regret, that in such cold it should come back home in an easy coat was, and having offered it to take a plaid, has forgotten to pay for lessons!

Many times I heard about other event from its life. To Moscow there has arrived one well-known Italian singer. In day of its concert the accompanist seryozno was ill. The entrepreneur has addressed in a conservatory with the request to recommend the accompanist. It have directed to Rakhmaninov.
— Whether you can accompany today well-known? — have asked it.
— I can, — it has answered.
As now I hear its cheerful voice and I see sparks in opinion of.
— What fee want?
— I have broken from it twenty roubles, — Rakhmaninov recollected (at that time it there was greater money: the student on twenty five roubles could live modestly the whole month), — but, being the pupil of a conservatory, I have no right to act without the permission of my teacher, A.I.Ziloti.

That, certainly, has resolved, but has demanded not twenty, and fifty roubles of the fee. Sergey Vasilevich has quite deserved such high payment as it accompanied perfectly, and the singer was from it in delight.
— Here the holiday at me was, — Sergey Vasilevich cheerfully added.

Before me the fine photo hangs: in the middle teacher Arensky in an environment of the three conservatoire pupils sits: Sergey Rakhmaninov, Lion Konjusa and Nikitas Morozova — they finished a class of a special composition. To final examination pupils should write an one-act opera. For this difficult problem month was given all. Upon termination of two weeks Rakhmaninov has already presented the full opera "Aleko".

Looking at this photo, my husband often liked to recollect, what exclusively gifted pupil was Rakhmaninov. Especially it amazed with reading at sight, amazing hearing and miracle memory. It was necessary to it to read through the new composition rub-four times, and it already knew it for memory. About the Etude cis-moll Skryabin Sergey Vasilevich has somehow told: « the Difficult etude, I it learned the whole hour ». But especially it has amazed us with the legendary memory in last our appointment in 1943. Travel through Cincinnati from Luizvilla to Knoxville Rahmaninovy have stopped at us. Uvidav a photo with Arenskim, Sergey Vasilevich has asked my husband, whether it remembers the composition? Lion Eduardovich has answered:
— Certainly is not present, it in fact was more fifty years ago.
— And I remember your theme, — Sergey Vasilevich has answered, villages and has played.

Sergey Vasilevich never bragged and did not eulogize itself, but the price to itself knew and in insult of did not give. Upon termination of a conservatory Sergey Vasilevich has been invited by the soloist to Berlin. The concert has passed excellent, and for other day of the impresario has come to offer it the big tour across Germany. When business is has reached conversation on the fee, Sergey Vasilevich has requested very high payment. The impresario has jumped up on a chair.
— Pardon, this fee we pay well-known d'albert.
— I do false notes no more, than d'alber, — Sergey Vasilevich has answered.

I remember the story Sergey Vasilevicha's collision with one professor of the Petersburg conservatory, the well-known composer. Rakhmaninov who rather has recently ended a conservatory, has gone with Shalyapin to Petersburg where both have been invited to well-known "Fridays" at Beljaeva. Shalyapin sang all over again Rakhmaninov's compositions, then executed Schubert, Schuman. After execution the professor has approached to young Rakhmaninov and is instructive has noticed:
— Here is how it is necessary to compose.
On what Rakhmaninov has immediately answered:
— Why you so do not compose?

After that episode of the attitude of their steel cold for all life.

Sergey Vasilevich liked to recollect time when it conducted at the Big theatre.

Many unforgettable evenings we have lead, when Sergey Vasilevich sat down a grand piano and played to us the favourite places from different operas. One of its most favourite operas was "Queen of spades" of Tchaikovsky. It played this opera almost entirely, besides in its improvised transposition it sounded so, precisely for a long time was is arranged and learnt.

Fine summer Rahmaninovy, Metnery and we have lead to France nearby Dovilja. In the mornings worked, in the afternoon often there were general walks, and almost all the evening long spent together. That summer Sergey Vasilevich worked above arpedzhio much, trills and Etudes op. 740 Blacken. In its execution these Etudes turned to brilliant concert numbers. By the end of summer Sergey Vasilevich has acquainted us with the Fourth concert, Metner — with the Second concert, my husband accompanied both of them.

And here still an interesting picture from a house life: in Paris somehow send we to visit Rakhmaninov in the evening and have been very surprised, having seen Sergey Vasilevicha laying on a floor, and its small grandson Sashu with a triumphant air sitting on it. It has appeared, that the boy did not love a green string bean, and to it have told, that if it will eat it, it will become very strong and can win all, even the grandfather. Here it also "has won".

In Paris I gave lessons of music to small grand daughter Sergey Vasilevicha — Sofochke. From America we prepared for the greater program For each spring arrival Rahmaninovyh and gave a house concert in solemn conditions, besides the grandmother gave money, and the grandfather with seryoznym a kind promised to talk to the manager Foli about invitation Sofochki to concert tour across America.

Last our meeting was for one and a half month before Sergey Vasilevicha's death. It gave a concert in Luizville, and Rahmaninovy asked us to arrive there where we have lead three unforgettable days. Not vidav Sergey Vasilevicha about one year, we have been amazed by change in it. It was visible, that the person seryozno is sick. We understood or, more truly, felt an approached accident. Natalia Aleksandrovna was in very disturbing condition. Sergey Vasilevich — improbably sad. Often we found its sitting at a grand piano, oblokotivshim a head on a lectern; somehow even it has asked us: « Tell to me something vesyolenkoe ». Sergey Vasilevich very much grieved on the younger daughter Tatyana who have remained in France, and Natalia Aleksandrovna asked to avoid a mention of its name once again to not disturb a wound.

In 1942 Sergey Vasilevich has given many concerts, gathering with which has sent to Russia. Sergey Vasilevich all soul grieved for the country and with grief spoke:
— I shall not see it more.

In day of a concert we worried. Sergey Vasilevich complained, that unimportantly itself feels. Natalia Aleksandrovna even has suggested to cancel last two concerts and to go directly to California, but Sergey Vasilevich insisted on finishing tour. It is surprising, as the person, what is the time ago hardly could move in number of hotel, in a concert could execute the long program so perfectly, with such rise and inspiration!

For other day after a concert all of us have together gone to Cincinnati, and Rahmaninovy have stopped at us at some o'clock before departure to Knoxville. Sergey Vasilevich was again in very good mood, cheerful, talkative, all joked of the ten years' grand daughter of Lion Eduardovicha — Arianoj, took greater scissors and wished to cut off one of kos or frightened it, that if it will leave one on street in the evening, to it boys both will necessarily cut off kosy. There was very cosy, quiet atmosphere, and it was joyful to all to be together.

I am a lot of still such "house" memoirs could write. By the end of a life you live on only memoirs, and Sergey Vasilevich so is closely connected with memory of my husband — to their friendship was more than fifty years, — that their names for me merge in a single whole.

Cincinnati, June, 1945

M. Malysheva

When the American newspaper reporters and critics try to write about Sergey Vasileviche Rakhmaninov not only as about the musician, but also about the person, in most cases they show its full misunderstanding. If they knew, how it was infinitely kind (hand seldom stretched to them left empty — but about it was not spoken), is faultlessly simple, estestven and is charming in a society as it loved a joke, and, however, anybody never could be with it familiar.

Our descendants will have its eternally alive part — its music, but, certainly, they will want to know about its other party, about what it was in a life. Will study its image, to peer to face, to admire its surprising on beauty with hands of the actor. To an enormous regret, its shape is not embodied on a film-film, and all photos are rather imperfect and pale. And its exterior so is remarkable.

During fifteen years I often saw it; on neskolku months in a year had daily dinner, had breakfast with it, sitting against it, and always looked at its person. What exterior! And as it was elegant. In a especially way, in own way. As went through a stage to a grand piano as sat down as turned a head to public as bowed! It bewitched all at once, not doing the slightest efforts to it, remaining absolutely itself(himself). Did not suffer magnificent words and any unnaturalness, — I remember, how Plevitskaja with zone bow has begun to praise, thank drawlingly it and as its person has suddenly lost habitual to it expression — its theatricality was unpleasant to it. And in conversation it was extremely simple. I never heard from it any elaborate expressions.

And its manner to enter conversation was extremely modest. To me its expressions were remembered:
— I can ask to you one question?
— I can something ask you?

Here it enters into a dining room precisely at lunch o'clock or by a breakfast, always faultlessly dressed, never, how it has been borrowed, will not be late for a second, will not keep itself waiting! It is its distinctive feature — anywhere, never to be late; about it cannot be both speeches, and all house was tightened, all goes on hours. It facilitates a life, and in this atmosphere of the order so it is pleasant to live!.. To a table it goes usually directly after work or after half-hour rest (in city — walk on foot, in village — in Switzerland — a trip on lake on a motor boat which it liked to operate itself). But what all Short walks! Sijaet the sun, delightful fresh air, all is covered by the Alpine colors, walks in mountains one zamanchivee another. Sometimes I awfully would like for it that it sat under pines in a chaise lounge and would admire the sea or mountains, would read or had simply a rest. Time I have suggested it to bear an armchair in such charming corner.

— No, that you, I should work, thanks.
And we hear its wonderful music. After it we know an exact times. And when we go for a drive on lake on a boat, its music from afar reaches.

I never at all have not heard, that it complained of something, simply it is impossible itself to present it. Never anything for itself demanded. Its modesty in this respect and delicacy reached sometimes up to kuryozov.

It has always been constrained. It is its essence. But nuances of moods and are felt.

Sobachku, my favourite which it named monstre for its nasty character and awful squeal from which Sergey Vasilevicha's ears suffered, it never asked to remove all from the house.

Me always attached to family is it was very touching, even spoke, naming a diminutive, that from in family there are no secrets. Often it reproached me that I live "anahoretom", and tried to arrange to me invitations to the friends as in New York I almost nobody knew.

In hearts of many people there lives, certainly, grateful and gentle memory of it as about extraordinary kind and delikatnejshem the person. I heard from worked in the house, that after their day off Sergey Vasilevich on an hour later started to play in the morning to allow them to have a sleep!
— Be kind and is close to people, — it spoke the grand daughter, precisely bequeathing the most important.

It very much loved the ground, the nature.
Because of war it could not spend more summer in the manor in Switzerland. However, even living in another's, hired manors, it always dug in a garden, on a kitchen garden, and there was in it something children's when it called me to look on zajchika which came to eat carrots.

In pre-war years the life in Senare delivered to Sergey Vasilevichu greater pleasure. As it loved the wonderful garden as beautifully all has arranged, how many itself in it I worked … see him which have bent, in the garden gloves, choosing stones from ground …
— Well, one more small basket!
Was happiness to work about it, to hear its simple words:
— And beryozke it is necessary to give a bucket two waters, dries.

In a shadow of the Swiss garden tea with rolls, an easter cake, a raspberry … the Ripe raspberry from a garden at four o'clock moved casts conversations, memoirs on Russia, on the past, on Ivanovka … I Think, that for Sergey Vasilevicha the memoirs connected with Ivanovka were precious. All the subsequent, come with slavoju, was not that. How many time I asked to write down these memoirs: a chain there passed people, the whole epoch! Not knowing them never earlier, I precisely saw them! Here and sisters Skalon — young ladies for pjaltsami; holidays; grandiose hunting in manor Satinyh; here and the parlourmaid — the friend to family about which it was always spoken: « And our Masha? Well, you should know it, certainly; he/she is such wonderful, remarkable person, the same our Masha, all of us so loved it ». And all it in Sergey Vasilevicha and Natalia Aleksandrovny's transfer was zhivee and it is more interesting than any book.
In Switzerland there were long rains — weeks, and Sergey Vasilevich spoke me:
— Forgive for weather …
Smiling, Sergey Vasilevich told about New York, how it there « has no success » because:
— Well that it to me to listen — as Gloria (so for fun it sometimes named the wife) will enter into a hall so all at it look in what it a dress, from Vorta or Pakena.

And on me and attention do not turn. I only also hear: « Charming lady! » [« Charming lady » (English).].

I very much loved its stories how Natalia Aleksandrovna sang, — it was very musical and still the girl sometimes under strong impression of any aria from an opera sang it. Approximately then Sergey Vasilevich also has devoted to it a romance « do not sing, a beauty ».

Sergey Vasilevicha's glory as actor is deserved by it in the highest value of this word. About the success — never any word! Casually from others I have learned, that here this hindu whom I always see in artistic, many-many years do not pass Rakhmaninov's any concert. About the young lady who has sent roses under the order from London (at the height of war) and written, that its music helps it to live during this heavy time, certainly, too has learned not from Sergey Vasilevicha, as well as about the fan unfamiliar to it nicknamed as " the White lilac » which during many years before revolution sent it from Moscow flowers — a white lilac everywhere where it neither it has gone and where nor acted in Russia and abroad. Separate admirers and I saw crowd adoring it at all concerts, but any conversations concerning even for a moment of it, I never from it heard.

I had to write one time under its dictation (it was hurted with a finger), and here I have learned its delicate form of the help. It dictated: « Dear …, I heard, to you it is now difficult, — allow you to offer … »
Its all help passed silently, and almost nobody knows, it spent what enormous sums for it. I feel, that I speak about about what it always was silent. Therefore and I about it finish.
All soul, all thoughts it was with Russia.
— The grandfather, what your way the most musical nation? — its grand daughter asked. As always, having thought, it answered:
— Certainly, Russian, Sofushka.

It very much loved gramzapisi Russian music, a song of Red Army and others and found the some people very good. Letters from Russia were read to them with enormous interest. Very elderly lady, its favourite aunt lived in Moscow, wrote to it and complained, that to it do not give an opportunity to help with Domestic war in that degree as it would like it, but that, certainly, it does all possible. It was pleasant to it to read it.

Celebration prepared for Sergey Vasilevicha's seventieth anniversary in Russia. I know, it would bring what pleasure to it. The death has interrupted its life before this event. Some telegrams all have been received by it, and on Rakhmaninov's tomb flowers and from the representative of Russia … have laid down

New York, on June, 25th, 1945

-

N.A.Malko
"Rakhmaninov-conductor"

Rakhmaninov-conductor remained somehow in a shadow in comparison with Rakhmaninov-composer and especially Rakhmaninov-pianist. Meanwhile its conducting was not usual "kompozitorskim", and it is necessary to tell about it some words.

Rakhmaninov was not the conductor in strict professional sense of this word. It manualnaja the technics was far from virtuosity; it did not have a dexterity and "manners" of the skilled conductor, but at the same time something was peculiar to it other, that a coverlet all these, so to say, defects.

In its conducting all was logical: deep creative musicality, culture and art "etos", that is ethical art validity. All it expiated with interest defects of technics. Moreover — in it there was as though even an advantage for Rakhmaninov-conductor never showed properties, alas, frequent at professional conductors, — never fell before the formal, callous execution varnished of so-called technics.

Simplicity and truthfulness were Rakhmaninov-conductor's remarkable properties. Its influence on an orchestra amplified authority of the composer and the pianist. It was possible easily not only to transfer it everything necessary for harmonous ensemble, but also the most important — sense of music. Movements of its hands were not something separate of all Rakhmaninov. Its words "to press, "release" were not only « dynamic signs », its attitude to the orchestral player was not the attitude of the obstinate dictator to the silent slave. On rehearsal it speaks clarnetist Rozanovu (the friend and namesake Sergey Vasilevicha): « Play forte », — evening of Rose trees plays differently, in own way, and Rakhmaninov does not object, and submits to the talented musician, not breaking ensemble.

In its conducting always there was that makes a secret of the present musical execution — linearnost, a horizontal line, continuousness, — name it as want, is easier — the intelligent movement of music.

Rakhmaninov's conducting at external and internal restraint never was cold or dry. It always differed humanity. The story, slyshannyj by me from the pianist Genies Bahauer (it one of very few was long time schoolgirl Rakhmaninov) is involuntarily recollected.

Any French pianist managed to achieve in Paris from Rakhmaninov the sanction to prove to be. It has played to it trudnejshy etude SHopena without a uniform mistake. Rakhmaninov has risen from an armchair and the "" French language has said: « Pour I’amour de Dieu jouez une fausse note » [« For God's sake, play though one false note » (fr.).]. Then, when the pianist has left, Sergey Vasilevich has explained: « Same pianola, it not human execution, would be necessary though time to be mistaken … »

By the way, last years when Rakhmaninov conducted already very seldom, it almost hesitated to do remarks to orchestral players. In Chicago on rehearsal it has somehow stopped an orchestra, has corrected a mistake of the clarnetist — a ôà-sharp — and has suddenly muttered: « My mistake » …

Perhaps, it was a joke, but Rakhmaninov at all was not afraid to tell the truth, even to the detriment of itself. Once pianist Joseph Levin was to it in Switzerland. Rakhmaninov (so Levin told to me) bathed at this time the small grand daughter.
— Give me advice, Sergey Vasilevich, — has asked Levin, — how to play Beethoven's First concert, I never played it.
— As I can give you advice, — Sergey Vasilevich answered, — you never played it, and I have never heard it …

By the way, last years in America Rakhmaninov often played this concert. Played sderzhanno, "in own way" and … it is remarkable.

Rakhmaninov deeply understood sense of ensemble. It spoke pianist Bahauer: « When you play solo is one, and at execution of a concert you only a part of the general ensemble, never forget it ».

Wonderful rahmaninovskoe feeling of ensemble I was lucky enough to test this, when accompanied it in its Rhapsody on Paganini's theme in Manchester (England), at the first execution of this Rhapsody in the Europe.

Not without reason in Moscow one critic written about Rakhmaninov-soloist (the executor of the Second concert under control of Ziloti) and Rakhmaninov-conductor (Rakhmaninov's same concert played Ziloti under control of the author), has stated an idea: « It is a pity, that the third combination is impossible: Rakhmaninov plays solo, and it conducts … »

However, now some soloists so do — do without the conductor, and not only playing Mozart (Bruno Walter), but also Ravel (L.Bernstein).

Sergey Vasilevich has arrived in Vilno. The first rehearsal. The conductor, modestly speaking, very weak. After the first chords rahmaninovskogo the Second concert the orchestra enters. Rakhmaninov has stopped, has looked at the conductor, has sighed, has expressively said: « Ah, here is how … » — and … further diligently followed the conductor: it at once has seen what to struggle with such conductor is useless.

When Rakhmaninov conducted a symphonic poem « Island dead », "Bells", it was difficult to notice something which are distinct from the text of the partita. All flew, all sang without shout, without exaggeration, without spillovers and — all convinced.

Rakhmaninov in 1912 conducted six times in Mariinsk theatre in Petersburg "Queen of spades". I listened to these representations, sitting in an orchestra with the partita and doing in it marks. Very much the few go counter with instructions of Tchaikovsky, for example, dynamics of the beginning of the introduction — beautiful and very pertinent. The majority of remarks — a deepening and as though underlining of measurements of Tchaikovsky. Execution of "Queen of spades" by Rakhmaninov was surprisingly fresh: any stamps were erased, an opera predstala before the listener in updated, recovered, as though "washed up" image.

Still time to me was necessary to be convinced of Rakhmaninov's respect for Tchaikovsky. In Copenhagen king of Denmark, the conductor-fan, has sent me somehow the partita to " the Pathetic symphony » which was transferred it by Rakhmaninov. There there were marks which, according to Rakhmaninov, corresponded to intentions of Tchaikovsky. All of them were logical, simple, — not for the sake of effect, and music emphasizing the logic text, and specified Rakhmaninov's steadfast and reverential attention to music of Tchaikovsky.

During conducting Rakhmaninov not suetilsja, did not jump, did not dance, did not shake by fists, did not twitch, not « snouts a hoof the ground », did not specify sharp movements each introduction — important or insignificant, did not swing hands "in parallel", that is did not represent itself a windmill. It stood easy, slightly sutuljas, movements of a hand and hands were economical and intelligent, never it lost the control over a sound of an orchestra, did not hang on shoulders at orchestral players and … all left.

It did not exaggerate expressiveness of executed music, did not do Mont Blanc of each increase, from everyone crescendo, did not fade delightfully at everyone diminuendo and ritardando, did not invent the shades which have been not specified by the author, did not chase effects for the sake of effects. But in its execution there was something more valuable — it knew that makes almost the main secret of any execution — feeling of a measure — and it executed not itself(himself), and music of the author. And it is the purpose of the present art execution.

London, March, 1959

N.B.Mandrovsky

Daily at twelve o'clock thirty minutes of day if weather was not so nasty, Sergey Vasilevich left to walk, coming back to one o'clock in the afternoon when submitted a breakfast. It sputnitsej often was Sofia Aleksandrovna. Usually Sergey Vasilevich walked one and only occasionally with me. Walk happened short, no more than eight-ten quarters, and often passed in absolute silence.

Sergey Vasilevich went not hurrying up, equal, a big stride, occasionally slowing down it and even stopping if something drew its attention. Usually it was or new, little-known model of the car, or a carriage with the child. In the first case it was expression of interest of the fan of cars. Sergey Vasilevich itself perfectly operated machine, loved dear marks of cars and always was interested in innovations. In the second case Sergey Vasilevich, skloniv a head on one side, silently okidyval the child a sight, its person for an instant was shone by a smile, and it muttered: « See you ». Sometimes, however, the smile was replaced by a sigh, And it spoke: « And what mine? » (Meant grandson Sashenku, the son of the second daughter from which Sergey Vasilevich because of war had no news and very much about it was distressed).

In one of such walks we have come across group of ten years' boys, is furious about what argued. Sergey Vasilevich has slowed down a step, has had a look at them, on its person the smile has flashed, and it has told, how in Paris the children often stopped at show-windows of confectioner's shops, examining is appetizing spread out cakes and as in such cases it came into a confectioner's shop, bought cakes, silently distributed them otoropelym to kiddies and itself is fast from them left. « Very much I like it to do », — Sergey Vasilevich has finished the story.

Having passed ten quarters, we usually said goodbye, if Sergey Vasilevich left me to have breakfast, also silently came back home.

With approach of spring the order was given to garage to prepare for the machine. In the winter Sergey Vasilevich did not use the car.

In one of Saturdays Sergey Vasilevich asked me: « you as, home do not hurry up? » I in advance knew, that this question meant a trip for city, is usual in Cold Spring Harbor where S.A.Satina worked in laboratory of Institute of Carnegie. I very much loved these trips and about what Sergey Vasilevich, possibly, did not suspect, waited for this question with impatience.

Our country trips had strictly measured character in the sense that in Cold Spring Harbor we should get exactly in one o'clock in the afternoon, that is by then when Sofia Aleksandrovny's work came to an end.

I already mentioned, that Sergey Vasilevich liked to correct the car, loved fast driving, at all did not bear any jingles and always listened to work of the motor. The slightest disorder — and the machine sent on survey to a workshop.

Before departure city Sergey Vasilevich was silent, occasionally only dropping the remarks connected with city movement. Having got on well-known Triborough Bridge, the machine sped up: we were behind city.

During such trips Sergey Vasilevich, having broken sometimes silence, started to recollect something from the remote past. And how many the good-natured humour, cheerfulness and caress was in these stories. It often spoke about Shalyapin, transferring kuryoznye cases from a life of the friend and an acuteness "Fedi". Sergey Vasilevich especially liked to tell about the rural facilities in Russia.

I still had in memory bright story how Sergey Vasilevich has decided to buy a tractor for the manor. Catalogues have been written out and « the suitable model » is chosen. It has appeared, however, that reception from America of a tractor needed the sanction of the Ministry of Trade and the industry. Here Sergey Vasilevich also has gone to the ministry to extract the sanction. It has been accepted by one of directors of department who has started to ask on details of prospective purchase. Apparently, the model on which Sergey Vasilevich has stopped, could serve not only Sergey Vasilevicha's rather small manor, and half-district, and the stately official honesty tried to explain it to the well-known visitor, and the well-known visitor persistently did not wish to agree with reasons and explanations of the official for that simple reason, that no present need for a tractor existed, and simply Sergey Vasilevichu liked idea to have at itself the interesting machine. Eventually in the ministry have given up as hopeless also the sanction it has been given. I faintly and very shortly transfer essence of the story. It was necessary to hear the story in Sergey Vasilevicha's transfer to estimate humour and skill of the story-teller. As thus it had fun, laughed and at director of department, which left itself to prove unprofitableness zatejannoj purchases, and above by itself.

New York, on June, 10th, 1945

N.K.Metner
« With. Century Rakhmaninov »

When you will get on modern street with its chaotic noise and vanity, — you lose acoustical orientation to each separate sound. But the most silent impact of a bell cuts all this chaos not the force, and intensity of the maintenance. Rakhmaninov uses the world glory but who does not use her in our century, so greedy to glory? This Greed has managed is artificial to prepare glory. "Celebrity" is created nowadays mainly by advertising. Instead of banners marks, the labels pasted business prisluzhnikami of art have gone. Instead of an estimation today the market quotation at present mainly operates. Poor public frequently loses ability directly « acoustical orientation ». The majority listens any more to the actor, and that speak about it. Thus occurs, that the actor, and its glory uses the greatest success not.

It is difficult to speak about Rakhmaninov just because it is well-known.

For the huge majority its glory mixs up with "glories" of others and consequently it would be desirable to tell, first of all, that its glory is glory not only it, but also glory of our art. Its "celebrity" defines a banner of our art. This rare today contact of its personal glory with slavoju our art testifies to authenticity of its inspiration and a calling. The continuity of this contact of all essence with art is shown in its each touch to a sound. Its sound the same as also its touch to keys, never happens is neutral, indifferent, empty; it differs from the majority of other sounds — as a bell from street noise by the incomparable intensity, ardour and the sated beauty. It always, without the misfire, gives as though an electric spark for "is invariable included" in its shower and in the art.

In our common people "ability" there is a synonym of convenience. "Is capable" — means conveniently. The word "capable" is applied as often to people, as well as to inanimate. For example: capable can be and a shovel, a plough, etc. Talent, as is known, originally means a coin, which value (as well as any coin) it is defined only by that on it it is possible to buy. In our days of ability and talent became self-value.

Rakhmaninov — the divine favour the musician, besides its supernatural abilities, that is its personal convenience and huge talent, that is riches. It only the wires going from its musical soul … to Us tsenna not its one natural communication with a musical matter, but, mainly, communication with the basic senses of music, with its images and with its all essence.

Equally the huge master — as the composer, the pianist and the conductor, — it in all displays amazes us mainly oduhotvoreniem sounds, revival of musical elements. The elementary scale, the elementary cadence, say, any formula recited by its fingers, finds the primary sense. Whether we listen to it in a concert, whether it recollects houses behind the tool of an opera and the symphony which it conducted during former time, us its memory, not amazes not its fingers which are not passing any detail of whole, and amazes that whole, those vdohnovennye images which it restores before us. Its huge technics, its virtuosity serve only as specification of these images and consequently up to the end can be estimated only by experts-experts.

Its rhythm, movement of sounds differs the same deklamatsionnoj expressiveness and a relief, as well as each separate sound its touch. Not all have understood and have estimated rahmaninovskoe rubato and espressivo, and meanwhile it always is in balance with the basic rhythm and rate, in contact to the basic sense executed. Its rhythm the same as also a sound, is always included in its musical soul is as though palpation of its alive pulse.

Its interpretations of other authors give sometimes illusion as if it has composed executed. But whether can without such identification of the executor with executed in general to be shown original creativity of the executor? Or the executor is obliged to be limited to a role of the stylist? But in that case it is necessary to ask: what, except for the given notes, the given product, is true enough document defining style of its execution? Really the biography of the author or its historical epoch? In fact earlier musicians read biographies of favourite authors only because have already understood and have grown fond of their music … Why now so often it is recommended to use biographies as a key to understanding of the music? Why the biographic facts should shine products, rather the reverse? And the historical epoch (with which, by the way to tell, the majority of greater artists not in ladah) unless is not comprehended by us, artists, mainly art intuition and through works of art?

Stylization is not that other, as a fake, a masquerade. It is collectively prepared tradition, something like the same labels which so can be pasted presently on all the phenomena of art. It replaces (substitutes) to us concept of objectivity. For all executors an identical mask. But as opposed to this convenient way of the approach to execution there is other, not less convenient is full otsebjatina which, in turn, substitutes to us concept of individuality. Both these of reception (a mask and otsebjatina) practise the executors who are not having in the soul due contact with executed. Both these of a case are characteristic that find out action of a reason instead of art imagination.

Value and Rakhmaninov's force consists in imagination, that is in acceptance in the soul of musical images of the original. Its execution always tvorchestvenno, always as though "author's" and always as though "for the first time". It always as the true Bayan as if improvises, composes a unprecedented song.

Still the glory to it, that it is silent, when in its shower there is no response; in its infinite repertoir everyone are observed necessary pauses, that is some misses of authors and separate products with which it does not have contact.

Themes of its main products an essence of a theme of its life — not the facts from a life, and unique themes of a unique life.

Its "Night service" amazes us not only riches of skill, paints, but mainly a mysterious combination of rituality of original alive religious feeling and originality.

Its theme vdohnovennejshego the Second concert is not only a theme of its life, but invariable makes impression of one of the brightest themes of Russia, and only because soul of this theme Russian. Here there is no ethnographic accessory, a sundress, armjaka, any is national-ïåñåííîãî a turn, and meanwhile each time from the first bell impact feel, how in all growth podymaetsja Russia.

In summary I shall recollect Rakhmaninov-conductor. Sadly, that about such conductor it is necessary to recollect only and that the memoirs to share it is possible only with few of our generation.

Never I shall forget the Fifth symphony of Tchaikovsky. Up to Rakhmaninov we had to hear this symphony mainly from Nikisha and its imitators. Nikish as spoke, has rescueed this symphony after a full failure its author. Ingenious interpretation Nikisha, its original ekspressija, its pathetic delay of rates became as though the law for execution of Tchaikovsky and at once have found to itself among homebrew, false conductors of blind and unsuccessful imitators. I shall not forget, as suddenly at Rakhmaninov's first wave all this podrazhatelnaja the tradition has flied from the composition, and again we have heard it as though for the first time. Shattering precipitancy of the ending as a counterbalance nikishevskomu to the pathos a little bit harmed this part was especially amazing.

But the impression of the Symphony g-moll was even more unexpected than Mozart who for a long time has already received a stamp of a doll in style "rococo" … I shall not forget it rahmaninovskogo Mozart who has unexpectedly come nearer us, trembled a life and still original … I shall not forget a fright before ozhivshim "dead man" of one, joyful amazement of others and, at last, gloomy discontent with self of the executor who has declared after execution:
Is all still not that, not that …
In other words, that seemed to us the maximum achievement, for it was only one of steps to it … Yes, Rakhmaninov, undoubtedly, except for everything, — and the greatest Russian conductor. It, as opposed to the majority, has not become it, and born.

Today, when the bell became a handicap of our civilization and is gradually superseded from a life of greater cities, we, musicians, especially should appreciate its each impact, the deep, imperous sound covering with self all street cacophony.

Monmoransi, April, 1933

O. G. Mordvinian

In the end February 1943 doctor a. V. [Golitsyn] rang me on the telephone and reported the fact that Sergey Vasilyevich Rakhmaninoff is situated in the hospital, but that soon they must transfer home him, and it desires so that only Russian sister of mercy would care after it. Thus such the great honor to handle it fell to my lot.

Despite to my long-standing practice, I greatly was disturbed, finding itself insufficient worthy and knowing for this person as Rakhmaninoff. At the same time it was desirable to make all possible for it. On March 1 doctor reported so that I would go to the apartment to Sergey Vasilyevich and would prepare all necessary for the patient. Certainly, as at the beginning of call, I was nervous, badly she slept, it did doubt that, to smog to be for it useful.

On March 2 at ten A.M.I was already in Rakhmaninoffs's house to Elm Of drive, 10, Beverly Of hills. The dear and cordial reception of the family of Rakhmaninoff considerably improved my mood, since I felt that she fell into the present Russian house. In one in the afternoon Sergey Vasilyevich in [ambulanse] was transported home. On face it has happiness, that it is house, and at the same time fatigue and obvious nervousness from the passage. Lying at the bed, he attentively looked around its room, stopped view on the ancient family means SV Panteleimon it said:
- As it is good that I am house.

In four hour arrived doctor a. V. [Golitsyn], made the appropriate orders and composed diet. In the first week of disease Sergey Vasilyevich was interested by all and he gave much attention to reading American newspapers, manifested great interest in its garden, asking, where what flowers began to flower. He asked about the newly planted trees, requested to reach the price list of colors and dreamed about that which, as soon as will get well, with the pleasure it will study work in its dear garden.

It it worried about the situation, which it had to transport from New York. When was placed new radio in the house, thus it requested to dispose it in Moscow, since he wanted to listen to music from Moscow. Always it worried about the fact that Natalia Aleksandrovna b[o]the [lshuyu] part of the time is carried out with it and it little uses air, and he told in it:
- Natasha, you is banal into the garden, and Olga [Georgievna] will stay with me.

Thus said Irina [Sergeevne], so that she would go to the familiar or in the cinema, but they as if felt, that it will not be with them for long, and they tried not to leave it.

Sergey Vasilyevich sometimes assumed his familiar, he talked, it joked with them; therefore difficult it was to think that this serious illness progresses by rapid rate.

It worried it requested about me so that I each evening would walk to go for a walk or sat in the garden at least hour, and frequently he managed, I am not tired.

True, it always complained about the pain in the hand, frequently made the exercises of hands and it was finger. I was always enraptured by his unusually beautiful hands. Hands were as grooved.

To Sergey To Vasilyevich, as to very active nature, it was very difficult to lie at the bed, and by authorization of doctor it sometimes sat down itself into the armchair, moreover he always tried to manage without whose- or the aid. Sometimes it had dinner in the armchair and even assumed friends, but, true, rapidly it tired.

Approximately number 10-13 March in it pains in the forearm increased, and also appeared pain in by right to side, small tumors began to be extended throughout the body, and appetite deteriorated. He asked me:
- Why this doctor does focus attention on some lumps, but in appetite by my it is not interested?

Doctor he tried to use different means for the decreases be ill. Patient patiently awaited improvement and taciturn suffered.

We they tried to feed it, moreover Irina [Sergeevna] completely took upon himself the concerns about the diet of father, prepared for it the diverse dear dishes, but he requested us not to force all to eat him, since to him it will much more pleasant eat up, when to it it is wanted. But, alas! Appetite decreased, and instead of the desire to eat in it it began to appear aversion to the food. Disease progressed by rapid rates, and Sergey Vasilyevich began to be nervous, since pains did not give to it the possibility to be forgotten and to rest.

Arrival the sister of Natalia Aleksandrovnas - Sofiya Aleksandrovna, which Sergey Vasilyevich knew from the children's years and greatly he loved, it brought to it a certain lightening. It became somewhat better to eat. But all this was so shortly. Again pains increased, and it began to doubt the correctness of the motion of treatment.

It is solved it was call the consultation, to which was invited well-known American surgeon. It was explained on the consultation that in Sergey Vasilyevich cancer [on the consultation of doctor they decided to cut out one of the tumors for determining the form of cancer.]. I must mention that doctor [Golitsyn] to me already previously and repeatedly voiced his assumption relative to cancer. I do not find words in order to express that, as the family of Sergey Vasilyevich was oppressed by this information. But at the same time it is necessary to say that all members of family heroically held themselves and with great care they guarded Sergey Vasilyevich in order not to give to it to note, not to give no occasion to think that it is hopeless sick and gradually it departs from the life.

Sergey Vasilyevich still fought with the disease, and when it arose from the bed, then it noted that it weakens. He frequently spoke:
- A force- that in me they depart, I weaken. Perhaps doctors do not note this?

Everything they tried to cheer up it and assured, that this state is temporary, that the medicines, which to it are given, gradually will return forces, and measures were taken so that it would not be nervous.

I must to note that we succeeded in hiding its position from it, and it, being interested so many in the life, to medicine related unimportantly and therefore it had, obviously, no suspicions relative to its illness.

Only one time during the inspection Sergey Vasilyevich focused attention of doctor to the fact that he weakens and that it does not have appetite. Doctor answered, that it should much sleep and that this most important: sleep will restore appetite, and with it and the general health. Then it, having fixedly glanced at the doctor, asked:
- A you are assured in this? But there will not be this too late? And why you much attention do give to the cut out lump?

Soon it still more noticeably began to weaken and no longer unable it was to read itself.

Me the large force of will and patience always struck in it. Pains are however were heavy heavy, Sergey Vasilyevich however suffered, he never forgot his suffering from the war native land, surviving itself of its suffering.

Each day asked Sofiya Aleksandrovna about the state of affairs at the front, were such the successes of Russians and where they now. At that time the Russian troops already began, and, after hearing about the fact that the Russians again took back several cities, it with relief sighed and spoke:
- Well, glory to god! Give to them the god of forces!

Frequently on Sergey Vasilyevich Sofiya Aleksandrovna's request it read Pushkin, his dear poet it.

Despite to weakness and general grave condition, Sergey Vasilyevich tried to make itself for himself all, that he could, and it rejected our services, frequently into the harm to himself. It thus became accustomed, and to it difficult it was to forego its habits. It was still interested in garden, situation and that generally all surrounding.

When situation for the house is alien from New York, it insisted on they unpacking it immediately. Desiring to carry out its request and at the same time to not disturb all sick, boxes they revealed gradually in the garage and they transferred furniture into the house as far as possible without noise and managing without the aid of workers. Made this Fedor Fedorovich Shalyapin and Sofiya Aleksandrovna.

Family, realizing the proximity of the forthcoming separation forever, it did not move away from it. Natalia Aleksandrovna was near it day and night only to the short period departed to eat up or to accept someone of the familiar, who be necessary to manage about the position of Sergey Vasilyevich. It no longer could assume its friends, since their presence rapidly tired it. Only close person, which daily was allowed to Sergey Vasilyevich, there was Fedor Fedorovich Shalyapin. Besides it, came by several minutes sometimes, when he felt itself somewhat more cheerful, Vladimir Horowitz and its wife, borne Of [toskanini]. After learning about grave condition of Sergey Vasilyevich's health, in it it arrived from New York [Foley], approximately in two weeks to Sergey Vasilyevich's decease, and were carried out all days in the house of patient, trying to make all, which is possible in order to help it and family. It, apparently, greatly loved Sergey Vasilyevich and suffered for it.

With 20 March the status of the health of Sergey Vasilyevich greatly deteriorated. In it developed complete aversion to the food. All our proposals anything to eat it answered, which to it is disgusting to look at the food, to perceive the smell of food, and it requested to take away it. There is for all us great happiness, if it in the morning drank at least [polchashki] of coffee and ate half of slide block. But this there was, of course, self-deception, since its disease was already in full swing. Sometimes it, suffering, he said:
- As to me heavily… as in me all aches, hand, side… it is heavy to breathe; I even do not know how to lie more conveniently. Doctors can in no way help me. It can be, they do not understand my illness? Indeed I cannot nothing eat and I completely lose forces.

Somehow Natalia Aleksandrovna asked, not to turn it to another side, and it answered:
- I I can say anything, to me so it is heavy. Solve for me themselves.

This it was the first time, and it was very significant, that it became indifferent even to itself. It no longer requested more so that they would read it, as it is earlier, less he said and frequently moaned from the pain. During this period disease there was obtained the complete description of that how Germans ruined Tschaikovsky's museum in to wedge. Certainly in order not to disturb it, it was decided not to tell it about this.

After two days to his decease Sergey Vasilyevich is hollow into the unconscious state. Temperature greatly rose, pulse was increased in frequency, cheeks burnt, and only rarely it moaned.

In one from these days was obtained the telegram from Moscow from the Russian composers - congratulation with the birthday and with any warm wishes, but, unfortunately, this telegram remained not read by Sergey [Vasilevichem].

In the morning in the last day still we succeeded in giving to it several tea spoons of coffee. The pulse is noticeably feeble at twelve P.M., and Sergey Vasilyevich lay motionlessly, with the closed eyes. Certainly, we tried to give the convenient position to it: they raised it above, repaired sheets, but it already not on what reacted.

Between by hour and two arrived doctor a. V. [Golitsyn], which warned that the end was close. Family decided to invite priest. The priest arrived between three and four and he gave deaf confession and participle to patient. So noticeably Sergey Vasilyevich faded; it breathed very quietly, exactly, but pulse became weaker and it is weaker. Eleven hours of evening it was already difficult to calculate pulse, hands and soles of legs they were cold. To me it was proposed to rest in order then, at night, to replace others. After arriving at itself into the room, I was in the very stressed nervous state, it could not sleep and all thought, why this great person, as Sergey Vasilyevich Rakhmaninoff, must leave from the life. It still so much could give to the entire world, so many it could bring benefits to humanity. Why so all does occur? In me even appeared the disappointment in medicine and in my profession.

In the hour thirty minutes of night are alien to me Sofiya Aleksandrovna and reported the terrible, but expected information:
- Sergey Vasilyevich passed away, help us, if you please.

I broke into a run upward, where there were Natalia Aleksandrovna and Irina [Sergeevna].
Sergey Vasilyevich lay completely quietly, seemingly he slept, moreover all his suffering folds disappeared from face.

After carrying out last debt, after saying good-bye to it, we were radiated, but, of course, no one sleep could. It was difficult to be subdued to the thought, that there is no among us dear Sergey Vasilyevich. When it lay at the unconscious state and breathed, it was nevertheless more easily, since all realized, that it still with us. Yes, reality was terrible - death conquered, and unforgettable Sergey Vasilyevich left us forever.

On to the desire of deceased and its family were arranged modest burials, since it did not love eulogies and generally solemn of burials.

I must to note, to what extent was simple, good and thoughtful with respect to me Sergey Vasilyevich. He frequently told me:
- You already do not offend, Olga [Georgievna], to me for the fact that I say that nothing helps me. I became irritable, and, perhaps, you think that I am dissatisfied by anything.

It it frequently requested me to make to it a ***** to the established period in order to give to me the possibility to leave earlier to sleep. Furthermore, for each trifle it always thanked.

Recalling on Rakhmaninoff, I cannot but mention about his family. As I already at the beginning said, this was actually Russian house, and I so became accustomed to them. Me thus it was desirable to help them in everything, and to their mountain it was my gorem (advance repair train, adreptrain). I understood them without any words. Natalia Aleksandrovna, Irina [Sergeevna] and Sofiya Aleksandrovna were as relatives and, in spite of grave condition of patient, they daily manifested much attention and large care with respect to me. And after decease they me touchingly thanked for shown help and for the fact that I, as the member of their family, shared to their mountain. But a strange feeling of dissatisfaction in me, unfortunately, remained itself, because to me it seemed which was nevertheless insufficiently made for this great person.

Los Angeles, on June 24, 1945.

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And. Century nezhdanova
« About Rakhmaninov »

With With. Century Rakhmaninov the same as and with A.N.Skryabin, I have got acquainted during my doctrine in the Moscow conservatory (in 1899). This year cousin Sergey Vasilevicha — Natalia Aleksandrovna Satina (subsequently its wife) — studied in a conservatory on a class of a piano of professor N.E.Shishkin. It very much loved singing, present always on student's evenings with my participation, showed to me a lot of attention, praised my voice and execution. Meeting in a conservatory, we with it it is a lot of and friendly talked about music, singing — about everything, that concerned our art. Natalia Aleksandrovna has acquainted me with Sergey Vasilevichem when it was already known as the talented composer and an outstanding brilliant pianist.

In 1891 Sergey Vasilevich has ended a rate of a conservatory with a gold medal on a class of a piano of professor A.I.Ziloti and in 1892 on a class of a composition at Ampere-second. Arenskogo. Till 1899 to them have been already written an opera "Aleko", some piano compositions and are a lot of romances, some of them, according to and Natalia Aleksandrovny's to choice, I have learnt and sang in a conservatory. Having felt at once in these products extraordinary charm and beauty, I sang them with greater hobby. Since then they became the most favourite my romances. Acquaintance our, passed subsequently in friendship, proceeded all those years which Rahmaninovy spent in Moscow, before their most last departure abroad, that is up to the end of 1917 [Living abroad, they exchanged with me only greetings and bows through familiar and the friends visited them there.].

In 1917, one week prior to their departure abroad, I was at them and showed Sergey Vasilevichu the execution of its romances "Krysolov", « This put I remember » and others which I was going to sing in a forthcoming concert. Asking its opinion concerning nuances, phrasings of things executed by me, I have noticed, that it all time has been disseminated, is somehow especially thoughtful and sad, sadly looked at me as though was interested in how I sang a little. Obviously, to leave Russia to it it was very heavy. Leaving from Rahmaninovyh, I did not think in any way and did not suspect, that I say goodbye to them for ever, Also that that day there was last our appointment, but heart precisely felt — parting was sad and heavy.

In Moscow we often met Sergey Vasilevichem at our the general familiar — Kusevitskih, Ushkovyh, Morozova and others where Sergey Vasilevich wonderfully played the remarkable products, and also sometimes accompanied me the romances.

Accompanying me, Sergey Vasilevich on a habit a melody of romances quietly echoed the deep voice (bass), with the closed mouth.

Being the actress of the Big theatre and acting in concerts, I necessarily included Rakhmaninov's romances in the programs: executed all favourite vdohnovennye romances "Lilac", « », « At my window », "Ostrovok" and much others Here are good, same fine on the expressiveness, poetry and beauty of a melody of products.

In greater symphony concerts in which Sergey Vasilevich acted as the conductor, I sometimes sang under its management various opera arias, in particular from an opera "Lakme". In the same concerts it amazingly accompanied me on a grand piano the romances. It vdohnovennyj, expressive, pathetic accompaniment so inspired me, that involuntarily execution got even more expressiveness, feeling and shine.

The ingenious composer, the pianist and the conductor, Sergey Vasilevich has quickly reached glory and success. Its compositions executed by it, made strong impression upon listeners. All its concerts were accompanied by tremendous applause. The youth loved it. After a concert usually public guarded it at an artistic entrance. As it is strange, but within its full recognition it was sick of doubt in.

All its products differ such big depth of feelings, and also proniknovennostju, thoughtfulness and beauty of a melody of each musical phrase, that, listening to them, always test extraordinary strong sincere trembling.

In its romances weight of lyrics, original feeling, poetry, the truth and sincerity; indifferently to sing them it is impossible.

Sergey Vasilevich occasionally happened at me, acquainted with the new vocal products. It always reckoned with opinion of good, knowing vocalists, sometimes asked advice concerning the vocal party of romances. Per 1906 there should be at the Big theatre its new opera "Francheska" in which under direction of Sergey Vasilevicha I was going to sing the main party — Francheski. It sounded at me well. Beautiful, pathetic music of this opera and image Francheski, gentle, charming, very much liked me. I with pleasure finished party Francheski, worked above it as with vocal, and the scenic party. The poem of love of two heroes, made the maintenance of an opera, was very interesting.

In the summer, living in Rimini, I saw the ancient lock belonged surname Malatesta in which once lived Francheska and Paolo and where there was a tragedy, and also a tomb of all Sfortsa. Memoirs about vidennom me in Rimini created mood in my work above image. Sergey Vasilevich should conduct the opera itself. On rehearsals it was very happy with my execution, and also execution of other participants. All party Francheski sounded at me well, in particular a wonderful aria « Let is not let to us the know lobzanja », high on a texture, but for me absolutely not difficult. Paolo sang And. Item Bonachich, the clever, talented actor, Lanchotto — a fine baritone A.Baklanov. To my deep regret, shortly before prime-ministers of an opera I had to refuse participation in it that has caused extreme displeasure and Sergey Vasilevicha's insult. Till now I remember seryoznoe person Sergey Vasilevicha at my message on refusal.

Really, my act was extremely rash, tactless and thoughtless, of what I till now repent. It has been caused by following circumstances: to one period with "Francheskoj" there should be an opera « the Magic flute ». Conductor U.I.Avranek and the director insisted on that I sang necessarily a party of Tsarina of night, having refused from party Francheski. Having considered, that two parties new to me were diverse character, I have understood, that it will be difficult to me to cope with them well, executing them on close time distance. Rehearsals of operas coincided, and I had not time to visit them accurately. Feeling, that any of these two parties should suffer, I have decided to offer temporarily party Francheski and performance in it in the first performance to refuse. I assumed to act in following performance in Sergey Vasilevicha's opera, but, unfortunately, it was not possible to me, as the season at the Big theatre has soon terminated also Sergey Vasilevich has for ever left the Big theatre.

For the first time I sang under control of Sergey Vasilevicha party Antonidy in an opera "Ivan Susanin". On rehearsal instead of the absent leader Sergey Vasilevich accompanied. In Allegro the first aria I have taken imperceptibly for me very fast rate much more quickly accepted earlier by other conductors. Sergey Vasilevich followed me in the same rate, not detaining and not stopping me. It very much liked my execution. Upon termination of an aria it has expressed the pleasure in occasion of my execution, having noticed seryozno, that this rate it is necessary and to keep henceforth. In the further work it gave to me always to be guided by own taste and a sight at execution of the given thing. Executing Sergey Vasilevicha's romances, I always was interested in its opinion and followed those instructions by which it did concerning a rhythm, rates, a phrase, various nuances, fermat and so forth From its part it listened to my remarks concerning the vocal party of product, a texture, intervals inconvenient for singing, about opportunities of their changes. Its romances I have passed all with it.

From two last opuses of the romances Sergey Vasilvich loved « This put I remember », « Night in a garden at me » which it accompanied me. Last years its lives in Moscow I have been made happy by exclusive attention from Sergey Vasilevicha: it has written for me and has devoted to me wonderful "Vocalese". This talented, fine, the product written with greater art, by taste, knowledge, has made strong impression. When I have stated it the regret that in this product there are no words, it on it has told:
— What for words when you the voice and execution can express all better and much more, than somebody words.

It was so convincingly, seryozno is told, and I so have been touched by it, that I needed to be expressed only to it from the bottom of the heart the profound gratitude for such flatter opinion and the exclusive attitude to me.

Up to napechatanija it brought "vocalese" to me and played it many times. We together with it, for more convenient execution, considered nuances, put breath in the middle of a phrase. Rehearsing with me, it some times there and then changed some places, finding each time any other harmony, new modulation and nuances. Then, after "vocalese" was orkestrovan, I am for the first time ripe it with an orchestra under control of conductor S.A.Kusevitskogo in the Big hall of Noble assembly. Rakhmaninov's success as great composer was enormous. I was infinitely pleased to that the part of a deserved success belonged as well to me as to the performer. The manuscript of "Vocalese" which it has presented me up to a concert, since then is stored at me as precious memoirs on the ingenious composer.

In conversations with me Sergey Vasilevich often stated a regret, that it is not able to find interesting plots for operas, such which the maintenance, strong drama elements, character so grasped public as Puccini's Italian operas "Bohemia" grasp, "Manon Lescaut", "þ¿«-þ¿«-dignity" and Maskani « Rural honour ». Spoke, that Puccini and Maskani has in this respect had the luck, as they managed to find such interesting, exciting plots.

For many years from the end of 1917 we did not see and did not correspond with Sergey Vasilevichem, but I knew from many, was in America, that it very much was interested in how I live as well as that I sing and so forth it very much touched Me.

In the end of 1941, in the December, arrived from America on self-summer of M. of M. of Thunders has sent the regards to me from Sergey Vasilevicha and its wife Natalia Aleksandrovny.

About Sergey Vasileviche I have held in remembrance as the light, charming person with very pathetic, concentrated, deep sight, but to a plenty in its person small humour appeared.

Rakhmaninov was the big worker. It concerned seryozno to the ispolnitelstvu. Being phenomenally presented musician, it worked above each phrase of an executed thing, carefully finishing each step much.

It spoke: « It is necessary vintik to disassemble everyone that all has gathered in a single whole ».

Many young modern musicians lose correct understanding of a performing art, lose feeling of an epoch, internal human life, bring to listeners otbarabanivanie, receive an applause and self-confidently leave to bow. Seeing all it, involuntarily ideas you address to ingenious Rakhmaninov's great insistence.

Our youth should measure itself by strict court by what greater masters of art have measured themselves. It is difficult and long road, never-ending at one age, obligatory till last days lives road of self-improvement of the original artist-creator.

Rakhmaninov was deeply Russian person, it loved Russian ground, village, peasants, liked to manage on the ground. It had to die on foreign land. It would be desirable, that spirit of its music, lessons of skill, light, its lovely image as the musician, its huge insistence to itself have been apprehended by young generation of the Soviet musicians and have entered into the Soviet culture as dear inheritance.

L.J.Nelidova-Fivejskaja
From memoirs about With. Century Rakhmaninov

In 1923 in Chicago the Russian opera which has arrived to America through Japan went on tour. In its performances F.I.Shalyapin acted also. Among the public overflown huge auditorium of theatre " Àóäèòîðèóì ", Sergey Vasilevicha Rakhmaninov who is not passed any performance with participation of Shalyapin's high and gloomy figure was allocated. It closely and severely listened to the long-term friend, and in intervals always followed side scenes to it, long talking with it in its lavatory.

— Gallantly, gallantly, the maestro! — appearing behind side scenes, Rakhmaninov usually spoke, applauding and approaching to the conductor of M. of M. Fivejskomu under control of whom there were all performances with Shalyapin's participation. Shaken hands with the conductor, it a silent and low bass laconically stated impressions of the performance, mostly concerning an orchestra, like:
— The good clarnetist at you! — or: — Remarkable crescendo the french horn in a stage with Shuisky has made!

But never did remarks concerning singers, except for Shalyapin about whom it was expressed so:
— Well, Feodor Ivanovich is a singer the divine favour!

Rakhmaninov itself very much liked to conduct and was an outstanding conductor, but America for some reason has not given it an opportunity to show the conductor's abilities, having recognized it only as the pianist and the composer.

Long and pale person Rakhmaninov, with bags under eyes, was ugly, but original and is characteristic. Shortly ostrizhennyj, it has been dressed in good sshityj dear suit, slightly shirokovatyj and hanging on it, as on a hanger that gave to its lean figure original elegance.

Once I was the witness to such stage: Rakhmaninov, having left Shalyapin's lavatory, went to an output to auditorium. On a stage actors and choristers crowded. Suddenly from group of choristers one throws towards to Rakhmaninov and falls directly to it in legs.

— In what business? Rise, please! — Rakhmaninov has discontentedly said. But the chorister, kneeling and bowing in a floor, began to ask to listen to Sergey Vasilevicha its daughter-pianist and to tell the opinion on its game. The gentle father touchingly loving two daughters Irina and Tatyana, Rakhmaninov has got under way plaintive entreaty of other father and promised to listen to its daughter.
— But to express the opinion I refuse! — Rakhmaninov has severely added.

Then this chorister told, that Sergey Vasilevich listened to game of its daughter and has tenderly managed with it.

Usually gloomy and gloomy, With. Century Rakhmaninov was very fun-loving and was able to laugh loudly unexpectedly and infectiously.

Somehow, having brought for side scenes, as usual, a glass to tea for Fivejskogo, I have found it in Shalyapin's room where there was also Rakhmaninov. Shalyapin was in good mood and told about the debut on a stage:
— I then was the main supernumerary. Have charged to me a dumb role of the cardinal which should proceed solemnly through all stage accompanied by the retinue. But my supernumeraries were, as on the selection, one bestolkovee another! Before an output on a stage I so worried, that at me shivered hands and legs, but I was proud of the first role and with zamiraniem hearts anticipated effect of majestic procession. « Follow me and do all the same as I! » — I have ordered to the retinue, stepping onstage. But suddenly for excitement has attacked edge of the long red cloak and has fallen heavily directly a nose in a floor! My retinue has solved, that so it and is necessary and too has fallen to a floor! Wishing to rise on legs, I, trying to get out of a wide cloak, have even more got confused in it, yes and have crept on chetverenkah through all stage! The same was made also with all my retinue … In public the homeric laughter has risen!.. Behind side scenes to me the enraged director has jumped up and, having seized me for shivorot, has kicked downstairs, having given a good kick and having threatened that I and far off was not dared to approach to theatre more!

Feodor Ivanovich has finished the story under Rakhmaninov's rolling laughter which even was seized by hands by a head and laughed at tears. Shalyapin it represented all in persons, and to not burst out laughing it was impossible.

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In the beginning of the thirtieth years in New York literary-musical "Fridays" I.I.Ostromyslenskogo were very popular, the known scientist at whom America has got some patents for inventions in the field of chemistry and has made its richman. In two greater halls of its magnificent apartment the brilliant society among which it was possible to meet all outstanding representatives of a science and art including Rakhmaninov gathered for Riverside Drajv.

Sitting against it behind a table at Ostromyslenskogo, I have noticed, that it the big gourmet. Sergey Vasilevich liked well and to eat much. With greater appetite tasty puff pies with a hot broth on which golden ripple green fennel floated, the aroma given obvious pleasure to Sergey Vasilevichu at whom thus even nostrils … were slightly inflated were destroyed

It approached to a grand piano seldom, in especially unusual cases when there were only its close friends or the people having to music. Approached slowly and easy, not worrying at all, slowly took seat on rojalnuju a bench, accurately straightened folds of a dress coat to not crumple them, and hardly squeezing the long legs which are not located under a grand piano, widely having placed knees and as though having filled with itself all bench, — after that it, having lowered a head, long looked at keys of a grand piano before to touch them with fingers. If somebody at this time was thoughtlessly whispered or made any, even the most insignificant noise, Rakhmaninov slightly turned the strict person in its party, and all instantly faded with its heavy sight frowningly. Me not so amazed its powerful fortissimo (strong impact seem natural at presence of such greater hands with long fingers), as its air ease pianissimo, and I would like to solve focus of this phenomenon.

And here once, having taken advantage of a case when Rakhmaninov has been borrowed by conversation with Fivejskim, I have approached to them with the purpose more close to consider Rakhmaninov's hands. It stood at a grand piano, high, slightly round-shouldered, with the long motionless hands lowered on each side. Talking, it did not gesticulate at all and did not change intonation of the low velvet voice though the theme of conversation, probably, excited it. It spoke about the American theorist who has named harmony of one mazourkas SHopena restless and fussy. Rakhmaninov was not agree with such opinion, considered harmony of this mazourka refined on the structure.

— It it only has found out misunderstanding sequence of chords, — has agreed with Rakhmaninov Fivejsky, udivlyonno having looked on me when I, having taken Sergey Vasilevicha's hand, began to examine assiduously it, similarly to hiromantke, guessing on lines of hands. — harmony of this mazourka can be easily explainable the present, the knowing theorist.
— It should not be the professor at the American schools of music for its theory nesistematichna and is superficial, — Sergey Vasilevich speaks, not taking away the hand and, probably, guessing about the reason of my curiosity. I was surprised with sensation of ease of its hand and any unexpected softness. At big and bony with a kind of a hand of Rakhmaninov there was extraordinary soft and chubby palm, and almost as though boneless flexibility of fingers was directly amazing!

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Old friend Rakhmaninov — Shalyapin has remained is true to this friendship up to the end of the days; it dreamed to finish the actor's career execution of an opera of Sergey Vasilevicha "Aleko".

In last arrival to New York, in 1935, Shalyapin spoke M. of M. Fivejskomu, having come in its musical studio which is located near to hotel " Àíñîíèÿ " where Feodor Ivanovich has stopped:
— I am tired both physically and sincerely. It is time on rest. I do not wish to go through the glory, — I shall leave from a stage in time. But I admit iskrenno, that with a life to leave to me easier, than theatre! In fact I lived only for theatre, I lived at theatre!

Behind a window electric signboards and advertising sparkled uncountable fires, Also unruly New York roared, and in studio silently and cordially Shalyapin's shared with Fivejskim by last dreams speech sounded:
— It would be desirable me to finish the career together with Sergey Vasilevichem as together it have begun … Here Pushkin celebrations … come nearer Wish to sing at parting Rakhmaninov's opera "Aleko" as sang it in the beginning of my career when the opera for the first time has been put in Petersburg, in the Taurian palace, in 1899, too on Pushkin celebrations. Then there was a century from the date of a birth of the great poet … and my birth as actor. Pushkin I love most poets of the world! I so liked to create images of its heroes on a stage! In fact Boris Godunov we have created an image together with it! My last dream — to say goodbye to theatre in image Aleko; It will be my swan pesn. But I shall create such image Aleko, that Pushkin will be embodied in me, and together with it we shall for ever leave in area of legends and legends …

On Shalyapin's pale cheeks reddish spots from inspiration have acted, and can be, and from "kijanti" with which it filled glasses to itself(himself) and Fivejskomu, talking to it up to three one o'clock in the morning. It spoke, that this opera is written by Rakhmaninov hastily, its libretto is unsuccessful, and consequently Aleko makes unpleasant impression, during all opera only gnashing a teeth:
— And in fact in Aleko Pushkin deduces itself! In an opera of it it is absolutely not visible. Who such Aleko and why it has decided to leave the society and to leave to simple gipsies Is necessary to write to it a prologue from which it would be clear.

For some reason it seemed to Feodor Ivanovichu, to what exactly I can write such prologue, and it has asked me to make it, approximately having outlined me the plan. It has taken a great interest, as the young man when spoke about it, and has carried away listened it. But one phrase Fivejskogo has thrown into us confusion:
— You wish to make murderer Zemfiry Pushkin?

After long reflection have decided to write still and an epilogue from which it would be visible, that all history with Zemfiroj only has dreamed Pushkin: in an epilogue it wakes up and speaks that « the happiness is not present and between you — the nature poor syny … »
— But in fact Pushkin really left in a gipsy camp … — Feodor Ivanovich with a kind of the disappointed child from which have taken away a favourite toy spoke. — certainly, I do not wish to do Pushkin by the murderer … Yes then will have to make and an epilogue … I Shall ask Sergey Vasilevicha to write music. It, certainly, will not give up, because itself is dissatisfied with this opera and was going to alter it … the Trouble only what it is too connected on hands and legs by the concerts! There is no at it absolutely time for favourite kompozitorskogo business …

Shortly after Shalyapin has left from America, I have sent it to France a prologue to an opera "Aleko". In the answer I have received the letter from which it is visible, that the prologue has liked it. It has gone to Lucerne to Rakhmaninov to ask it to write music to a prologue. But Rakhmaninov has not been assured, that can comply with Shalyapin's request because has been connected by the contract for three years and partly, probably, doubted that Shalyapin can and now is successful reincarnate in dvadtsatidvuhletnego Pushkin — « a demon Arabian ».

In the Parisian newspaper "Latest news" has appeared after that the big interview to Shalyapin where Feodor Ivanovich told about my prologue.
— It will be a pity, if Sergey Vasilevich will not write music on this prologue, — Shalyapin spoke the Parisian journalists. — In fact this my last farewell to theatre …
By the end of 1936 the New York public began to prepare for a coming nearer century from the date of destruction Ampere-second. Pushkin on duel.

Pushkin committee in which, besides Fivejskogo and Ziloti, entered: conductors And. Aslans, E.E.Plotnikov and K.N.Shvedov's Item; the ballet master of M. of M. Fokin; sculptors S.T.Konenkov and of Century Derjuzhinsky; the inventor gelikoptera I.I.Sikorsky; professor A.N.Avinov, m. I.Rostovtsev, of Century Vernadsky, M. of M. Karpovich, Item A.Sorokin; writers D.Grebenshchikov, S.I.Gusev-Orenburg, Golohvastov, Zavalishin; knjazja A.A.Obolensky, Item A.Chavchavadze, S.S.Buturlin; the pianist of Century N.Drozdov and others — has decided to stage Rakhmaninov's opera "Aleko", and it was entrusted to me to ask the consent of the composer. I have written to Rakhmaninov the letter. It was away, and for it its secretary Evgenie Somov who has informed has answered, that Rakhmaninov does not love, when put "Aleko" as considers this opera student's, unripe. Having returned soon to New York from a concert trip, Rakhmaninov in the letter to me has confirmed reliability told Somovym.

— No, I would not want, that put "Aleko"! — Sergey Vasilevich when I could see it soon spoke. Its person has accepted sad expression, and on a forehead the set morshchinok from the dense eyebrowes which have risen upwards has gathered. — "Aleko" — my youthful work … At me is an idea to alter it … Here osvobozhus from concerts and I shall start to work above "Aleko" … to Me very much it would be desirable to make somewhat quicker it, yes concerts have simply tortured me … I with all the heart I welcome your undertakings and I wish success Pushkin celebrations!

Alexander Ilich Ziloti, the cousin and teacher Rakhmaninov accepted active participation in the device of the Pushkin program and acted in it as the pianist and the accompanist, grumbled then:
— Also it was not necessary to ask Sergey Vasilevicha at all! Would put, both all! And it words would not tell … Others put "Aleko", not asking on it Rakhmaninov's blessings …
So execution "Aleko" also did not take place.

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Last time I saw Rakhmaninov shortly before its death, in easter zautrenju in New York. The church has been overflown, and to many people stood in the street. We with the husband have come to be behind of Rakhmaninov surrounded by the family. Near to it there was its high, statnaja wife Natalia Aleksandrovna and its sister Sofia Aleksandrovna. Exactly at twelve o'clock I have loudly addressed to Sergey Vasilevichu with an easter greeting. It has turned back, has seen us and has smiled bewitching, as though a timid smile. I was amazed to its leanness. Muscles and bones of its pale person, with greater bags under eyes, acted, as on a naked skull.

— I love church singing, — it has told Fivejskomu. — Isn't that so, Michael Mihajlovich, in fact it, as well as national songs, serves as the primary source from which all our Russian music … has gone

Kharkov, January, 1958