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#417588 - 06/20/06 07:40 AM Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
http://classic.chubrik.ru/Rachmaninov/about/

This site contains anecdotes about rachmaninoff by his friends, contemporaries .. etc.

but it is in russian

I will try to search for an online russian translator and copy paste the english version here for everyone to read

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#417589 - 06/20/06 07:49 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
A. N. Alexander
My encounters with s. V. Rakhmaninoff

With Sergey [Vasilevichem] Rakhmaninoff I was introduced personally in 1916. Thus far I frequently attended his concerts, he was enraptured by it and as by pianist, and as by conductor, he knew and loved its works.

About it the performance of its compositions to speak it does not be necessary. It was perfect. This is known to the entire world, and the unforgettable impression, which was preserved, until now, is not amazing.

Some its concert appearances were memorized to me brighter than others for the different special reasons. Somehow I was in the large hall of Moscow conservatory on the rehearsal, when Sergey Vasilyevich played his second concert for [fortepiano] with the orchestra, then still recently written. I sat next to s. I. [Taneevym], which during the performance of the second part of the concert was so it was moved, that it cried, and it then said to me that this “is brilliant”. From Sergey Ivanovich's mouths only in the very rare cases it was possible to hear this estimation.

It is good I remember the latter before Rakhmaninoff's departure abroad his appearance in the symphonic concert in the Bolshoi theater in Moscow. Sergey Vasilyevich played the concert Es -dur of sheet, the concert b -moll of Tschaikovsky and his concert C-moll.

Never neither to nor afterward I heard the concert of sheet in such amazing performance, for characteristic of which not to seek out the epithet that of more being suitable than “demonic”. This epithet relates to the gripping force of temperament in the connection with the perfection of technology.

Only the case, when Rakhmaninoff's game did not satisfy me, was concert from the compositions Of [skryabina], of this by Sergey [Vasilevichem] (it seems, in the large audience of Moscow polytechnic museum) a little time after afterward the deceases [Skryabina]. True, and in this concert were successes, for example, the elegant performance of the prelude of fis-moll from op. 11, in particular to me was memorized inimitable- graceful rubato in final time. However, the performance of the more significant works Of [skryabina], included on in the program of this concert (second and fifth sonatas, the study of dis-moll and other), it seemed me by very strange and completely it did not transfer the spirit of the compositions Of [skryabina], still so which recently sounded in its own performance. There was in particular surprisingly the performance of the study of dis-moll. [Skryabina]- pianist frequently reproached in the absence forces, whereas Rakhmaninoff carried out this study with the maximum power and the temperament, but in this case disappeared entire characteristic Of [skryabinu] “ecstatic” aspiration. Here I understood that the properties of [pianizma] Of [skryabina] were completely coordinated with the property of his music, which in no way required real power, but only by imagined. Was just as contradictorily the performance Rakhmaninoff of the second and in particular fifth of the sonatas Of [skryabina]. All this was, obviously, caused by profound contrasts in the individualities of two remarkable contemporaries and comrades.

Several once I heard orchestra under control of Rakhmaninoff and I consider as his one of the most remarkable conductors of my time. From one side, external simplicity of the gesture, seemingly entirely “usual”, not claiming to “the beauty”, manner to be held in the panel without any drawing and the pose; from other side, imperiousness, temperament and the same as in Rakhmaninoff- pianist, the maximally complete and deep feeling of rhythm, rhythmical changes, and also the ability to infect orchestra by these qualities.

In me was preserved recollection about the splendid performance under control of Rakhmaninoff “of the philanderer” of Richard Strauss in the large hall of noble meeting in Moscow. I was also on the rehearsal and for some reason he memorized well, as Sergey Vasilyevich he persistently attained in one place for the complete simultaneity of the removal of chord by all musicians of orchestra. With the least inaccuracy it sharply stopped orchestra and he briefly pronounced with deaf bass: “there is!» (i.e., “still there is sound, still not all simultaneously removes sound”).

As has already been mentioned at first, I was introduced to Rakhmaninoff in 1916, and it is here on what occasion. In 1915, when I still learned in the Moscow conservatory, I sent to the competition of name s. I. [Taneeva] my first quartet. Competition was closed. Reward was obtained quartet v. A. Zolotarev, but, as I learned subsequently, to the terms of the judges of competition - s. V. To Rakhmaninoff and n. K. To [metneru] - on the music was more greatly pleased another quartet, which from obtaining reward the insufficient technical perfection prevented. Judges it decided to give praiseworthy opinion to this quartet and revealed the envelope, which included the name of the author. I proved to be by the author. With [Metnerom] I was at that time already sign, he was encountered with it in [Taneeva], but the compositions of my he did not know. And it, and Sergey Vasilyevich wished to become acquainted with other my compositions, to whom, after hearing them, they related still more sympathetically. Rakhmaninoff was at that time the member of the council of Russian musical publishing house. At me arrived the representative of publishing house, friend s. V. Rakhmaninoff - n. G. Struve proposed to give a number of things for the publication. He said in this case, that the publishing house of signs from me are all, that I will give, but that Sergey Vasilyevich requested to transmit to me so that I would thoroughly select that the fact that I consider it best; Sergey Vasilyevich did not advise to yield to temptation to print that all by me written in order not to test in the future of the disappointment, tested by him by itself.

- Sergey Vasilyevich, said to me the representative of publishing house, now deeply will regret, that in its time it printed some its weak youthful works.

I am honest it followed this council and I do not regret: among my compositions, then printed, only very a little it proved to be such, to see which printed nevertheless reaches to me now a certain disappointment.

On By Kuznetsk to bridge, in the publishing house Of [gutkheyl], which became at that time the branch of Russian musical publishing house, I met then Sergey [Vasilevichem]. It very encouragingly related to my romances op. it is 2nd for the words [Gafiza] - Feta, op. is 5th for the words Igor Northerner, op. it is eighth the first notebook “Alexandrine songs”, op. 11- to the French verses of Ramey de [Gurmon]. The [fortepiannye] compositions, which then i had little (preludes op. 1 and op. 10, Sonata- fairy tale op. 4), were pleased to it less. Sergey Vasilyevich considered that here I, as it it was expressed, “not entirely at home”. It named me “real vocal composer”, and society rapidly flew around this winged quip then. For long then I was everywhere considered exceptionally, as they were expressed, as the “[romansnym] composer”.

Positive Rakhmaninoff's opinion about my youthful works played large role in my further fate: to me they focused attention in the musical circles of Moscow and Petrograd.

Not I can be held from the pleasure to describe, as I was flattered, after hearing then from the well-known pianist i. A. [Dobroveyna], that Sergey Vasilyevich played to it and sang by heart my romances, being especially enraptured cradle for the words Igor [Severyanina] (“sing, sing”).

In 1916 to year I finished Moscow conservatory. In regard to this in Margaret [Kirillovny]'s house By [morozovoy] was arranged “the morning” from my compositions. In the first department were fulfilled the romances and the [fortepiannye] works. Paley s. T. [Kubatskaya] and my wife n. G. [Aleksandrova]. It played and accompanied I. In the second department was completed the first report from my diploma opera “two peaces”. Orchestra they substituted two [fortepiano], on which I played and my comrade on the conservatory Sofiya Nikolaevna [Baggovut], who was learning himself in at one time with me in the class [fortepiano] k. N. [Igumnova]. There was small chorus, young singers and singers fulfilled roles.

Among been present on this “morning” there was Rakhmaninoff. In the intermission I with it had a talk. It again expressed its satisfaction by my romances and, by the way, made several observations apropos of my game to [fortepiano]. I remember one interesting observation: in the accompaniment to the romance “fallen leaves” I in one place too thoroughly separated the secondary voice, which was being seemed me to important, and here Sergey Vasilyevich said that this is bad, that I play, “as pianist”, counting probably that pianists love so to make. This astonished me, since I heard the reverse faster to those times: when someone wanted to say that I badly played, then they noted: “You play as composer”. It is interesting that in great pianist Rakhmaninoff's mouths: “You play, as pianist” - it sounded as critical observation. After the second department me did not succeed in having a talk with Sergey [Vasilevichem]. It, is remembered, somewhere it hurried, I accompanied him into the front and, when he before the withdrawal dressed, asked him to say anything about the heard report of opera. It had time to make only one observation: There are “too many slow rates”.

By the way, at the same time Sergey Vasilyevich advised to me to immediately undertake the improvement of the invoice of my quartet, that I made soon to the extent of my then possibilities.

It is necessary to say that from the first acquaintance Sergey Vasilyevich produced the impression of the very locked, taciturn, even severe person, and the words of praise and encouragement in his mouths were received with those b[o]by the [lshim] confidence.

To the last departure of Rakhmaninoff abroad I still several times met with it then in the different places. One time I met him in the concert of remarkable young Russian composer, for the first time of that appeared in Moscow. Music of this subsequently deservedly renowned composer was not pleased then to Rakhmaninoff, that it expressed to me in the intermission and here it added: “Why here you do not arrange concert from your compositions?” - that, of course, to me [polstilo] suggested the faith in its forces.

Latter once I saw Sergey Vasilyevich on the street not long before his departure from Russia. It went in the Sheremetyevo alley, along the opposite from me side, with two girls, by its children. I did not suspect then, that I see for the last time this remarkable composer, bright artist. To it I will be always grateful for those happiness, which his creation gave to me and all my contemporaries, for the attention, which it appeared personally to me, and for that active encouraging role, which his authority played in my composer fate.

Moscow
On October 16, 1953.

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#417590 - 06/20/06 07:49 AM Re: Rachmaninoff - memoirs
debrucey Offline
2000 Post Club Member

Registered: 01/18/06
Posts: 2587
Loc: Manchester, UK
I love you Bassio.
_________________________
Kapustin - Preludes Op. 53, Nos. 8, 11, 12, 9 and 10
Poulenc - Nocturnes and Novellettes
Barber - Souvenirs
Esa-Pekka Salonen - Dichotomie
Kevin Oldham - Ballade, Op. 17

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#417591 - 06/20/06 07:54 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
N. A. [Andrianova]-[Ryadnova]
S. V. Rakhmaninoff in Georgia

“There is things, are people, about which it is possible to only say that the one who their itself did not see, that of the clear concept about them obtain cannot”. So in the recollections about his of teacher Franz [Liste] speaks Alexander Ilyich [Ziloti]. The same can be said about Rakhmaninoff. Its huge talent, which was being combined with the charming personality, separately impressed, and each trifle, with it connected, becomes something significant, expensive, not forgotten, but it is difficult to those transferred.

Personally in me the name of Rakhmaninoff - pianist, of conductor, composer - calls to mind the years of the study, when Moscow conservatory and Musical- dramatic school of Moscow philharmonic society nursed the bright pleiad of the talents: conservatory - Rakhmaninoff, [Skryabina], [Metnera], [Gliera]; the Musical- dramatic school - [Sobinova], [Kusevitskogo], [Savitskuyu] and to Knipper-Chekhov.

On the portion of my generation fell out happiness to observe the beginning of the development of the gigantic talent of Rakhmaninoff. Each of its works for us had the invaluable artistic merits. In the thin performance of Rakhmaninoff himself all acquired wonderful colorfulness.


When I was still the student of the Musical- dramatic school of Moscow philharmonic society, my professor by the bill Of [kes] included me in the composition of symphonic orchestra. Sitting on the last panel of the second violins, I saw well faces of soloist- pianists. To me it had luck with Rakhmaninoff's appearance with the symphonic orchestra under control a. I. To [ziloti] to participate in the large association of experienced musicians and to see before itself the author, who for the first time fulfilled his second concert. The rehearsals of concert were passed with the special lift. Faces of orchestra musicians shone by sympathy to the author. And this Rakhmaninoff, of course, felt. Success was huge.

Alexander Ilyich [Ziloti] was the hot propagandist of the works Rakhmaninoff and as conductor and as pianist. Its performance of the works of Rakhmaninoff was the clear example of true collective creative work with composer- pianist Rakhmaninoff.

In the the symphonic the concerts of philharmonic society we heard the famous Belgian violinist of Eugene [Izai], the remarkable executor of Wagner - singer To [feliyu] Of [litvin], Shalyapin, [Sobinova], conductors - [Kesa], To [ziloti], [rakhmaninova]. These concerts were for all holiday.

the Rakhmaninoff- conductor we heard for the first time in the Russian particular opera s. I. It is mammoth. The artiste of this theater the singer of Barbara Ivanovna [Strakhov] (native of Tiflis) was comrade, etc of young Rakhmaninoff. It patronized to us, to student- Caucasians, and it helped me and my comrade on the philharmonic society to Dmitriy [Ignatevich] [Arakishvili], which became later to one of the founders of Georgian opera, to fall on the plays of Russian particular opera. We were the witnesses of that how Rakhmaninoff it conquered complete acknowledgement.


Special pleasure reaches to me the possibility to share with impressions about a stay of Sergey Vasilyevich Rakhmaninoff in Georgia, on my native land in Tbilisi.

Georgia Rakhmaninoff for the first time visited in 1911. Its following arrivals into Tiflis took place in 1913 and 1915.

Arrival Rakhmaninoff into Georgia in 1911 it coincided with Joseph's stay there Hoffman. The splendid holiday of musical skill did not efface from the memory of those, to whom it had luck to occur on concerts of both celebrities.

In the concert, taken place in The [tiflisskom] fiscal theater on November 14, 1911, Rakhmaninoff fulfilled his capital work - the first sonata op. 28, a number of preludes (not still fulfilled in Tiflis) and other miniatures, for example elegy, “Punchinello”, humoresque.

In Tiflis took place on November 18, 1911 the second concert of Rakhmaninoff, which was being accompanied not less noisy success, than his first concert.

Program concert it was dedicated to exceptionally symphonic music. After overture from the opera Of [glinki] “Ruslan and Ludmila”, completed with the enthusiasm by orchestra under control of Ivan [Paliashvili] - conductor [Tiflisskoy] opera, Rakhmaninoff it played with the orchestra two concerts: its third concert d -moll, dedicated to repeatedly appearing in Russia Joseph to Hoffman, and Tschaikovsky's concert b -moll. The accompaniment of orchestra Rakhmaninoff remained contented. On the bis it played several plays, by the way, its known prelude of cis-moll, which was being fulfilled in Tiflis and by Hoffman.

Hoffman, that been present on the concerts of Rakhmaninoff in Tiflis, especially zealous applauded to it. When Hoffman played the second concert op. 18 Rakhmaninoffs, then Rakhmaninoff, after embracing Hoffman, he said:
- I it only now understood the beauty of my concert.

On the concerts of Rakhmaninoff in Tiflis, which passed with the overfilled hall, to it were presented Viennese with the inscription: “The prides of Russian skill”. This caused observation on the pages of the newspaper “Caucasus”: “it would be desirable to write simply: „Of the pride of skill “, because Rakhmaninoff, on the validity, occupies one of the first places among the contemporary composers of peace”.

[Tiflisskaya] public long before Rakhmaninoff's arrival was already familiar with his compositions. On the scene Of [tiflisskogo] operatic theater in 1904 was placed its opera “[Aleko]”, and in the chamber meetings of the local department of Russian musical society were fulfilled with the enormous success its sonata for [fortepiano] and violoncellos op. 19, The elegiac trio, some preludes, barcarole and others. Local teachers, who finished the Moscow conservatory, were participants in the ensembles: violinist Victor To [vilshau] (brother close comrade Rakhmaninoff - to Vladimir [Vilsha]), viola player (the very same violinist) Vladimir [Semigalov], violoncellist Constantine [Minyar] (student of professor a. A. [Brandukova]).

Afterward the concert, which was being taken place on November 18, 1911, Rakhmaninoff and we all were invited to [Stepanu] To [gavrilovichu] To [mirzoevu], known to rich person, to Maecenas, director Of the [tiflisskogo] department of Russian musical society. Rakhmaninoff acknowledged during supper that he extraordinarily was disturbed because of the absence on his concert of Hoffman, and he answered about it as about the giant, saying: “I in the comparison with Hoffman of „child “”. We all, of course, could not agree with this.

[Mirzoev], adored Rakhmaninoff and desired although anything to have to the memory from it, proposed Sergey Vasilyevich to sell to it the piano of Bechstein's factory, whom Rakhmaninoff usually conveyed with himself during the concert trips; [Mirzoev] convinced Rakhmaninoff, which in view of the large flow of those driving off to it will be difficult to immerse piano first into the railroad car of railroad to the port of batumi, and then from there to the steamship. Rakhmaninoff agreed. This piano later was acquired in [Mirzoeva] by Tbilisi conservatory.

Concert Rakhmaninoff and Hoffman in Tiflis they were organized by pianist and teacher Adolf [Shveyger], who, by the way, made possible to [tiflistsam] to hear also the game of pianist g. [Galstona] and violinist b. [Gubermana].

On the end of Rakhmaninoff's concerts [Shveyger] usually arranged the embankments, on which there are professor [Muzykalnogo] the schools.

Despite to the tiresome concerts, Rakhmaninoff on these embankments, arranged in its honor, gladdened the gathering by his splendid game. Listening to Rakhmaninoff in the friendly situation, I noted that he one and the same his composition, that previously by it completed in the concert, here plays in a new way.

In time of one of such evenings pianist Leo Nikolayevich [Pyshnov] - great friend and colleague [Shveyger] for the organization of musical school - played [rakhmaninovskuyu] Polish woman and, as if showing musical foci, he began to vary. This netting of sounds greatly was pleased to Rakhmaninoff, and he, laughing is childlishly infectiously, said that this skillful fantasy of its [Pyshnova] as the author, not [oskorblyaet].

Somehow in the morning Rakhmaninoff was in us in musical school, he listened to students with the interest, it is attentive. It praised fourteen year old pianist Sergey [Sidyakina], student of professor i. S. Iceberg, it looked its hands and said: “There will be a good change”. Then with the special interest related to the students of my husband of Eugene Karlowicz [Ryadnova] - to baritone e. G. [Olkhovskomu] and the mezzo-soprano ARU Of [babalyan] (wife of Armenian composer [Romanos] [Melikyana]).

Afterward hearings of students Eugene Karlowicz proposed to Rakhmaninoff to go to us to the dacha in the outskirts of Tiflis into [Ortachaly]. S. G. [Mirzoev], doctor a. G. [Gurko] and e. A. [Lavrovskaya], which at that time stayed in [Gurko] with its student Of [kitaevoy], they composed friendly company and was; looked into the binoculars in Kourou, at the gardens [Ortachalskie], to the sulfuric baths “[Gogilo]” in the depth of cliff.

In 1913 to the year, when Rakhmaninoff again gave concerts in Georgia, it visited the salon of princess Lisa [Orbeliani], where prominent Georgian intelligentsia was gathered. In its salon Rakhmaninoff met with the artist Of [anastasiey] [Amiradzhibi] (student l. [Baksta] and v. Serov), by pianist- composer Barbara [Amiradzhibi], finished Moscow conservatory according to the class Of [safonova] with large silver medal, [skripachkoy] Alexandra Of [prokopovich] (according to the mother the Georgian Of [kobiashvili]).

Attention Rakhmaninoff drew itself Lisa [Orbeliani]. Wonderfully managing French, it translated from the Georgian the famous poem of Rustavelli's [Shota] “champion in the tiger skin” first into French, is later on English together with the sister English consul [Mardzhori] [Uordrop], well managed the Georgian language.

Lisa [Orbeliani] it described to Rakhmaninoff about its transfer into French “of the demon” Of [lermontova]. After noting that Rakhmaninoff listens to it with the interest, it began to tell about its other literary works. Indeed it was noted for the newspaper controversy of political (left) nature, which it conducted under the pseudonym “Of [sazandari]” (its enemy he wrote under the pseudonym “Of [gusli]”).

On evening in [Orbeliani] was many prominent musical workers, also, among them our composers Dmitriy [Arakishvili], Zacharias [Paliashvili], Constantine [Megvinet]-[Ukhutsesi]. They conversed with Rakhmaninoff about their creative plans. The collector of the folk songs, ethnographer and composer [Arakishvili] described about the work on opera “legend against Rustavelli's [Shota]”, in which is sketched the epoch of the Georgian tsarina Tamara and the life of great poet [Shot] by Rustavelli; Of [paliashvili] it introduced Rakhmaninoff to the selected as it for the opera legend “By [abesalom] and [Eteri]”; [Megvinet]-[Ukhutsesi] - with the historical legend about [Amirani] (Prometheus). At the table, [popivaya] “Of [tsinandali]”, addressed about the former estate of princes To [chavchavadze] - “[Tsinandali]”, about the General Alexander To [chavchavadze] - the father of the wife Of [griboedova] of Nina the Aleksandrovnas. Poet- General was known as hero, who took prisoner Of [shamilya]. Sergey Vasilyevich Rakhmaninoff described to us that its father still of sixteen years entered by volunteer the military service and also he battled in the Caucasus, participating in the subjugation Of [shamilya].

Evening approached toward the end… glasses were raised it burst out “[Mravalzhamier]” - table song - “many years duration” - as wish in Rakhmaninoff's honor.

Tbilisi
1954 g.

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#417592 - 06/20/06 08:11 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
B V Asafev
With. Century Rakhmaninov

Rakhmaninov in the student's years has already been noticed and tenderly we welcome I.Chajkovskim's Item. Its first opera "Aleko" (1892) Also has drawn to itself the general attention, and not only in Moscow. With it the author has acted soon and as the conductor at the Kiev opera theatre. Rakhmaninov-pianist was quickly put forward. Undoubtedly, personal and besides charming kompozitorsky Rakhmaninov's handwriting is felt already in first, very youthful experiences. Now they to us are known and captivate not therefore only, that it is experiences become world famous the Russian musician in it triedinstve: the composer, the pianist, the conductor. However, if to get a grasp of the first critical responses about Rakhmaninov (we shall tell, in Moscow magazine " Actor " for seasons 1893/94 and further) it is possible to make interesting supervision: as though obviousness of a birth of large Russian talent is not challenged, but the criticism all tutorially grumbles on the young man for boldness of performances shown by it. Are afraid: would not take in head to become presumptuous. Advise gradualness and care, and that in fact it is possible to stumble: In fact the prickly blackthorn always grew in gardens of leisure musical criticism a lot of, and it is necessary to tell, that in process of creative intensive growth of talent of Rakhmaninov these prickles too grew, and it has very soon felt, as painfully they will wound. But all the first recognitions of again open star astronomers of Russian music hardly probable were not unanimous.

Rakhmaninov's creativity, at once brightly having put forward, safely blossomed and, having begun the first mature stage of an ascention, and then having reached the top and stojko on it having kept, in general has captured the period of time nearly over fifty years. It was placed during an epoch between years of eve of death of Tchaikovsky (and And. Rubinshtejna, that is 1893 and 1894) and year of the fiftieth anniversary from the date of death of Tchaikovsky, that is 1943 when Rakhmaninov has stopped, slightly not having reached the seventieth anniversary. It was born on March, 20th, 1873, and has died on the night of March, 15/28th, 1943.

In the given sketch it wanted to me to restore Rakhmaninov's creative shape in completeness of blossoming of its talent, approximately from the beginning of stunning influence of its Second concert up to sad meetings with it in Petrograd, in days before departure for foreign land. It is not so much memoirs of younger contemporary Rakhmaninov, how many the description of impressions and alive still sensations of presence at the former Petersburg musical validity rahmaninovskih products and to it of executed music. For me the consciousness of this presence always remains dear, sincerely necessary from that memorable morning when on rehearsal of one of concerts Ziloti I for the first time have heard Rakhmaninov's game which charm since that time never disappeared. Not it I recreate a portrait, and I try to express, than music within difficult struggle for a recognition of height of thoughts of the composer persistently reduced by its foes in a rank « salonnyh excited rahmaninovskaja authors ».

I remember from the sum of the first impressions of Rakhmaninov's phenomenon: is chivalrous-strict and severe shape on a platform, the internal strong-willed concentration affected in all volume that it is possible to name nobleness of the actor in its contact with art — without a shadow of familiarity. As now I hear the rhythm which has amazed me « menuetnogo a ðå-minor prelude » and especial rahmaninovskoe intonirovanie spheres «d-moll’íîñòè»: chudilos here and something bethovenskoe. At once in pianizme Rakhmaninov excited deeply oshchutimaja with it the nature and — I repeat — èíòîíàöèîííî-piano sphere of a tonality, and also absolute absence mechanically habitual zvukoizvlechenija. Rakhmaninov played a writing-book of the preludes is very proud, as if doing the open call to the gathered Petersburg musicians, led by Roman-¬«ÓßᬫóÙ¼, and as if speaking: « I know, that my music is not pleasant to you, but I am a pianist, and each tone taken by me — in my authority, and in it I ». Were remembered then Rakhmaninov's sensitive fingers and a manner deeply to enter them into keys, as in something very elastic, persistent. Subsequently it is a lot of, many times I multiplied and accumulated the impressions. Well I hear now and Rakhmaninov in joint game of its suites for two grand pianos, and Rakhmaninov — the most thin accompanist of own romances (and once and the marvellous accompanist — the interpreter of romances of Tchaikovsky, especially « words, about my friend "," Tears "," On fields yellow »), and Rakhmaninov in house conditions with Ziloti, a modest First piano concert showing new "diamond" edition, at last, Rakhmaninov — the conductor of "Queen of spades" and the Second symphony, etc., etc. But the relief of the first has remained indelible.

I shall not string parts of memoirs. I shall allow to include only here, chronologically for the further important, kept at me one of Rakhmaninov's letters of 1917. Wishing to check up the list of its products, I have sent it the request near to their names addressed by me and opuses to put down autographic dates. Here that I have received in the answer:


« Dear Boris Vladimirovich! I answer your questions.
1) "Bells" (klavir) to you are sent.
2) New etudes from a press send.
3) Variations of 22-nd opus played the reduced and changed kind. I assume to make amendments to new edition.
4) Now about the Symphony op. 13. What to tell about it?! It Is composed in 1895. It was executed in 1897. Has failed, that, however, nothing proves. Good things repeatedly failed, and even more often bad liked. Before execution of the Symphony was about it preuvelichenno high opinion. After the first prohearing — opinion has considerably changed. However, as already now only it seems to me, was on the middle. There there is which-where not bad music, but there is and a lot of weak, children's, tense, vysprennego … a Symphony very badly instrumentovana and as it was badly executed (conductor Glazunov). After this Symphony did not compose anything about three years. Was similar to the person who has sufficed impact and from which for long time were took away both a head, and a hand … the Symphony I shall not show and in the will I shall veto shows …
If you need to something to learn from me, please, write. My years address: Moscow, the Kuznetsk bridge, 6. Shop Dews[sijskogo] Muses[ykalnogo] izd[atelstva].
With sincere respect
S.Rakhmaninov.
13 April 1917 ».


This precious letter for me does not demand comments for in it grain of the further sincere drama already clearly sounds, drama — I am afraid to tell — lifelong Rakhmaninov-composer.

I shall afford only small explanation concerning to the imagination "Rock" mentioned in the letter enclosed by me in connection with heart-felt memoirs on Tchaikovsky. It from N.D.Kashkina's review in magazine " Actor ", April 1894, 36, about the Ninth symphonic assembly of Russian musical society on Sunday on March, 20th: « In the second branch the new imagination for an orchestra of the young composer of Rakhmaninov, already had time to get significant popularity was executed. Has served Rakhmaninov the program for imagination one of A.Chekhov's stories — „ On a way “, but the composer has given the composition the name „ Rock “ because as an epigraph to the story the beginning of a known poem has served. S.Rakhmaninov — large and strong talent, but still far not established. In it it is visible to " imagination “ both that and another; but, anyway, the composition very nicely sincerity of an impulse and riches of orchestral paints of which the young author rather successfully disposes. „ The imagination “ not only has very much liked, but, despite of the significant sizes, has been repeated ».

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#417593 - 06/20/06 08:13 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
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Rakhmaninov's great merit — in it napevnejshej melodies. Here it persistently approved the line. It was not theoretical search. Melodika Rakhmaninov always steletsja, as a track in the fields, not thought up, not imposed. Whether it is prompted by a verse, whether is inspired by a symphonic plan, whether is sung Rakhmaninov-pianist by sensitive fingers, in it smooth breath and the naturalness of the figure born strong, but deeply disciplined feeling is felt. The nearest decades which have followed death of Tchaikovsky, in creativity of Russian composers took the big place transformation of its melodic heritage and merge of riches « groups of five », that is balakirevskoj schools, with new shoots: the lyrical union of Petersburg and Moscow because of especially appreciable romancing commonwealth was outlined. Certainly, the strongest role here also has fallen to Rakhmaninov's lot. During an epoch of come infringement of a melodic principle of formation of music its talent all time blossomed as especially melodijnoe: all tematizm Rakhmaninov through, even there where rahmaninovskaja energy of a rhythm prevails over a composition, is penetrated by breath of melodic freshness. Certainly, the main theme of the Second piano concert has amazed all as the sincere phenomenon of the greatest force of talent and the courageous nature of character. It was a rarity even for the Russian music which have already tested influences of womanly delicacy and hobby by sound spices of various grades. The strong melodic basis upon which the building rahmaninovskogo kompozitorstva was based, had a spring the its original strong-willed aristocratism and sincere nobleness. Not wilfulness, and inflexibility of culture of feeling, culture of music as confessions of humanity. Into a difficult time for Russian art aesthetic "izyskov" them obolshchenija could not force to curtail Rakhmaninov from its natural way. It deeply suffered from rigid reproaches in old-fashionedness, backwardness, "salonnosti", but did not concede, storing in the beautiful art nature the etos — the moral superiority: honesty before the talent. « I do not want for the sake of that I consider only as a fashion, to change constantly sounding in me as in shumanovskoj Imaginations, to tone through which I hear the world surrounding me », — so Rakhmaninov once was expressed. It persistently trusted, that is not deceived, that not « false tone » and that sooner or later native people it will hear it. Today, when only also begins seryoznoe and at the same time joyful vnikanie in rahmaninovskuju music, its belief is justified.

In ascentions of this music far now for much days in former Russia not all managed to hear the truth of a tone of creativity of Rakhmaninov. Outside the composer did not aspire to profess doctrines of the national-Russian style: it was not the specialist in folklore and did not brag of an ostentatious set of by all means and undoubtedly national themes that has not prevented to write subsequently to it excellent thematic Russian choruses with an orchestra or to open « up to a deep bottom » Russian beginning in intonations of choral cult singing and is ingenious-choral simfonizirovannom skill posopernichat with great on keenness and practice of choral sounding by the artist of this business — Kastalskim.

Russian in Rakhmaninov's music, that was its melodic becoming, has been absorbed by it from all Russian environment favourite by it, from Russian validity. It understood it, as Chekhov, as Bunin. Here business not in "zhanrizme", not in stylist izobrazitelnosti, not in dramatic art of characters. But if "seagull" and « Three sisters » were born in consciousness naichutkogo their masters as singing Russian female psihei in a cycle of the melodies similar shubertovskim to springs of the European lyricism of XIX century, — these melodies and would be sated by that tone, that sounds, as undoubtedly inescapably Russian (Russian, instead of "Russian") in melose Rakhmaninov as rodjashchy stimulus of its melodiousness, vklinjajushchijsja in soul.

And « the Cherry garden » would sound too rahmaninovskim tone: in Chekhovian lyrics in fact does not remain anything pomeshchichego and especially lordly (we shall tell, fetovskogo), but the feeling and poetry Russian usadebnosti sounded inescapably beautifully, so beautifully, as color of a bird cherry, lilacs and a jasmin: here already we entirely within the limits of rahmaninovskih blossoming gardens with lyrical completion from turgenevskogo "Calm" and poetics of crying willows. Rakhmaninov's similar to "Lilac" the romances, « At my window » though were not ispovedovaniem symbolism, actually were reflection of an atmosphere new, the most thin (but not utonchyonnoju modernistski) dushevnosti and a contact of music of Russian nature — quality what was heard and in Chekhovian wise "Pipe", and in a number of the lyrical moments at Bunin (Rakhmaninov has not casually found the most expressive, it is deep buninskie intonations in a romance « Night is sad »), and in passionately raised, bright and juicy gone, in strannicheskih short stories young Bitter. Who was able to hear sensitively music of Russian nature at just listed writers as new comprehension of lyrics of words, that noticed in melodic figure rahmaninovskih romances, preludes and their musical moments figurative, is gentle and zybko a waving implied sense of the moods guessed by modern masters of Russian, able to behold the native nature not only sight, but also hearing.

One of days dear to me in the remote past, in Penates at Repina is recollected. Whether it was after performance of Rakhmaninov-pianist memorable for old petersburgers in symphony concert Ziloti with execution of a cycle of preludes op. 23, whether after occurrence of the given cycle in a press, but under the request of Century of Century of Stasov to whom I not once played these preludes, I had to execute them and to strum some romancing melodies in Penates at presence also And. M. Bitter and I.E.Repina. I shall note, that listeners, in doubtless for them magnificent talent of the composer, feature of entirely Russian sources of its creativity and especially presence of a landscape, not is picturesque-graphic, but overheard in Russian environment have noted been by sensitive soul of the musician. Bitter at once metko has defined: « As it is good it (Rakhmaninov) hears silence ». It is characteristic has added Repin about new after Glinka, Tchaikovsky and Musorgsky figure in Russian melodizme: « Something not from Italian kantileny, and from Russian impressy, but also without the Frenchmen ». Stasov — and it then hardly probable not for the first time — has noted bright rahmaninovsky a stroke, subsequently is deep vkorenivshijsja in its symphonic fabric, in rhythms and intonations: « Isn't that so, Rakhmaninov very fresh, light and smooth talent, with a Novomoskovsk special print, also calls from a new belltower, and a bell at it new ». After that, certainly, it was necessary to play inevitably for comparison a peal from "Boris" memory about dear all "Musorjanine". But everything is interesting, that, apparently, through a ñè-flat-major a prelude (op. 23 2) Stasov has caught an originality in rahmaninovskih bell ðèòìî-çâóêî-paints, their juiciness and conviviality: « … something radical in them and very joyful ». Strong impression, I remember, has left a ðå-major prelude (op. 23 4): « lake in spring flood, Russian high water » (Repin). Subsequently, many times listening Rakhmaninov's to unforgettable musical lists, — execution of melodies-distances by it in own music, — I recollected this definition. But thus the imagination added an image mighty, smoothly and deeply, rhythmically, slowly rejushchej above water quiet elements of an imperous bird.

Primary charm melosa Rakhmaninov is concealled in its concentrated "turn", in the latent force constrained on each deeply leaving tone.. M. Blumenfeld, not time showing this expressive reception, was spoken, that in the given attitude by Rakhmaninov — quite worthy contender Anton Rubinshtejna, and still added: « And here still — who knows them — Shalyapin to it or it (Rakhmaninov) has inspired Shalyapin a secret of spirituality of any interval ». And really, there was no unknown to both of a track on ways of intervals which would not conduct to osmyslennejshemu — emotionally and intellectually — to "pronouncing". Obviously, for both of them melodic in music also was all in music — a key to chelovechnejshemu in sounds.

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#417594 - 06/20/06 08:15 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
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Both again and again the romance « many sounds in hearts to depth » where, apparently, the composer would like to tell about the radical and essential, secret excitement are recollected Is: as there is in consciousness a music. It is characteristic, that in pianizme it, at all beauty of will, courage and hardness, conviction, confidence of each impact, all behind inflexibility of a plan was felt constant « a birth again » creative process. This sensation was transferred by force of revealing of a melodic contour of all composition, even a rhythm, for both an accent rhythm, and a rhythm dlitelnostej, and a rhythm of caesuras and « air pauses », that is hardly ulovimyh "molchany" and respites (they at Rakhmaninov were so intelligently fine as at Shalyapin), and a rhythm of depth of breath — everything, all has been penetrated by melodic law of alternations of inflow, outflow and changes of a treatment of light and shade, and the main thing, is fanned by eagle flight, quiet authoritativeness. Someone has witty noticed, that at Rakhmaninov-pianist fingers imagination skazochnitsy SHeherazady. Whether to inform its fingers surprising gift of muscular intellectuality or « mind of touch », that is properties by what all antique sculpture is allocated, and also hands and brush Mikelandzhelo more truly. If it was possible to someone to observe close, very close of Rakhmaninov's hands during a concert from a platform (for example, it was possible behind a street door on a platform in one of Petersburg concert a hall *), Definition of work of its fingers, as touch of great sculptors will not seem to that strange. Sonorities taken by it bore in themselves such osjazatelno figurative nagruzhennost and force of resistance and an emphasis that seem visible and financially elastic: fingers of the great musician cut from them gendelevskie on density and weightiness of the form with flexible and expedient zvukomuskulaturoj. I remember the first execution of etudes-pictures. Enemies of music of Rakhmaninov were so are captivated by tremendous riches of the piano intonations opened naichutkimi by hands of the composer-pianist that have found definition to the doubtless delight in a paradoxical phrase: « In notes, that is in the printed compositions, no such music is present is only magic pianizma and imagination of hands, in music — one platitude and pallor of mind ». Means, or these people did not hear notes but only considered mute badges, or Rakhmaninov could not write down the music in shape èíòîíàöèîííî-adequate to its piano sounding. But then it appeared the composer of " oral creativity », and still, certainly, creativity, moreover with what ingenious possession, "orally", that is in execution, skulpturno tvorimoj the form. Thus, even at the most hostile clauses, Rakhmaninov's phenomenon was unusual, and it owned not dead arhitektonikoj music, and the alive, purposeful listeners directed on perception, listeners, instead of spectators, the form.

The sculptor on touch through keys impressing imagination of set of people zvukoobrazov precise arhitektoniki, Rakhmaninov in boundless to " scale of shades » intonations acted as the ingenious poet human « feelings of tone », as judgements zvukoobshchenija. In verbal speech rahmaninovskoe intonational talent would be equaled to the genius of the greatest masters of oratory, especially in sphere of the raised pathos from intonations of tragical grief before stately solemn triumph, from an amusing joke up to the most refined crafty irony. With exclusive force and courageous energy Rakhmaninov seized keys when aspired to transfer the most severe ðèòìî-swoops of soundings (specifically rahmaninovskie sharp klevanija: they were especially relief in its execution of etudes-pictures, but are scattered and in other compositions). These intonations in its music cause an image « bethovenskih claws », bethovenskoj passions and lvinosti, strong-willed chivalrous act. Similar sort of property which presence in due time almost in Rakhmaninov's creativity former contemporaries in any way did not wish to catch, witnesses of its blossoming during a time of Russian modernism, now everyone are more convex and vlastnee start to be perceived in a fabric and dynamics of its best products. Certainly, steel rhythmics as the main operating elements of performing talent of Sergey Vasilevicha — the pianist and the conductor, — a lot of place even within its denying kompozitorskogo values and its large creative individuality was allocated. But there was not clear how there was in so mighty and integral art organism a division into ostensibly languid and friable composer, and into the magnificent pianist, and on odaryonnejshego the conductor, always proved the performances « a harm of a traditional prejudice » about absence at Russian conductor's talents. And meanwhile the integrity of the phenomenon of Rakhmaninov as the musician always specified presence in its products of bright traces of a great êëàññèêî-romantic epoch of musical titans and, certainly, lion's habits bethovenstva, without deliberate imitation bethovenskoj to individuality as it was not and at Tchaikovsky.

However at last his radical nature "restless" simfonizma with especial force was showed in dramaturgic kollizijnosti the subjects. In Rakhmaninov's music very passionate association in the creative integrity of a ëèðèêî-contemplate warehouse of feeling with a strong-willed organizing warehouse êîìïîçèòîðñêè-performing I appeared that « samostnoj sphere » personal contemplation which the rhythm in value of the strong-willed factor operated: no division of a creative organism existed, there was no also a rhythm, as inakogo from music of an impersonal principle. But the nature of the composer was those, that its products were created in a simultaneity, as contemplation and effective artistic reproduction in one person when written down becomes only a material for the executor-sculptor. The rhythm, rooting in music, was transferred the executor, as its blood circulation, a pulsation for rahmaninovskaja music does not exist in any way only arhitektonicheski: Only in through ritmicheski the organized reproduction it ceases to be seeming friable. It is interesting to watch, how in Rakhmaninov's musical record evoljutsionizirovalo skill of detection of the rhythmic beginning. But not at once it was allowed to transfer to Rakhmaninov from the performing sphere to forms of record variety of the intonational riches both in the field of ornamental, and in cementing music pedalnosti — piano and orchestral.

Therefore it is not given to pianists rahmaninovskoe execution, that, at all of a carefulness of record increasing at it in a quantitative sense, many thin intonational details from record escaped. I remember, how strongly stunned Rakhmaninov partitas Roman-¬«Óßᬫóá and especially « the Gold cockerel ":" … a limit of economy, anything superfluous — that is written down, is audible, and what orchestral pedal », — that is it wished to tell, what èíòîíàöèîííî-cementing communication inside of all fabric, controllable by internal hearing of the ingenious master even before hearing the composition in an orchestra. Rakhmaninov iskrenno admitted, that this quality to it is not given. But it forgot the main thing: that in its own hands there was a palette demanded not smaller keenness and acoustical osjazatelnosti, than orchestral, and that by means of it it has developed in itself(himself) piano kolorista the first class keenness, used for Russian music classical lessons SHopena and the Leaf, especially scales of the last. Besides, it from modesty hid, that laws pedalnosti and logic of economy in conditions of an atmosphere of a piano solo — dialogues of a piano and an orchestra — absolutely other quality, than only orchestral tsementirovka. And in these other laws it has reached already in the Second concert of great gains, and the further (the Third concert), the more and the palette fortepiannosti both symphonic dialogirovanija a piano and an orchestra, with overcoming shchegolstva external virtuosity was more precisely realized by it. At the final stage of the life Rakhmaninov, at last, has found through a principle and the form of symphonic dialogue (especially in the Rhapsody on Paganini's theme op. 43 for a piano and an orchestra, 1934) the especially chekannyj and ritmicheski imperous build the thinking, affected and on weigh its îðêåñòðîâî-symphonic language. In sphere pianizma it has told eventually so weighty word, that now it is represented, as if from the is naive-romantic invoice of the first piano opuses with their youthful lyrics sozertsany « native and dear » a cosiness up to titanic style rahmaninovskoj fortepiannosti, since an epoch of the Third concert and etudes-pictures, have passed not close to us, its younger contemporaries, terms, and centuries of searches.

Now, it appears, it is possible to understand, than strong disagreements in Rakhmaninov's estimation and puzzled division of its person of the integral artist into the composer and the pianist were caused, is far not equal, during after the Second concert. Years were quivering, feverish, nervous when and in music interests to novelty of sound combinations tickling nerves and to irritations teasing refined hearing prevailed. Rakhmaninov's aspirations to symphonic monumentalizmu and ritmopostroeny seem to powerful virtuosity and durability recurrence of only inherited ways: the rock which has been put forward by art of the past. And the ëèðèêî-contemplate strip of its music all lake smoothness and especially sincerity of a melodic fabric with "standing" harmonies in which depth and importance prevailed over lightness of impressionism and mobility zvukomelkany zvukoprostranstvennaja, stood in the sharp contradiction with roughly worrying present. The composer could not feel itself outside of a life in any way. It ardently loved the native land and, possibly, in own way loved more deeply many loud voices from pages of newspapers and magazines. But its then "trouble" (and actually a far-sightedness and an insight) consist in unacceptability of those from new bystrolyotnyh currents, imitating which it would lose the face and the sensation of depths of Russian life. Instinctively it felt beauty, greatness and the truth tjutchevskih verses (« In the sky clouds thaw »), prompted by the native nature:

Wonderful day! — will pass centuries—
As will be in eternal stroe
Leak and iskritsja the river
And fields to breathe on heat.

Here for it, for its sensitive soul there was a core, radical, firm, proof, main chuvstvovanie. If from here to go to depth of mentality we shall concern those heart-felt springs where there were lyrical intonations and build the romances similar to the reference « To children ». But at the same time Rakhmaninov absolutely especially accepted preceding a storm moods and raging rhythms of Russian present: not destruction and chaos were heard to it, and a presentiment of the great creative forces arising from bowels national. It instinctively felt a rhythm as a basis of Russian life and ability to live there where to the majority — by one from delight, another for fear — were felt while only a storm in the name of a storm, lomka and destruction. Rhythms of its music — the base of its ardent pathos — never sang, as spontaneous, not purposeful forces, and sounded aspiration to reach depth of Russian national character through will inherent in it to the organization and collecting of national energy.

In remarkable refraction of an element of music by Rakhmaninov — a rhythm, not as separately costing and only authority of laws of a composition adjusting its current and as integrally congenital principle of the development, many saw only quality of the executor. It from the inherited habit to perceive and Russian life arrhythmically and to not feel in it obstinate will of construction. Already Borodin it is ingenious, has in own way embodied in music the neighbourhood of beauty human ljubovanija juices of a life with detection of forces, her operating and dominating above spontaneity. Not without reason in Rakhmaninov's music the jet borodinstva not once was noticed. But it managed to open music build of Russian soul in its historically developed feature: in chelovechnejshem ljubovanii silent pleasures of a life and simultaneously in it always a disturbing internal mood (melodika the "disturbed" fragile intonations with persevering rhythms). This usual Russian condition — to be on the alert — so was organically weaved with peace pleasures of a life, that at all was not expressed nepremennostju aggressive fanfaronad in Russian art of a sound, and made an especial atmosphere of constant sincere vigilance.

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#417595 - 06/20/06 08:16 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
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As happened already at Borodino, this vigilance found the expression in infringement of stately silence and the concentrated rest splashes in waves of an alarm or in less disturbing kolorirovanii a sound atmosphere bell sozvukami. At Rakhmaninov kolokolnost vpletena in a fabric of music, becomes in the most various painting, pushes, ritmouzorah, ritmogarmonijah any more only impressionistic expressive means, and disclosing of psychological conditions of the disturbed mankind. To the poem of "Bell" created on the eve of the first imperialistic war, Rakhmaninov has approached quite consistently from all circle of the guarded calls and presentiments of alarms of the native land. E.Po's text, in addition in balmontovskom translation, has appeared here only an outline, « the verbal representative » is deep vkorenivshihsja in consciousness of the composer of questions to the validity.

Already at all aesthetic magnificence of an ingenious theme of the Second concert — themes of a powerful sigh of the composer — in it it is heard vstrevozhennost the beginnings of the century, full of storm presentiments. Severe, imperous rhythmics does not allow rahmaninovskomu to oratorical pathos of grief to blur in formalities of musical rhetoric, but the listener feels, that music is so strained, that can break through a dam of a rhythm exciting vstrevozhennostju. So there is at Beethoven, and, certainly, Rakhmaninov on those pages of the music where inflow of waves of intonations are broken about constraining hails of a rhythm operating them, understood before itself sense similar bethovenovskih "appassionatnyh" tseleustremleny and that perfected the rhythms more sharply. So, a number: intensivnejshie impulses from greatness of internal sincere alarm and now powerful organizujushchaja force of a rhythm, as defense against sincere chaos and break of a dam of the disciplined will by elements chuvstvovany. Certainly, only in own author's transfer it was possible to feel high sense and nobleness rahmaninovskih thoughts.

But there were other steps rahmaninovskih ascentions when disturbing became for it « a face is fatal-tragical » (It is necessary to listen for comprehension of such pages of music of Rakhmaninov to its execution a ñè-flat-minor of sonata SHopena where struggle of a strong-willed rhythm against pulses of alarm is especially sharp) and as I have already told, disclosing of fears of mankind. The constant anxiety creatively strong personalities — usual "what for", a question to sense of creativity and to persevering work of the artist, a death interrupting by senselessness, — excites some composers especially strongly owing to an originality of internal mental properties of is musical-creative process. But that this excitement on a threshold of such epoch when art natures sensitively perceive mentality of the "disturbed" mankind, and not just personal nervousness becomes stronger.

Coming back to a poem of "Bell", it would be desirable to add therefore, that relevancy of meditations rooting it is caused by merge of disturbing stages in chuvstvovanijah Rakhmaninov (« to what rastit in itself creativity at offensive non-recognition: I shall be only giving concerts virtuoso ») with intuitive comprehension of deep alarms by it in bowels of Russian life. Later, in two years after an alarm, sounded a nervous whirlwind in "Bells" (1913), Rakhmaninov will wisely approve itself in the choral epos of " Nightlong vigil » (1915), But the poem has grown integrally and was deeply sincerely truthful reflection symphonic zvukoidej, for a long time saved by consciousness of the great Russian musician. Therefore "Bells" sound as the product which has grown from disturbing national psychological conditions: from usual Russian « be on the alert » before severe unexpectedness of a surrounding life, even in brief steps of pleasures. « The night service » has pacified sincere build the composer, as the answer which has arisen from strong roots of the national epos about the world of all world. About what Roman-¬«Óßᬫó so pathetically also has warmly managed to tell in epic « the Legend on a hailstones Kitezh » therefore attracted Rakhmaninov, that was heard as native, vysokoeticheskoe understanding of depths national building Russian life, instead of it sometimes chaotic appearance. But at all aesthetic delight before sound colourful luxury of thematically economical partita of " the Gold cockerel » Rakhmaninov is was within imperialistic massacre — has doubted once of national-ethical value of an opera and has expressed in the sense that to it remains not clear: as it is Roman-¬«Óßᬫó with such malicious irony posmejalsja above deeply national ideals of protection of fatherland about which it so wisely narrated in "Kitezh". By the way, A.K.Glazunov came nearer to such opinion, but with the clause also: it is more blaming Pushkin.

So, a seemen in due time only is quiet-contemplate, sound emotional atmosphere of lyrics of Rakhmaninov has been sated intuitively by deep feeling of the excited mentality of the Russian person of a premilitary time when started to tremble together with external foundations of a life weigh its radical warehouse. Whether and not therefore already then « it is simple listeners » Russian music, so then despised by aesthetes — dictators of art tastes, reached for Rakhmaninov: in its truthful, sincere melodike breathed an open space of a native land and privetnaja modesty of Russian nature as at Chekhov and the most sensitive masters of a landscape, and in its severe and noble rhythmics were reflected sincere build always able itself to defend people and the epos of Russian heroes. Few of then musicians, and even among youth tempted « greenhouses zvukonovizny », guessed the great truth of music of Rakhmaninov and its all-round right to appropriate attention. It very much grieved, not allowing, however, to itself(himself) words of the forced entreaty in reply to insulting non-recognition from the largest experts who have mercy recognized in it of the first class pianist, owned besides and a rhythm as something from the outside to it inherent, instead of integral Rakhmaninov's primordial essence, and besides real essence as which very few people felt in Russian life and chyo guessed presence of very few people in skopljavshihsja national thunder-storms.

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#417596 - 06/20/06 08:17 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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Per 1909, in the summer, Rakhmaninov has written the chaste Third concert for a piano with an orchestra. Its beginning has sounded deeply interestingly: instead of stately also it is proud raised flood of music as it was in the well-known approach to an exposition of the Second concert with its oratorical dynamics, here it is modest, on-ìîöàðòîâñêè, warmly and pathetically (as in initial allegro salt-minor of the symphony, only is even more ingenuous) begins to sing the theme odnogolosno-ðàõìàíèíîâñêîå a piano. A theme, as if deprived stimulus to growth, as those autumn flowers about which Pushkin has told, that they as:

Flowers the last in mile
Magnificent first-borns of fields …

Tchaikovsky knew charm and temptation of development of similar melodies of Russian, « hours of separation » as earlier it has well felt Glinka in « melancholy Gorislavy ». Having wakened the initial theme of the Third concert that Pushkin has named « sad mechtanjami », Rakhmaninov with enormous scope and force of development of music from viable melodic grain has overcome « rekviemnye (in sense of searches of a peace of mind) moods », already started to dim its will * To creativity. [In the spring of the same 1909 has been written pressing soul « Island dead » — music of silence and the sea — is unconditional, also with tendencies of symphonic dialogue, but within the limits of only orchestra.] Among its symphonic dialogues (a variation piano and orchestral, suites for two pianoes and concerts for a piano with an orchestra) the Third concert is born as if from a brief confession of lonely soul, expanding in pesn showers (not so subjective, closed, pesn for itself) and searches of a place for itself in the surrounding validity: dialogue as if ancient debate of a life with death, again in a new fashion is put forward with the importance rahmaninovskoj rhythmics, in any case of music not mechanizing movement, and causing dispute for value of a life and inescapable returning by the spring and pleasures of humanity. The rhythm approves viability rahmaninovskoj music, inspiring it will and sincere build, instead of rest of serenity: here radical, rahmaninovskoe, ideological becoming. And it again is similar to the Borodino ideas: Rakhmaninov, as well as Borodin, is not afraid in the sluggish symphonic meditations of attracting caress of rest, but only as of the moment, instead of the purposes. The purpose is build also readiness of will for protection and resistance. Whether not therefore the charming lyrics rahmaninovskoj "Francheski" gives as a result the finished feeling of satisfaction: the flower rastsvyol also has hung, not resisting, and here final stages of concerts, suites and variations — business other. So happened and on a vital way of the composer: not time lacunas were formed, « pauses of creativity » when the impacts received from the validity shook its nervous system and broke a creative line (so was after failure with the First symphony so — though to a lesser degree — during an epoch of blossoming in struggle against non-recognition so — and it is especially sharp — in the first years of separation from the native land). And last great ascention interrupted by malicious death has then followed. Alive forces of an awake internal creative rhythm while the organism was strong, long strengthened Rakhmaninov and helped it to meet deep sincere crisis.

I interrupt my sketch, having finished the experience of restoration of creative shape of the composer, the keeper of precepts of a great time of Russian musical classics, up to a natural limit. I shall dare to not concern the products written abroad, except for only deeply Russian Third, its last symphony. It in many, many attitudes is the symphony of memoirs on native ground and consequently in it that in Rakhmaninov's lyrics of years of struggle for upholding of the rights of the music, that is the period of the creative blossoming preceded the final period of a wise maturity of the master, was especially primordial was pathetically defended, but was clouded at times a different sort "inakostju" and excessive zagromozhdyonnostju. Through a brief reminder on the exciting moments of the Third symphony I sum up stated by me on previous pages the basic ideas.

One of the captivating, bewitching moments rahmaninovskoj lyrics always were some kind of "standings", hardenings of musical development on any especially liked to the composer and intonation drawn its attention. The idea as though stopped. It beholds or, maybe, looks around in the world of the phenomena, as though finding a way-road further, finding a beam of a beacon to float to it — to hope, to the true friend. But there is and so, that Rakhmaninov vklinjaet in music tempting data from the outside: melodic turns at times remind the shepherd's folk tune or represent itself brief popevki from an ancient cult melody — « a begining of a voice ».

Rakhmaninov's attachment to the intonations involuntarily associating rings is curious also. Their movement — gradual rocking and, at last, sonorous, clear search. In bell perelivah, searches and in sonorous echoes, maybe, coachman's bubentsov and handbells, in general in lyrics "kolokolnosti", in development by air « will of a ring », the composer was involved with beauty of measured expansion, blooming, at last, start of musical intonation.

Sound inflows, nabeganiem waves behind a wave more often also fill symphonic development rahmaninovskoj music. That kolyhanie for kolyhaniem, almost a rustle; that splash behind splash; that rocking behind rocking; that alternation powerful "polnozvuchy" (I remind again even the beginning of the Second piano concert).

In "contemplate" episodes plays a greater role beautiful, typical rahmaninovsky an ornament — melodious, smooth, easy blossoming. So jets of Russian whimsically coiling steppe small river luxuriate. It is possible long and to go far along it, admiring changes and shades of a surrounding landscape. It is difficult to not love a similar sort rahmaninovskie slow ascentions, bends, curls and kolyhanija music when melodic figure as if unwillingly will leave each beautiful turn and a winding. Not without reason the epoch of a birth rahmaninovskoj melodies coincides with development of Russian lyrical landscape in which painting by the moments sees as much, looked, how many simultaneously and is heard.

I shy try to seize words the most essential in features of lyricism and in general Rakhmaninov's is musical-poetic speech — and vocal and tool. Three noted properties ("opevanie" a motionless melodic point, whimsical images of rings and perezvonov and, at last, ornamental melodic zvukopis) meet almost always in products typical for the composer.

Development of creativity of Rakhmaninov was not rough, mechushchimsja. It usually changed in transitions from lyrical, óçîðíî-melodic, clear sozertsany to pathos (at times even on-íàäñîíîâñêè hysterical) melodramnym lamentatsijam. In these extreme measures vklinjalis courageous « pages of pleasure » — a celebratory mood and spring « green noise ». Here sang a youth, the freshness of imagination affected, but a number suddenly erected certain barrier in the form of clouds of the lost the way imagination or layers tjazhelozvonkoj rhetoric (examples are available in the Second symphony). These are pages « rahmaninovskogo a baroque », on a musical essence at times deceptive weightiness, as mountain of down pillows. I put forward so annoying phenomena on Rakhmaninov's creative way, as inevitable deviations from an overall objective: to deep clearness of contemplation.

...

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#417597 - 06/20/06 08:18 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
...
In the Third symphony are generalized rahmaninovskie the best properties. In it three detailed parts, but in average (slow) the scherzo — gusty movement in faltering rhythms of a is aggressive-mid-flight impact is included as though.

All central development is based on the same movement in the first part of the symphony. There is a rise (rahmaninovskie inflows zvukovoln, one behind one). Breath at first restless, short. Pauses frequent: as if to grasp air. But the theme is accelerated: the impulse to the far purpose, aspiration in the unknown country, there, behind pass, or a pursuit of fantastic image of beauty as Ivan-tsarevitch for the Firebird, — all is stronger, all is more intense. Forces grow, breath gets stronger. Impetuosity passes in a strong-willed impact. Begin bright, longer increase. At last, as if a limit of a pressure, — characteristic rahmaninovsky nabatnyj, bell inflow (certainly, it not a household ring, and an image kolokolno a sounding atmosphere).

The beginning of the symphony: from silence, from a distance, from meditation. Music is born from fine Russian archaic melodiousness introduction, as motto, melodies zapeva. Sharp splash as if the curtain has risen. Again silence in which there is a supporting voice (minor « a third of a cuckoo »), and on it expressive lyrical raspevnaja a theme affecting soon by a source mnogoobraznejshih of transformations, stimulus of the most interesting development about which it has already been told.

Average (slow) part of the symphony: contemplation, a thought passing in anxiety. The initial idea (solo french horns on arfnyh chords) — transformed initial popevka symphonies, but is wider raspetaja as the voice of the prophetic singer at the ñèíÿ-sea or is white-lake. The further disclosing of music — alternating inflows and rustles of " sound jets », above which rejut as if plumose and gentle clouds (melody-ïîïåâêè). Or it is years of a bird of a swan above « silent rest ». About much, much, "nastroencheski" fine, heart-felt, ïåéçàæíî-Russian, music of an adagio speaks: such feeling covers, when zakatnoj at times in wanderings in the north leave among a wood to lake, a wood hranimomu and bewitched, and give in to charm of silence.

In last part of the symphony prevail "perelivy-ïåðåçâîíû", typical for Rakhmaninov: among inflows of melodies air it is joyful and svetlo it it is disturbing and nastorozhenno likujushche rings. From this ending there is a good, integral impression, and of the symphony such feeling as if the hearing has made slow walk « in gardens of human heart ». To the best pages of music of Rakhmaninov similar conditions were always peculiar, as well as to the best poetic prozrenijam Russian artists-landscape writers. However, Russian lyrical melodic landscape itself is heart of Russian painting.

The partita of the symphony of Rakhmaninov cannot be named îðêåñòðîâî-colourful. It "tutti" — sonorities of all orchestra — do not arrest special attention. But èíñòðóìåíòàëüíî-melodic figure of separate voices which is weaved, being poured by the timbres, makes one of attractive properties of style of Rakhmaninov.
Rhythmics of the symphony is interesting. Expressiveness of pauses-caesuras, the pauses-respites cutting and syncopating having sung and by that its straining, contrasts of short breath and wide, smooth — all this agitation of movement of music only strengthens impression of harmony and regularity of development of an idea of the symphony on time to the planned way.

Rakhmaninov's third symphony adjoins the best traditions of Russian symphonic classics. Thus it is closer to the Borodino ëèðèêî-epic becoming, than to realistic dramaturgijnosti than Tchaikovsky. It — the large phenomenon in evolution national-Russian simfonizma. Certainly, Rakhmaninov less the playwright of sincere collisions, than the master skaza and developments of music in a succession of transformations, as Glinka in "Ruslane" and Borodin in "Igor" and symphonies. Therefore so it is remarkable and rahmaninovskoe art of variations. Rakhmaninov's symphonies have arisen on vitally far distances from each other, as if summing up the lived creative years. Its best parties reveal and weaved into them by deeply contemplate, sated displays of truthful, integral feeling of the music which are not knowing rough sensuality. Spiritualized by lyrics is intimate-sad zamet and hymns of delight and the love turned to the great native land of the composer, this music begins now, together with again open First symphony, the new light life.

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#417598 - 06/20/06 08:21 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
M. of M. Bagrinovsky
Memories With. Century of Rakhmaninov

My brief memoirs about With. Century Rakhmaninov cover time with 1909 for 1916 when Rakhmaninov was already quite mature, conventional master of the art. They give only separate strokes supplementing an image of our remarkable musician. As about Rakhmaninov as about the pianist it is written by many and much, I shall stop basically on some moments of its conductor's activity …

Features of a figure of Rakhmaninov, high, a little angular and hardly round-shouldered, did not allow it to captivate listening audience grace and plasticity of movements and gestures at conducting. However rahmaninovskie as though « not flexible » hands made waves with such nepreoborimoj will, persuasiveness, expressiveness, that entirely and completely subordinated to itself performing collective (an orchestra, chorus).

Rakhmaninov was very exacting, persevering and even imperative concerning collective operated by it. On rehearsals did many remarks, demanded much. Its perfect pitch very helped with rehearsal work, amazingly thin, extremely refined to Rakhmaninov. Rakhmaninov really heard completely all executed partita in its all details. Not only a usual sort of a mistake of executors, but also the slightest casual, "imperceptible" discrepancies caught and it fixed in any noisy-bulky sounding orchestral weight, persistently achieving their correction.

Certainly, it rather "tightened" the actors of an orchestra well known this feature of Rakhmaninov. Besides popularity and Rakhmaninov's huge authority as the pianist and the composer also rendered here the influence.

Therefore, when Rakhmaninov became for a conductor's stand it was done really by "lord" of performing collective.

In this connection it is necessary to mention a manner of the reference of Rakhmaninov-conductor with an orchestra on rehearsals.

It is necessary to tell, that in those days the majority of conductors, conducting rehearsal and wishing that the orchestra has executed any shade of execution conceived by them, addressed to an orchestra in tone of the request.

— Please, play so … — or: — I Ask to make so … — the Orchestra more or less carried out the request.

Rakhmaninov kept differently. It did not ask, and demanded from an orchestra, speaking: « Work to play … », « Work to make … ». Also demanded such tone not supposing objections, that the orchestra needed to follow implicitly only its conductor's instruction.

The form of the reference, expression "work" sounded somehow "is rough". And, certainly, this not absolutely usual, even a little bit "overbearing" tone did not irritate an orchestra only because each orchestral player knew and appreciated Rakhmaninov as the largest musical size, reckoned with its huge art authority.

Really, what product undertook to conduct Rakhmaninov, — it always gave to it new, special, original illumination. Thus general sounding of an orchestra became at Rakhmaninov any other, rather than usually, — juicy, picturesque and at the same time surprisingly flexible.

It is remarkable, that Rakhmaninov, conducting or being behind a grand piano, quite often supposed greater liberties in treatment of executed products. They were expressed mainly in a choice and change of rates, and also in degrees of brightness of dynamic shades.

Many similar liberties were observed, for example, at execution of the Fourth and Fifth symphonies of Tchaikovsky by Rakhmaninov-conductor, The composer, related to it on spirit. Here displays refined emotsionalnosti Rakhmaninov found to themselves especially grateful ground. Thus made irresistably exciting impression the moments of increase and recession of sonority. They turned out so opravdanno, zahvatyvajushche is bright, that seem absolutely logical, absolutely necessary. « Only so, instead of differently » — here that listeners, vnimaja rahmaninovskomu to interpretation felt.

But there were products to which Rakhmaninov approached in another way. Are those, in particular, the Symphony g-moll Mozart, Suites « Per Gjunt » Grieg. As to the Symphony it was executed by Rakhmaninov strictly, stylishly. It "klassichnost" it was observed carefully, carefully. Sonority of an orchestra was moderated, caressed hearing softness, a transparency.

« Per Gjunt » it went right to Rakhmaninov extremely. Fresh, heart-felt, penetrated national pesennostju Norway music of a suite was executed by Rakhmaninov touchingly, gently, pathetically and at the same time figuratively.

Up to tears deep simplicity excited « Songs Solvejg », charoval with crafty grace « Dance Anitry », fantastic « the Cave of the master of mountains » dizzily rustled. Listeners as if bewitched really Rakhmaninov's "magic" conductor's baton, came off the validity and were carried away in the world of imagination, dreams.

In general rahmaninovskoe conducting was some kind of hypnosis. With nepreoborimoj force of powerful talent it took in a captivity of listeners of the most various age, grasped under the authority, inspired them the interpretation of music, resulted them in a condition all of an amplifying delight and as a result created unforgettable tops of art pleasure.

About Rakhmaninov-composer spoke much and argued earlier. Speak and argue now. Hardly probable there is a need now especially to stop on this question. Will be enough, it seems to me, to tell, that Rakhmaninov-composer — the phenomenon large, brightly certain. It has entered many gold pages in history of Russian musical art.

Than art successes and Rakhmaninov's achievements were caused all? Certainly, not only its exclusive born talent, but also constant enormous persistent work above itself, above the all greater and greater perfection. As the true, exacting artist, Rakhmaninov never calmed down on reached, and aspired to the further perfection. In this respect it is rather an effective example for young musicians.

Creativity and ispolnitelstvo Rakhmaninov for its epoch undoubtedly had the big and positive value. It gravitated to religious and national in music, than rendered oshchutitelnoe influence both on professional, and on amateur circles of musicians. Recollecting Rakhmaninov, it is not necessary to overlook the specified circumstance …

In the memoirs drawing Rakhmaninov, it is possible prohonour, that two lines of conduct still were from the youth found out in it in relation to associates. It has been closed, is severe-is gloomy among not people familiar to it. Also became softer and really revealed only in a circle of relatives. Noted feature, being, possibly, property of its nature, has not kept in the background in the course of time. It was kept during its all life.

It that Rakhmaninov did not like and not to be skilful "in public" speaks, kept in another's for it a society "single", and, by the way, "is cool" concerned to theatrical, noisy, is eternal burlivoj to a secret atmosphere.

Knowing about heightened interest of a then society to its person, it usually avoided any interviews and refused performances in a press.

And for all that it happened to Rakhmaninov to overcome sometimes the external ascetic severity and suddenly, unexpectedly to find out internal warm essence of the nature. So, to a plenty it, the owner of the well-known name, the authority and a star of music world, entered conversation with the people who are not borrowed "visible" position, and also with young musicians. Also did it absolutely simply, without a shadow zaznajstva or arrogance. Here an example.

On one of symphonic assemblies of Russian musical society, where my early product was executed (the Suite for an orchestra), there was Rakhmaninov. Having heard to a suite, it under the personal initiative has wished to give me concerning it the fair and useful instruction. It was valuable to me doubly: under the maintenance — as creative advice, under the form — as the friendly reference of the known, recognized musician to the beginning composer.

This fact has made upon me the big impression and was remembered for ever. Really, the musician-master, an idol of then public itself has approached to me and has softly, benevolently talked to me. During that epoch it was a little bit unusual.

The described case draws Rakhmaninov the person intimate, not proud absolutely not the popularity and high position.

But, generally speaking, Rakhmaninov avoided conversations with unfamiliar people.

At supervision over it constantly it seemed, that it always and everywhere shipped in itself(himself) about what it is persistent thinks, something is anxious, even is grieved, that only necessarily is here among a society unfamiliar or few familiar it. Also it was thought, that it is carried away by an idea somewhere « in a wide distance » and that it would be desirable it to be in a solitude, in calm where it could, not constrained by anybody and anything, freely to dream, create.

Moscow
January, 1953

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#417599 - 06/20/06 08:26 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
D.Barclay

About Sergey Rakhmaninov — the composer, the pianist and the conductor — it has been written so much, that I have nothing to add to it, yes I and would not find corresponding words to express the admiration of this great musician. I would like to write therefore only about some features describing its person which I have learned owing to long friendship and dialogue with it and it semyoj.

I already for a long time loved its compositions and executed many of them. Having learned, that it and its family have safely arrived to America, I, not being the friend, at once have written to it, under influence of any impulse, the salutatory letter, having added, that something if the help of the person is necessary to it would be glad to help it, it is a lot of years lived in New York and in addition this city well familiar with music world. What my surprise when next morning Mrs. Rakhmaninov has telephoned me was and has asked me if it is possible, to arrive to them to hotel as Rakhmaninov very much requires advice. I nothing and speak, that, having thrown all the business and having grasped on road a bouquet of roses, have hastened to them.

I was met by Mrs. Rakhmaninov, but in some minutes of a portiere at a door conducted in a bedroom, have slightly begun to move, and I edge of an eye have seen the Rakhmaninov examining me. Soon it has timidly entered into a room accompanied by not less timid younger daughter, Tatyana.

I have understood, that it did not love meetings with strangers. Having exchanged several phrases, has suddenly felt, that, apparently, I the person for it suitable and that to me at it was born trust. It has shown on the piano which has been filled up by letters, telegrams and any messages, and has asked me to help it « with all to these ». And here I was accepted to sorting and analysis of its all correspondence, for telephone conversations, and to the further in every possible way tried to help to accustom to it with new position and to understand a lot of questions which it could not resolve because of ignorance of language and neznakomstva with the American customs.

I have seen, that my help should consist in enabling it to prepare for concerts, and for this purpose it was necessary to relieve absolutely it of all affairs and to result in the appropriate order all this chaos.

Full confidence which it has rendered me at the first meeting and which has then passed in strong friendship of our families, is very characteristic for Rakhmaninov. Time having trusted in any person and having grown fond of it, it remained its true friend up to the end. This feature has been connected with rare sincerity of this person — quality the brightest in its character. It could not force to tell itself(himself) the slightest lie even if told by it it was unpleasant. However, being always and in all present gentleman, it spoke these unpleasant trues only in cases when, so to say, has been finally pressed to a wall. On the other hand, if it praised something, it was possible to be absolutely assured, that its praise genuine and sincere.

Rakhmaninov was avaricious on words, this all knew, and considered unnecessary to spend them for trifles.

It was very timid, was afraid another's and felt is better at home — among favourite family and those few which it named friends. Because of shyness and fear of people unfamiliar to it it on many made impression severe and even the unapproachable person, and I had to hear from of some persons about confusion, even almost fear which they tested, meeting with it face to face. There is no doubt, that many of them felt force of this person which was so is great in the art and at the same time so it is sensitive and modest.

Very few people is known, how it could have fun, listening, for example, stories of friend Shalyapin. Last somehow spoke me, that considers as the duty to make laugh Rakhmaninov. Rakhmaninov never got tired to listen to ridiculous histories (but did not love obscene), and itself was able to tell is remarkable.

As to it constantly addressed for explanations, that it represents in the Prelude cis-moll has terminated that we have prepared for the stereotypic answer. On a question: whether « about the person, alive pogrebyonnom Rakhmaninov has written to the ground, whether the prelude is connected with history katorzhan in Siberia », etc., the answer was: « no history is connected with the Prelude, it simply wrote music ».

The second answer prepared in advance to numerous requests to give lessons said: « very much I regret, but at me is not present either time, nor patiences to learn ».

I shall result one case illustrating its modesty. Society Bohemian in New York (club which members were many musicians) has decided to celebrate Rakhmaninov and to arrange in its honour a dinner soon after its arrival to America. My late father, Kornelius Ribner which was one of foremen of club, has advised to address to the help of the daughter which, maybe, will find road to "victim" planned by club, and me have asked to prepare Rakhmaninov for official visit of one of directors of club. The assignment it was not from lungs as I foreknew as Rakhmaninov will concern to it. I therefore have told to it all over again about club, about its purposes, members and then have already passed to the description of that honour which wish to render it. It reacted to all it only a question: « the Dinner in my honour? But why they wish to give a dinner to me? Why not for another which really know? » Eventually it has agreed to accept delegation of club and to go for a dinner in which many hundreds people have taken part. But it for ever remains the only thing in history of club the actor who has not said speech during a dinner given in its honour. It always flatly refused to speak publicly. I remember, how I have written for it the speech consisting of several phrases, — the gratitude turned to public on the occasion of its big charitable concert in a hall of Carnegie in favour of requiring Russian actors, professors and their families. Speech has been learnt, and it almost promised to say it, but also at the last minute was afraid nothing has told, having played instead of it, me in a consolation, encore one of my favourite things — the romance "Lilac" shifted by it for a piano. It iskrenno apologized then that has not said this speech.

Rakhmaninov very much liked to play a trick slightly on relatives and cheerfully to tease them. Has not avoided it and I. I am assured, that one case has amused it more, than me. It has received once some releases of notes — charming compositions for L.Godovskogo's written by it for children four hands. The party for the pupil was very easy, right and left hand played a unison. But the party of the teacher was extremely difficult. Rakhmaninov for some reason suddenly has very much become interested in these things and has suggested me to lose there and then for them together with it. But instead of giving me as I counted, an easy party of the pupil, it has insisted on that after each separate thing we « varied places ». I had to execute, thus, and difficult parties, and it with delight and pleasure played one finger of each hand of a party of the pupil and, certainly, as the hawk, ready to rush on the victim, waited for my possible mistakes. All mine of entreaty to allow me to play only parties of the pupil had no on it the slightest influence. Eventually I have solved, that if to it from it so is cheerful why to not deliver to it pleasure. It very much thanked me after this torture and pohvalil for my diligence. And I wish to admit now, as to me then was very cheerful.

I always felt, that under Rakhmaninov's so-called "severe" kind soft, kind heart is covered. I have many examples proving, that it so. I would like, that people who consider its unapproachable, could see it with children, and in particular with its favourite grand daughter, and also the goddaughter — my daughter Korneliej. It very much loved and surprisingly well understood children! As often I saw its closely examining babies in everyone counter koljasochke during its daily walks on Riverside Drajv. And for some reason these children did not show the slightest fear at a kind of this high, seryoznogo the person.

Recovering after operation in hospital over Onions, Rakhmaninov has strongly become attached to little girl Zhozefine laid, as well as it, in soljariume. It very much suffered after operation. Rakhmaninov so strongly was upset with a kind of its sufferings, that eventually it was necessary to ask the doctor that it has separated these patients from each other as Rakhmaninov's recover strongly was late for its excitements for ZHozefinu. The doctor not only has immediately agreed on it, but even assured Rakhmaninov, that ZHozefina has so recovered, that it already have taken away home. I strongly doubt, however, that the patient has believed this fib. Rakhmaninov had any especial ability to feel the slightest lie.

I should note still that exclusive respect with which it concerned to other authors at execution of their things. It did not dare to change any note from written. It was the most severe critic in relation to itself(himself) and hardly probable own execution in concerts satisfied it quite. I have put myself for a rule to ask it after each piano concert in New York, whether it is happy with itself(himself), and only it admitted rare cases, that played well. With opinion of others in this respect it was not considered.

Any of those well-known musicians which I have pleasure the nobility, Rakhmaninov did not love music more, than. As often I heard it in the evenings in its house, here and abroad, playing the favourite things; it repeated thus repeatedly: « As this melody as I love it is beautiful! » These things were not modern, not a product of the "invented" music. Sometimes it were simple national songs or some steps of music SHopena, passages from a party of the Saxophone in "Mejsterzingerah", Grieg's romances and, certainly, also melodies so favourite by it of Tchaikovsky and Roman-¬«Óßᬫóá.

My memoirs about big and insignificant, that made its life, are infinite and unforgettable. When now we have lost Rakhmaninov, its person all takes shape in my representation about it as about an outstanding example of rare sincerity, humility, magnanimity and deep understanding of human soul — all it is connected to its divine gift which will always enrich and inspire us in a life more clearly.

New York
15 October, 1944

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#417600 - 06/20/06 08:29 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
S.L.Bertenson

In one of the clauses, devoted memories With. Century of Rakhmaninov in Russian press, the composer. Century Asafev known also in Russian music world as the historian of music and the critic, writing under Igor Glebov's name, has defined sensation of music of Rakhmaninov so: « Pathos of the disturbed heart » … it is difficult to be expressed better, speaking about Sergey Vasilevicha's artistic image. Its all creativity both as composer and as pianist was always sogreto its heart.

But not in a smaller measure the big heart of this remarkable person and in its personal life was felt.

To me has had the luck close Sergey Vasilevicha's nobility in its house conditions and among friends, at o'clock of its rest. How many was at it love to people, caress, attention to associates as it loved a life and dialogue with to whom it felt drawn also sincere trust!

Possessing thin humour and enormous observation, it was able is remarkable to tell, and in its all stories about the diversified meetings and impressions from its many-sided life it always modestly remained in a shadow, and but others acted brightly and is convex. But it was able and is remarkable to listen, and for the good interlocutor and the talented story-teller it was extremely sympathetic and susceptible "public".

First my meeting with Rakhmaninov concerns to the beginning of 1923 when I have arrived with the Moscow Art theatre to New York. Vl. I.Nemirovich-Äàí÷åíêî remained in Moscow, and the theatre was headed by one K.S.Stanislavskim. Konstantin Sergeevich and all the senior members of troupe well knew Sergey Vasilevicha across Moscow. It always was the ardent admirer of Art theatre, and to Stanislavsky concerned with any special admiration, I would tell, with tenderness. Therefore it is easy to understand, how Rakhmaninov when its favourite muscovites have appeared in New York was delighted.

For it, after several years of separation from the native land, it there was as though a meeting with the Moscow. And it, and its all family, certainly, began to go on performances of Art theatre And on mnogu time looked each play of our repertoir. There were they at us and behind side scenes where I and have got acquainted with them.

In New York during same time there lived cousin Rakhmaninov and its teacher — pianist A.I.Ziloti too close known Stanislavsky and many actors of theatre. With Ziloti I have been connected by old close friendship and teamwork on Mariinsky theatre in Petersburg and through it and its late wife Belief Pavlovnu, the daughter of Item I.Tretjakova, the founder of gallery, I have got in house Rahmaninovyh. Ziloti veins in several steps from Theatre Dzholson where there were performances of Art theatre, and came to us for side scenes every evening to see old friends and as it was playfully expressed, « to check up, whether all by way of », naming itself « the inspector of theatre ». I daily came to And. and Century of Item Ziloti in hotel, mainly nearby poludnja, and very often there looked Rakhmaninov on a way from walk. So the regular dialogue supported still by invitations in hospitable house Rahmaninovyh to Riverside Drajv was established. From Art theatre there happened, except for me, K.S.Stanislavsky, O.L.Knipper-Chehova, And. M. Moskvin, Century I.Kachalov, N.N.Litovtseva, Century of Century Luga and artist-set dresser I.J.Gremislavsky.

What unforgettable evenings it were! Wonderful stories, memoirs, an exchange of impressions, — came to life bright, unique images. Us Moskvin with the thin humour, the colourful, juicy, cleanly Moscow speech, remembered different ridiculous and zanjatnye cases and episodes from a secret, companionable life of amicable family of actors of Art theatre especially admired. As Sergey Vasilevich liked it to listen, with what attention devoured every word Moskvin, watched a mimicry of its expressive person!

Rakhmaninov's person, usually such thoughtful and concentrated, quickened and changed: in it there was something is charming-children's, wrinkles were smoothed, and it was given joyful carefree laughter, showering back head and covering with one hand tears of fun slid from eyes.

Not less it and seryoznye loved the conversations inevitably arisen in a society of Stanislavsky which ideas have always been directed on art and self-improvement of the actor and which trusted, selflessly loving theatre, that by art of soul of people are done by more sensitive and is more true human. Its ideas were as are related also to Rakhmaninov, all which creative life has been devoted to similar high spiritual problems.

And still there were unforgettable hours during these friendly meetings, when Century I.Kachalov amazing with what not sravnimym a voice read aloud Pushkin, Tyutchev, Maksimiliana Voloshin, Balmont's verses. It liked it to do in intimate conditions, after a supper, behind a glass of wine, and all then calmed down around.

Have passed year. I have left Moscow, with Art theatre and have moved to Hollywood. With Rakhmaninov my meetings became fleeting, and there were they only in those short time intervals which it spent in Hollywood between the concerts in Los Angeles and its vicinities. It stopped with the wife, Natalia Aleksandrovnoj, is constant its accompanied during its tour, ordinarily in one of the small houses located in a garden of hotel « the Garden Alla ».

We converged together at dinner or a supper. In Hollywood there lived the son of friend Rahmaninovyh, Shalyapin, Feodor Fyodorovich whom Sergey Vasilevich knew since the childhood, loved, as the son, and named it simply "Fedja".

While Rahmaninovy were in Hollywood, F.F.Shalyapin at them was almost permanent. It has acquainted them with the friends, the director of Century Ratovym both its wife actress E.K.Leontovich and actors And. and. Century Tamirovymi. All of them were also my close friends, and I spent together with Rahmaninovymi a lot of time in their houses full of Russian hlebosolstva and kindliness.

Sergey Vasilevich almost never happened in a cinema, but very much was interested, as film-shootings that is done in studios as Russian actors and directors in this area unfamiliar to it work are made. It was always pleased udacham Russian abroad and consequently meetings and conversations with Ratovym and Tamirovym which both have reached in the American cinema of greater successes and wide popularity, very much for it were interesting.

Ratov possessed exclusive gift of the interesting story-teller. Themes were inexhaustible, and Sergey Vasilevich always briskly and cheerfully listened. At Tamirova too was much, about what porasskazat. In its stock the set of the memoirs indissolubly connected with troupe of Art theatre in which it has stayed some years and which so was loved by Rakhmaninov. It excellently simulated speech and K.S.Stanislavsky's manner, that always resulted in Sergey Vasilevicha's full delight.

California very much liked Rakhmaninov and when per 1941 it came on concerts to Los Angeles spoke that to it is to be lead the next summer with all semyoj the three-monthly rest somewhere in vicinities of Hollywood. There is nothing and speak, as us, its Californian friends, it has pleased, and we promised in every possible way to help to it to seek for the suitable house, a maid, etc.

In April, 1942 I have received from it the letter With the request to borrow in searches of the house, or, more truly as it was expressed, "summer residences". Sergey Vasilevichu by all means would like to live somewhere on mountain, in one of the best our areas, named beverli-Õ¿½½ß, the kind on wide and picturesque distances whence would open, to have pomestitelnyj and convenient, all the arranged house, a good garden and, whenever possible, to be isolated from close neighbours.

I immediately was accepted to searches, and I managed to find that was necessary for Rakhmaninov's family: the big, perfectly arranged house from a drawing room in which already there was one grand piano and where freely there could be other grand piano of firm Stejnvej always accompanied Sergey Vasilevicha where it went, a garden with pool for plavanja and the site of the ground made in total four acres. The house stood on mountain, the wonderful kind on the immense spaces covering even far ocean whence opened.

In sunny days — and they here happen within nine-ten months in a year — the picture was surprising. Isolability was full, and up to the nearest houses in the bottom of mountain was far. This "summer residence" belonged to cinema actress Elinor Bordman known once. I have hastened to meet it and, having written off about all with Rakhmaninov, have employed this estate. In half of May they in it have moved, having remained all very happy.

Nearby pianist Vladimir Gorovits with the wife, nee Toskanini spent summer. Sergey Vasilevich very much loved both of them and iskrenno admired with talent of the young friend. Quite often Gorovits came to it with notes, and they played on two grand pianos, something mainly from the classical literature.

They played for own pleasure and without any "public". Once I have been specially invited to a similar exclusive concert and except for members of family was its unique listener. They have played one of sonatas and D-dur’íûé Mozart's concert and Rakhmaninov's Second suite for two grand pianos.

The impression was inexpressible! It is difficult to find suitable words to express its all force … I up to depth of soul has been excited, and art my pleasure has been strengthened still by that was felt that executors have tested the big creative pleasure and were fully satisfied. Each of them knew force of talent of another, and everyone understood, how much game of another was perfect.

When music has terminated — about what it was impossible to speak. Time has ceased to exist: I have suddenly forgotten, that 14 years I live in Hollywood, such far from art, what even the word "art" starts to disappear from memory, and has come to be again on other, fine planet. It would be desirable to be silent and nothing to scare off the concentration. Having come back home, I have written down date of this extraordinary evening never to forget it: on June, 15th, 1942.

There was one more unforgettable evening when I could hear Rakhmaninov's joint game and Gorovitsa. They have again repeated a sonata and Mozart's Concert, but instead of Rakhmaninov's Second suite « Symphonic dances » have played its own transposition for two grand pianos of its last orchestral composition. This time there was a person of 15 visitors. So, possibly, joint game of the Leaf and SHopena when they sat down together to the tool sounded. That summer I had to see Rakhmaninov very often; I happened at them on a regular basis two once a week, and we spent a lot of time in the most interesting conversations. Sergey Vasilevich always very much loved historical and memuarnuju the literature which was also my most favourite reading.

We exchanged impressions in occasion of read through, talked about old theatre, about music, composers. I with pleasure listened, that Sergey Vasilevich spoke about Tchaikovsky: with sincere excitement it told, with what touching attention Peter Ilich concerned * To the first kompozitorskim to its steps as iskrenno it was pleased to its successes as aspired to put forward its youthful opera "Aleko" which have been staged imperial Big theatre in Moscow. It infinitely highly put merits Roman-¬«Óßᬫóá and spoke, that has in the course of time learned to understand and appreciate more deeply all its creativity.

War terribly excited and oppressed Sergey Vasilevicha, and every time when about military actions speech came into Russia and about those sufferings which fall to a lot of our native land, was felt, how it suffered. An idea that perish hundred thousand Russian people and varvarski ancient Russian cities with their invaluable monuments of art and olden time collapse, gave it the creeps.

It could not listen without excitement at all when by radio such remarkable pieces of music as « the Light holiday » Roman-¬«Óßᬫóá were transferred, Or Stravinsky's "Firebird".

I remember as now, that once when we listened to the ending of "Firebird" solemn and full of triumph, Sergey Vasilevicha's eyes were filled with tears and it has exclaimed: « My God, up to what it is ingenious! In fact same the present Russia! »

Somehow at Rakhmaninov had dinner I.F.Stravinsky with zhenoju. Uslyhav, that Igor Fyodorovich very much loves honey, Sergey Vasilevich has got greater to its bank and in the evening, bringing me home on the car, has personally delivered to it this honey. I should note this trifle because it so it is characteristic draws Rakhmaninov's touching attention to people.

In the middle of summer of 1942 Rahmaninovy have bought to itself the fine house in center beverli-Õ¿½½ß, on beautiful, zarosshej dense, shady trees to street Elm Drajv. Before departure to New York they have decided to arrange this house so that from next summer it is final in it to move.

During a season 1942/43 Sergey Vasilevich was going to make last concert tour, to give concerts at Pacific coast and then to leave on rest as the pianist, having given exclusively compositions.

The new house very much liked it, with cleanly childish pleasure it playfully assured. Century Tamirovu, that a facade rahmaninovskogo at home better and is more than facade tamirovskogo at home also that the garden at it will be better.

The artist. Century Remizov, that which old Russia knew under name "re-¼¿" on its magazine " Satyricon ", has made to it the project of reorganization of garage above which it was supposed to arrange a special cabinet-studio for Sergey Vasilevicha.

Continuing still to live in house Bordman, Rakhmaninov came to the new house to potter in a garden, worked as a shovel and a raker and rasplanirovyval landing of new trees. And we, its friends, looking at what all it gave to it pleasure, were pleased together with it. Who could think, that in any six months Sergey Vasilevich will leave from us for ever.

It wanted to me to tell about all these trifles because in them, it seems to me, great actor Rakhmaninov about whom wrote is felt not and experts, and simply Sergey Vasilevich — the darling, simple, intimate, kind, sympathetic, deprived any pose and the insincerity, full of that noble modesty which is always peculiar to the present greater people will write.

About it there was an opinion as about the person proud, gloomy, unapproachable, constrained, "clasped". Possibly, has begun that it always left on a platform very much seryoznym, concentrated and without that state smile by which in America any public performance of the actor is accompanied and which photos so-called « favourites of public » never manage.

So this opinion was born, then it began to be supported by a press, at personal meetings with which representatives Rakhmaninov did not like to smile. And whether it is odd: once any newspaper employee, interviewing it, has asked to it a question: « Who orkestruet your compositions, Rakhmaninov? » On what Sergey Vasilevich very quietly and with most seryoznym a kind has answered: whether « you See, here, in America, people rich and consequently composers can order another the orkestrovki. We in the Europe people poor also are compelled to be engaged orkestrovkoj » …

So the whole legend about rahmaninovskoj inaccessibility and gloom was gradually created. For the same which as I, knew Sergey Vasilevicha's keenness, its tenderness, its love to a joke, thin humour and the infectious laughter, the similar legend is represented one misunderstanding.

Hollywood
March, 1945

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#417601 - 06/20/06 08:31 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
E.Bukinik's m.
Young Rakhmaninov *

On Big Nikitskoj, between two Kislovskimi, there is in depth of a court yard a solid building ekaterininskih times. There was in it something strong and lordly. I liked to enter into this spacious court yard, loved its semicircular pediment with columns, loved its stone ladders prograted from time, high ceilings, a moulding on eaves.

It was an old premise of the Moscow conservatory.

In corridors, between school hours, there were professors. Here N.S.Zverev, first teacher Rakhmaninov, high, thin, with a direct gray hair, as at the Leaf, and unexpectedly black dense eyebrowes on britom the person. From its kind, fatherlike person vejalo the world and calmness. Here Ferruchcho Buzoni, then still young, with pink lips and with small light borodkoj. Here A.I.Ziloti, same young, high, flexible, alive, with a pleasant smile on the person. Here Item A.Pabst, huge, heavy tevton with buldogoobraznym the person (its figure directed fear, and meanwhile it was the kindest person!). Here short-sighted S.I.Taneeva's heavy figure. Here Ampere-second. Arensky, mobile, with a curve smile on clever polutatarskom the person. It always made jokes or was angry. Of its laughter were afraid, its talent loved. Here director of Century I.Safonov, the low growth, full, thick, with penetrating black eyes, — the professor and pupils always felt its master's eye.

Numerous pupils of a conservatory crowded or in « a modular room » on the second floor, or below, in "locker room", far away from nachalstvennogo a look, and in particular far away from Aleksandry Ivanovny. Last — the inspector of our conservatory — was betraid by servant Safonovu and conservatories. Its thin and high figure appeared always there where it was undesirable. It observed of good conduct of schoolgirls of a conservatory and behind behaviour of pupils, did not give descent to anybody, threatening with dismissal, reprimands, dragging to director and other fears. Its fair selfless work not for fear, and for conscience though irritated pupils (from them it heard roughnesses and impudences), but after the termination of a conservatory all left with it friends.

Now before my eyes as though there pass pupils: pink, with kopnoj curly hair Joseph Levin, already then acted in greater concerts as the finished pianist. Small and brisk violinist Alexander Pechnikov — a conservatoire celebrity: it terribly puts on airs also notices nobody, but it is talented, and we admire it. Sickly, vyloshchennyj A.Skryabin never awarded anybody with conversation or a joke; in snow weather it carries deep boots, is dressed always on a fashion. Modest, always lonely A.Goldenvejzer. K.Igumnov — "father Paisy" as it have nicknamed; at it a kind of the sexton, but it the student of the Moscow university, and with it respect. At our assemblies the big joker likes to happen Kohl Averino, black, as the Negro, and; come sometimes efficient Modest Altshuler and Lyonka Maxims, long, thin and very sociable, all favourite comrade — it the center different kuchek, itself speaks much, loves a joke, loves also opprobriousness, and we willingly crowd around of it.

In this tolkotne there is also S.Rakhmaninov. It is high, thin, its shoulders are somehow raised and give to it a quadrangular kind. Its long person is very expressive, it is similar to the Roman. Always shortly ostrizhen. It does not avoid comrades, is amused their jokes, let and ìàëü÷èøåñêè-cynical, behaves simply, positively. Smokes much, speaks the Basque and though it of our age, but seems to us to adults. All of us heard about its successes in a class of the free composition at Arenskogo, knew about its skill quickly to seize the form of any product, quickly to read notes, about its perfect pitch, we were surprised with its neat analysis of this or that new composition of Tchaikovsky (we like its love to Tchaikovsky) or Arenskogo. But as the pianist it imposed us less.

Once the student's concert in the Small hall of Noble assembly in which the best pupils of all classes participated has been arranged. In this concert Rakhmaninov for the first time has acted with the first part of the First piano concert. I played a student's concert and felt cleanly boyish pride, that here supposedly comrade acts with own composition. Melodika the Concert, I remember, me has not amazed, but the freshness of harmony, the free letter and easy possession orkestrovkoj imposed me.

On rehearsal eighteen-year Rakhmaninov has shown the is persistent-quiet character what we knew it in companionable assemblies. The director of conservatory Safonov ordinarily conducted products of the pupils, not tseremonilsja and severely altered their compositions, made amendments, reductions to make the composition more ispolnimym. Pupils-composers, happy the fact of execution of their creative experiences (Koreshchenko, Kyoneman, Frosts, etc.), Ordinarily did not dare to contradict Safonovu, easily agreed with its remarks and alterations. But with Rakhmaninov Safonovu it was necessary hardly. The first not only categorically refused alterations, but had boldness to stop conductor Safonova and to specify incorrect rate or nuance. It was visible, that Safonovu it was not pleasant, but as the clever person, it understood the right of the author though also a beginner, on own interpretation and tried stushevat occured awkwardness. Besides kompozitorsky Rakhmaninov's talent was so outside of doubts and its quiet confidence of so imposed everything, what even omnipotent Safonov should reconcile.

Here this compelled necessity to reckon with Rakhmaninov has made Safonova if not its enemy, indifferent to its destiny for all life. Later, when Rakhmaninov became known in Russia, Safonov pretended, that does not know it. Once, after occurrence rahmaninovskoj the Second symphony, Safonova have asked, whether it is known to it, that Rakhmaninov has written a greater and significant thing for an orchestra, it has answered: « As I can know, who that has written, if the composer does not show me ».

Since young years character traits which very much intrigued known it were peculiar to Rakhmaninov. Quiet, equal, a little bit melancholic voice and thus courageous manners, avarice on words, straightforwardness in manner with people — all it revealed any deeply latent, special life.

From first steps of creative activity it was surrounded with an aura of romanticism. In a life it was the sceptic and the pessimist, but it did not prevent to look really to it at things; it was not afraid of the truth and enemies, its creativity was a riddle for all associates.

Rakhmaninov's talent quickly rastsvyol, was amazed with sincerity of its music, and it seemed not clear as after Tchaikovsky it is possible so to excite with grief still.

...

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#417602 - 06/20/06 08:33 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
...

On my eyes has passed Rakhmaninov's youth in a conservatory. I remember, how we uvidalis at the Big theatre on ballet « the Sleeping beauty » Tchaikovsky. I for the first time saw this ballet and, being under influence of the French composers, have not apprehended music of Tchaikovsky positively. During an interval we have met in kurilke Rakhmaninov, and I have hastened to express the skeptical opinion. It has listened and, probably, at all has not become interested in my criticism of Tchaikovsky favourite by it and, avaricious on words, deeply being tightened by a cigarette, with such children's sincerity has told: « Is not present, well! » — that I have understood: nobody will take away its god from this person.

*

We knew, that to Rakhmaninov and other pupils of a conservatory to final examination on a class of a composition the one-act opera "Gipsies" on Pushkin has been set; term has been given month. Rakhmaninov has disappeared from our horizon, zasev for work. Then it seemed to me inconceivable to make such feat. But it has made it. And it was not the student's composition, and the present creativity.

It not only has received the maximum mark, but has been now decided to execute a fragment from its opera at an examination concert. I was in an orchestral class, and we, rehearsing, not only admired and proud of it, but also were pleased to its courageous harmonies, were ready to see in it the reformer. Safonov, conducting, did not try to put pressure any more upon the author, and followed its instructions. To the author was only nineteen years.

Since then I did not cease to watch for it kompozitorskimi at a walk. I heard, that upon termination of a conservatory it required also veins badly. At the beginning it did not show especial fruitfulness. Probably, any internal spiritual process prevented to work to it. But I knew all, that it has written two plays for a piano and something for a violin. From these two piano plays one was the Prelude cis-moll, become subsequently well-known.

Has passed as early as a year or two, it became known, that Rakhmaninov writes the Trio on death of Tchaikovsky.

Here I would like to evade and stop a little on tragical event in our young conservatoire life — on death of Tchaikovsky. This sudden death of our favourite, our god, was such unexpected, unfair and severe, that all is literally in a conservatory, from director and old professors up to pupils, schoolgirls and children of elementary grades inclusive, cried, as on native.

When soon after funeral the chamber concert of memory of Tchaikovsky has been arranged In the Big hall of Noble assembly, in it the Trio of Tchaikovsky was executed at participation of its close friends: S.Taneeva (grand piano), I.Grzhimali (violin) and A.Brandukova (violoncello).

As executors in sense of ensemble played, I do not remember, and nobody will recollect, but that it was not game, and radenie and that public took part in it, it was visible how all of us trembled in the great mournful excitement. After execution of it the Trio we could not speak, exchange impressions — it was awkward. To us there was something absolutely unusual.

And here when I am a lot of time later has heard, that Rakhmaninov writes the Trio of memory of Tchaikovsky, I knew, that it will be expression of the tragedy gone through by us and that in it Rakhmaninov, worshipped to Tchaikovsky as to a deity, will express completely.

The trio have been written and waited for the executors.

I already spoke about Rakhmaninov's then pride and about its dislike to ask someone to execute its things. The trio have been written, and the huge volume of the manuscript laid at it without movement. Then pianist A.Goldenvejzer, one of Rakhmaninov's first admirers from a conservatoire bench, has asked for it the note for execution of it the Trio in one of the closed concerts of the Moscow art society (on Small Dmitrovka) to which it promised suit a concert. Goldenvejzer has asked me and violinist K.Saradzheva to take part in a concert, and we have started to work above the manuscript. Music has seemed to us difficult, but tremendous sincerity. We long studied this Trio. Happened often, that we stopped, could not play — some tear us dushili.

We have invited Rakhmaninov on one of rehearsals to play with us, to find out rates, nuances and so forth Here we were amazed, that rates of the author did not coincide with ours and that it played either more likely, or is quieter, than music demanded, and its interpretation seem to us more akademichnoj, than we imagined. We felt, that its natural pride forces it to muffle a pain and the sufferings expressed in this composition, and it to us in the beginning was not clear, but then we have deeply and sincerely felt relevancy of its constrained interpretation.

Subsequently I always was amazed to this party rahmaninovskogo executions of the products. That pain and grief which it expressed in the music, it execution as though hid, not wishing to nake before people to a shower. It executed the compositions without an anguish, I would tell even, it avoided nakedness of feelings, and those ðîìàíòè÷åñêè-passionate places with which so its music is full, it as the executor did not emphasize and brought, as the extraneous observer. Similar I did not notice anything at large composers-executors, for example at A.Rubinshtejna or A.Skryabin.

Here in this feature I always learned early, proud and skrytnogo Rakhmaninov.

In connection with a question on interpretation of its own compositions by Rakhmaninov I would like to remind of its first independent performance as the pianist.

Approximately in a year after the termination of a conservatory it for the first time has acted by Rakhmaninov as the soloist at « the Electric exhibition » in Moscow In 1893 with a symphonic orchestra under control of Glavacha with the Concert d-moll Rubinshtejna. I remember, that external aplomb was much, but technically the concert has been played more likely badly. It was felt, that Rakhmaninov has not seized the tool, and I think, as it worked above it a little. Performance was unsuccessful, in particular after then brilliant debuts of young Joseph Levin known to us.

...

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#417603 - 06/20/06 08:34 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
...

As early as more some years. On musical horizon of Moscow there was from abroad young Joseph Hoffmann. Anybody about it did not hear words earlier. Its sensational performances have amazed not only public, but also musicians, in particular pianists. Have started to go on its concerts not only for art pleasure, but also as on a lesson. Its touch, paints, a pedal, all technics became a subject of studying. Our young pianists have changed. Occupy to work and be improved. Not Hoffmann's laurels did not allow them to sleep, and ingenious skill has excited them. Clever and talented Rakhmaninov became hot admirer Hoffmann and, possibly, has much apprehended from it. They became close friends. Hoffmann very much appreciated kompozitorsky Rakhmaninov's talent and liked to execute its products.

As early as more a few years, and Rakhmaninov predstal in front of Moscow in a new kind of the first class pianist, the truth, While acting only with own compositions, but already confident and technically perfect actor. Hoffmann has been forgotten, and Rakhmaninov's concerts became event for public and musicians.

This its new success as the pianist strongly helped also to success of its compositions. It wrote all more and more. Invitations in different cities and trips abroad have begun. We, its comrades under the doctrine as within a youth, continued to watch its each new product. Rakhmaninov for a long time already was the independent master and has become the legislator not only in the field of a composition, but also pianizma, and conducting. Its glory grew and extended, and it all remained a riddle for all us. The greater confidence of and pride did not stir to its usual modesty and simplicity. Deprived usual vanity of composers, it still put on simply, behaved naturally, without vychur, peculiar to celebrities, and was still rectilinear in judgements, conversations and actions. So, when I per 1906 have returned from abroad and have informed Rakhmaninov, that in Paris I acted from it Violonchelnoj as a sonata and that up to that it not only was not known, but as a name of the author there still not in a condition were to say and remember, it on a kind has concerned to it is indifferent.

Rakhmaninov became the composer recognized all over the world and the pianist. It has stated itself(himself) entirely. To its shower have distinguished in Russia, the Europe, Northern and South America, on islands and in colonies.
I am happy, that, being comrade Rakhmaninov on a conservatory, had an opportunity to observe its creative life from the first and up to last steps.

*

The Moscow conservatory of the ninetieth years experienced the period of the prosperity under directorship of Century I.Safonova. Already from the very beginning of its management improvements began to be outlined in some classes. Classes orchestral, chamber and opera were strengthened. Division into pedagogical and masterly rates began to be outlined in piano branch. Hours of obligatory subjects have been increased and the subject matter is established. And improvement of the finance of a conservatory meant more grants for pupils.

We, pupils of a conservatory, thought of these reforms a little, have been betraid to the employment, respected with the teachers, and the some people directly loved (especially we love there was an Ampere-second. Arensky). Outside of walls of a conservatory and our music the world seem to us empty. But we instinctively felt all, that the conservatory does not give all existing in musical art. Still did not study Wagner, did not recognize Musorgsky, did not play Grieg, did not know Brams.

Arrival of foreign actors or conductors was for us a holiday. To us other world of sounds opened.

We got notes of the products which are not studied in a conservatory, greedy got acquainted with them and shared impressions. And if who from us and itself composed, found at comrades the greatest interest.

...

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#417604 - 06/20/06 08:36 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
...

Pupil Alexander Goldenvejzer, the pianist of a class of Pabst, was not satisfied only studied in a conservatory. It was the greater worker and seryoznym the musician. Played for six hours per day, has reached greater successes and was considered as one of the best readers of notes. With greater interest it concerned to those who prepared to kompozitorskoj activity. Gradually around of it the close circle was formed.

I loved Goldenvejzera for modesty and passionate love to music. Brought to it the tool, and we got acquainted with sonatnoj and another violonchelnoj the literature. Then I have led to it of the friend T.Bubeka, and we played music together long hours. Bubek — the German from Stuttgart, all us favourite, studied in a conservatory on a class of body and a composition. Then at Goldenvejzera J.Engel, too the pupil on a class of a composition, and subsequently the musical critic of " Russian sheets » began to happen. In 1895, already after the termination of a conservatory by me, circle Goldenvejzera has considerably increased. Habitues became violinist K.Saradzhev, R.Glier, Pyshnov. We have organized a string quartet with participation Saradzheva (1-st violin), Gliera (2-nd violin), Pyshnova (alto) and me (violoncello). Began to get acquainted with novelties in the field of chamber music, and our evenings have started to involve other young musicians, greedy up to these musical novelties. Has appeared. Sahnovsky — the composer, M. of Elephants — the singer and, at last, S.Rakhmaninov, known to us already on a conservatory as an outstanding talent, still very young, but already with the established reputation of the first class expert and the reader of music.

Almost all novelties beljaevskogo editions at us were executed. When we, kvartetisty, played, others ordinarily sat at a grand piano and closely watched under the partita. Left somehow so, that the center here always was Rakhmaninov. About it sat Goldenvejzer on the one hand, Sahnovsky — with another, and at some distance Engel and Bubek; almost always there and then stood Elephants. When our quartet was mistaken, the retort from listeners moved, and we stopped and began, whence it was specified. Ordinarily these retorts moved Rakhmaninov. When one of executors played incorrectly it did not escape its ear, it during game specified, who was mistaken, and it meant, that that should "be and continue game. When any place of the composition especially was pleasant to our listeners, they stopped us and asked still times to repeat it. So we enjoyed music. After the termination of our playing music converged behind a greater table at a samovar and tea drinking began. At Goldenvejzera there were two sisters, but we did not oblige ourselves in their society secular conversations, and is noisy and hotly discussed executed music, told musical jokes and news.

Leaving, we invariable appointed next evening; in a week again converged and enjoyed music in a friendly atmosphere.

Gradually our favourite Rakhmaninov has become attached to this circle and began to bring manuscripts of the compositions for execution. Sometimes it were piano products, but generally romances. Elephants, the singer possessed a small baritone, very well read at sight and sang its romances, and Rakhmaninov accompanied. Then its friends, Sahnovsky and Goldenvejzer, discussed these compositions, sometimes admired with any modulation, and sometimes specified sharpness of intonations of a voice part. But, in general, we felt large and original talent in Rakhmaninov.

Alongside with our adoration of Tchaikovsky and greater interest to talent Arenskogo, we loved also young Rakhmaninov, kompozitorskoe which talent imposed us the originality and courageous technical receptions. Especially it affected in a rich piano party of its romances.

But it sderzhanno spoke about the kompozitorskih plans. Notwithstanding, That at this time it had been wrote the large composition — the Piano trio, it, however, has not brought it to us. Only under the request Goldenvejzera Rakhmaninov has given it the manuscript.

In our circle once there was a composer of Century Rebikov. It held somehow not in a companionable way, spoke about new ways and, probably, felt not to a court yard in our society. Only once we saw it. But when at JUrgensona its one composition Rakhmaninov not preminul to familiarize with it and once was published, having come in our circle, on memory has started to strum any korotenky a waltz and to admire with it, and then began to play dance tselotonnymi scales.
— No, it is positively good! Listen, as it sounds, — and has again played these whole of tone.

I remember, that Goldenvejzer, Engel and Glier did not divide this interest, and it was not clear, why Rakhmaninov who never could be insincere, paid attention to these trifles.

Rakhmaninov and another time has surprised us, when, somehow having come to Goldenvejzeru after visiting of performance by it L.Andreeva's "Human life", began to strum I.Satsa's music to this performance, to admire with its simplicity and sincerity.

Our circle at Goldenvejzera continued to gather, and Rakhmaninov though was not its accurate visitor, was present, if something was played outstanding.

Once we should execute Glazunov's Quintet with two violoncelloes, last novelty beljaevskogo editions. For a party of the second violoncello the pupil of a conservatory mentioned by I.Sats, the intelligent and nice young man has been invited. In execution kvartetnoj literatures it still was not strong also the party played uncertainly. Glazunov's music was not easy, and to read it costed to us of some efforts, anybody from us would not like to be the originator of a stop. Listeners our, sat led by Rakhmaninov around of the partita, closely watched for kontrapunkticheskim development of music of Glazunov, but then zayorzali on the places. We playing, have felt, that something wrong occurs in our music, but all continued to play. Music suddenly began to sound is empty, and we have understood, that have lost our second violoncellist. All continued to play without it, thinking, that it will find the lost place and will enter into norm, but suddenly we have heard a voice of despair: « Misters, take me with itself! » Here such loud laughter from listeners that there was no opportunity to continue game was distributed. Rakhmaninov especially laughed. When all have calmed down — continued to play the Quintet. Then behind tea discussed this music.

...

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#417605 - 06/20/06 08:38 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
...
In our circle it was known, that Elephants and Sahnovsky have become Rakhmaninov's intimate friends. Elephants to it concerned with any love, and Sahnovsky with fatherlike attention.

Sahnovsky, young, strong addition the person, did not find out big kompozitorskogo talent, but was clever by nature, loved music passionately, knew and understood it and was ready to enjoy her tirelessly. It was the rich person (perhaps, unique among our comrades) and veins in the house with mother for Tver zastavoj, on the Petersburg highway, near to konfetnoj factory Siu. To get to it, it was necessary to go konkoj which went from zastavy. The road to it was dusty, and in the summer all trees stood white from a dust which rose from the highway constructed of fine rubble.

Sahnovsky possessed orchestral partitas of operas of Wagner which it has written out from Germany. Among them there was « Twilight of gods », « Gold of Rhine », "Parsifal", "Zigfrid" and others. They also were a subject of studying of our circle.

Sometimes I came to it with Bubekom, and we found there Rakhmaninov. Played these huge volumes and washed down with beer which at Sahnovskogo there were inexhaustible stocks. Sahnovsky, singing and being amazed with greatness of music of Wagner, did not cease at it so many to eat and drink, what even it was difficult to understand, than more it took a great interest — in music of these partitas or meal.

The interlocutor it was alive and clever. It was visible, that Rakhmaninov loved it, and at it Rakhmaninov managed to study Wagner thoroughly.

But at winter 1896/97 we in Goldenvejzera Rakhmaninov's mug did not see. Something has occured to it, that has forced it to avoid people. It just has coincided in due course executions of its Symphony in Petersburg. We knew, that its execution in beljaevskom a concert is supposed, and our circle expected this event. We trusted in Rakhmaninov's talent and have been convinced, that it at once will win also Petersburg.

What affliction when in some days after a significant concert the Petersburg newspaper of "News" with terrible statyoj Caesar Kjui about Rakhmaninov's Symphony comes was ours. I remember, that Goldenvejzer, Bubek and I some days gloomy and offended went, have precisely suffered heavy personal loss.

We any more did not see Rakhmaninov. We were reached with hearing, that it is depressed, nothing does, lives in misery, and even spoke, that it dangerously was ill and at it the consumption does not begin almost. Bubek time has met it in the street, it has asked, that podelyvaet, whether composes, and that has answered, that it any more the composer. It looked badly, has been poorly dressed also veins in any rooming house.

...

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#417606 - 06/20/06 08:39 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
...
Has passed some years. I have left Moscow and have lodged in Saratov. There already from newspapers and from letters of friends I have learned, that Rakhmaninov has regained consciousness from a morbid depression and has written a remarkable Piano concert, that it personally executes it publicly Also became the bright pianist. I spent summer of 1902 in Kislovodsk where there was also an Ampere-second. Arensky, former teacher Rakhmaninov on a composition. It did not cease to be proud of the pupil, admiring its recently written Violonchelnoj a sonata, and spoke, that this product is a turning point in Rakhmaninov's talent and that now it is possible to wait from it for great things. And soon I had an opportunity to hear this Sonata in A.Ziloti and A.Brandukova's execution.

Rakhmaninov's name in Moscow began to get quickly into greater public, it became a synonym of sincerity and heat in music as in due time there was a name of Tchaikovsky. But Rakhmaninov did nothing for advertising and glorification of and has been still constrained and iskrenen. Its individuality acted on imagination of youth, it ran to look and listen, about it spoke much, of it in calm dreamed, its compositions disturbed young showers.

Since 1907 I have finally lodged in Moscow and have begun to live a full musical life. Played symphonic and chamber concerts, was engaged in solo performing activity and gave lessons. There was at me a schoolgirl on a violoncello, certain Danilov from Sevastopol. It was the original maiden and put on on that time originally. Carried short skirts, polumuzhskie jackets, a tie and cut hair in a boyish way. But, contrary to such manners, at heart was very womanly and kind soul. Talent the present did not possess, but passionately loved music and was interested in all musical events. Despite of the poverty (it to me could not pay for lessons), it did not pass the important concerts and on last savings bought cheap tickets.

To events of day Rakhmaninov's performances with its compositions belonged.

Once it comes to me on a lesson extremely excited. Plays, and something wishes to inform and all worries. I ask, that with it, and it to me tells the following: it spent summer as usual in Sevastopol, at mother; the book of "Bell" Edgara On in Balmont's translation has got to it. This poem has made upon it such impression, that it began to dream of its musical embodiment. But who could write music, if not adored With. Century Rakhmaninov! The Idea, that it should write music to this poem, became its present idée fixe but with anybody share the idea it could not. At last it was solved: has written to unfamiliar Rakhmaninov the letter, not naming itself and not having informed the address, advising prohonour a poem and to write music, including, that only its talent can transfer force of these poetic words. With excitement has sent the letter and, certainly, did not look forward to hearing. Has passed summer, there has come autumn, and Danilov has again arrived to Moscow for employment. Suddenly from newspapers it learns, that Rakhmaninov has written an outstanding oratorio-symphony of "Bell" on E.Po's poem and that it will be soon executed. Danilov it has been prevented with happiness. metalas in the loneliness also did not know what to do with itself. But how it is possible to conceal happiness in general? To whom to tell about it? All its experiences also were unloaded at me at a lesson. It all is frank to me has told.

I have been amazed! Our constrained and completely not sentimental comrade, Rakhmaninov, was capable to be inspired by another's advice and to create the best thing!

I have kept secret of my schoolgirl to Rakhmaninov's death. And now I open it, as the old woman history should know everything to tell to the future generation about the facts of a life of our great people.

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#417607 - 06/20/06 08:41 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417608 - 06/20/06 08:42 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417609 - 06/20/06 08:43 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417610 - 06/20/06 08:44 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417611 - 06/20/06 08:44 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417612 - 06/20/06 08:45 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
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Loc: Alexandria, Egypt
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#417613 - 06/20/06 08:46 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417614 - 06/20/06 08:47 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
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#417615 - 06/20/06 08:49 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
I.A.Bunin
With. Century Rakhmaninov

At my first meeting with it in Yalta There was between us something similar to volume that happened only in romantic years of a youth of Herzen, Turgeneva when people could spend the whole nights in conversations about fine, eternal, about high art.

Subsequently, before its last departure to America, there were we it from time till time very friendly, But all not how in that meeting when, having spoken nearly all the night long on seacoast, it has embraced me and has told: « we Shall be friends for ever! »

Our life, destiny all were very various separated us, our meetings were always sluchajny, are short more often, and was, it seems to me, in general greater restraint in character of my high friend.

And that night we were still young, far from restraint, somehow have suddenly approached nearly from the first words which have exchanged in the big society which has gathered, any more I do not remember why, for a cheerful supper in the best Yalta hotel " Russia ". We at supper sat next, drank champagne abrau-ñ¯Óß«, then send on a terrace, continuing conversation on that falling prose and poetry that was made at that time in the Russian literature, have imperceptibly gone down in a court yard of hotel, then on quay, send away on a pier, — was already late, anywhere was not not a soul, — have sat down on any ropes, breathing their tar smell and that any absolutely special freshness that is inherent only in the Black Sea water, and spoke, spoke all hot and is more joyful already about that wonderful, that was recollected to us from Pushkin, Lermontov, Tyutchev, Fet, Maykov …

Here it vzvolnovanno, slowly began to read Maykov's that poem on which it, maybe, has already written then or only dreamed to write music:

I in a grotto waited for you at fixed o'clock.
But day has grown gim: the chapter swinging sleepy,
Poplars have fallen asleep, have stopped galtsiony:
Vainly!.. Month has risen, srebrilsja and has died away;
Night thinned; mistress Kefala,
oblokotjas on rdjanye vrata
Mladogo day, from kos the dropped
Golden grains of pearls and disgrace
On dark blue valleys and woods …

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#417616 - 06/20/06 08:49 AM Re: Rachmaninoff - memoirs
Bassio Offline
2000 Post Club Member

Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
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#417617 - 06/20/06 08:52 AM Re: Rachmaninoff - memoirs
Bassio Offline
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Registered: 08/24/03
Posts: 2480
Loc: Alexandria, Egypt
E.R.Vinter-Rozhanskaja
From memoirs

For the first time I have seen Rakhmaninov in 1897 behind a conductor's stand in Russian private opera, Which has based Savva Ivanovich Mammoths. I managed to visit Moscow on a christmas vacation. I was free the whole month and consequently went on rehearsal of the operas going under control of Rakhmaninov.
The orchestra of Russian private opera was not so big, but sounded perfectly and obeyed a conductor's baton not for fear, and for conscience. Musicians have grown fond of Rakhmaninov. I about it from two musicians of an orchestra — have learned violinist Veis and violoncellist Pfejfera. In the beginning of the work at theatre Rakhmaninov conducted an opera « Samson and Dalila ». Dalilu sang T.S.Ljubatovich, Samsona — And. Century sekar-Ó«ªá¡ß¬¿®, priest — N.A.Shevelev. Savva Ivanovich has conceived to give party Dalily to the young beginning singer of M. D.Chernenko. Specially for it rehearsals were appointed. It was poorly musical, but very plastic. It also has affected decision Mamontova to give it so difficult party on music. Sergey Vasilevich was engaged with it separately, but as it was expressed, « with small success ». Sergey Vasilevich always very constrained, on one of rehearsals when CHernenko sang very false, has thrown a stick and has escaped from an orchestra. It has declared managements what to conduct an opera « Samson and Dalila » at participation CHernenko will not be. Savva Ivanovich stood on the . It was necessary to suffer with it, and eventually it sang Dalilu. But attitudes between Rakhmaninov and Mamontovym for some time became tense. I have got acquainted more close with Sergey Vasilevichem Rakhmaninov in 1898 in Putjatine, a manor of my aunt T.S.Ljubatovich.

Under the contract with S.I.Mamontovym Sergey Vasilevich should prepare Musorgsky's opera "Boris Godunov" for statement. The structure of its executors all was available in Putjatine.

Sergey Vasilevich and pianist A.I.Strahova accompanied and passed with all actors of a party. Director Savva Ivanovich came and arranged the general practises and rehearsals. K.A.Korovin wrote sketches of scenery. Work boiled.

Sergey Vasilevich of all surprised us then with the system and accuracy, fascinated seryoznym the attitude and a great interest in business. It was tireless, Century I.Strahovoj, Century of Item Antonovoj, I.Inozemtsevym's Item and others had time to be engaged with actors F.I.Shalyapin. During the same period of time it worked above the composition of the Second piano concert op. 18 and is constant about two hours per day was engaged on a grand piano. Besides it still gave Shalyapin lessons of the theory, harmony and history of music. Young, full of a life, cheerful Sergey Vasilevich was in time with me behind mushrooms to go (we) and with Century I.Strahovoj to talk long in a garden or behind a grand piano. In the evenings, in case of a rain, played cards, in preference: Feodor Ivanovich, Sergey Vasilevich, A.I.Strahova and I — game experts on this business my mum or the aunt « seryoznoj pulkoj », as he said, were in such structure referred to at us « young pulkoj », if participated.

In good, nice evenings walked all in a garden, and Sergey Vasilevich often sat down a grand piano and played Tchaikovsky or the compositions. It was for all us a holiday …
We took seat under windows halls where there was a grand piano, listened, having concealed breath, and asked, begged encore. Music could proceed till the morning — the musician-creator was tireless what to speak about listeners.

Sergey Vasilevich, very witty, sometimes angrily bantered at some of present, more often above Shalyapin. Sergey Vasilevich derided it almost behind each dinner as the idler, doing not wish to learn lessons, to it set. Feodor Ivanovich all over again laughed the matter off, and then has outright become angry. But podtrunivanija Rakhmaninov have had the an effect. Having comprehended as are necessary for the actor-artist of data under the theory of music, Feodor Ivanovich began to prepare for lessons, and they passed all conservatoire rate of theoretical disciplines. Time was a little. It began to rise before though and very much liked to have a sleep.

And Rakhmaninov bantered at youth.
In the spring of 1898 I have terminated eight classes of a grammar school, have received a rank of " the house teacher », and for all associates and friends remained — alas! — by the same Cherish. Sergey Vasilevich the first has started to address with me, as with adult, naming me Elenoj Rudolfovnoj, saying my name through two "e"; certainly, in it there was a comic hyphen which I sometimes in addition did not understand.

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