Sergei Rachmaninov


Born: Apr 1, 1873; Russia   Died: Mar 28, 1943; USA   Period: 20th Century
Sergei Vasilyevich Rachmaninov, born in Semyonovo, Russia, on April 1, 1873, is today remembered as one of the most formidable pianists of all time and the last truly great composer in the Russian Romantic tradition. Rachmaninov came from a music-loving, land-owning family; young Sergey's mother fostered the boy's innate talent by giving him his first piano lessons. After a decline in the family fortunes, the Rachmaninovs moved to St. Petersburg, Read more where Sergei studied with Vladimir Delyansky at the Conservatory. As his star continued to rise, Sergei went to the Moscow Conservatory, where he received a sound musical training: piano lessons from the strict disciplinarian Nikolay Zverev and Alexander Siloti (Rachmaninov's cousin), counterpoint with Taneyev, and harmony with Arensky. During his time at the Conservatory, Rachmaninov boarded with Zverev, whose weekly musical Sundays provided the young musician the valuable opportunity to make important contacts and to hear a wide variety of music.
As Rachmaninov's conservatory studies continued, his burgeoning talent came into full flower; he received the personal encouragement of Tchaikovsky, and, a year after earning a degree in piano, took the Conservatory's gold medal in composition for his opera Aleko (1892). Early setbacks in his compositional career -- particularly, the dismal reception of his Symphony No. 1 (1895) -- led to an extended period of depression and self-doubt, which he overcame with the aid of hypnosis. With the resounding success of his Piano Concerto No. 2 (1900-1901), however, his lasting fame as a composer was assured. The first decade of the twentieth century proved a productive and happy one for Rachmaninov, who during that time produced such masterpieces as the Symphony No. 2 (1907), the tone poem Isle of the Dead (1907), and the Piano Concerto No. 3 (1909). On May 12, 1902, the composer married his cousin, Natalya Satina.
By the end of the decade, Rachmaninov had embarked on his first American tour, which cemented his fame and popularity in the United States. He continued to make his home in Russia but left permanently following the Revolution in 1917; he thereafter lived in Switzerland and the United States between extensive European and American tours. While his tours included conducting engagements (he was twice offered, and twice refused, leadership of the Boston Symphony Orchestra), it was his astounding pianistic abilities which won him his greatest glory. Rachmaninov was possessed of a keyboard technique marked by precision, clarity, and a singular legato sense. Indeed, the pianist's hands became the stuff of legend. He had an enormous span -- he could, with his left hand, play the chord C-E flat-G-C-G -- and his playing had a characteristic power, which pianists have described as "cosmic" and "overwhelming." He is, for example, credited with the uncanny ability to discern, and articulate profound, mysterious movements in a musical composition which usually remain undetected by the superficial perception of rhythmic structures.
Fortunately for posterity, Rachmaninov recorded much of his own music, including the four piano concerti and what is perhaps his most beloved work, the Rhapsody on a Theme of Paganini (1934). He became an American citizen a few weeks before his death in Beverly Hills, CA, on March 28, 1943. Read less
Rachmaninov: Piano Concertos, Etc;  Tchaikovsky /Rudy, Et Al
Release Date: 04/11/2000   Label: Emi Classics  
Catalog: 73765   Number of Discs: 3
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Prokofiev: Piano Concerto No 3; Rachmaninov: Rhapsody / Byron Janis
Release Date: 01/24/2006   Label: Emi Classics  
Catalog: 10199   Number of Discs: 1
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Rachmaninov: Music For Two Pianos / Martha Argerich
Release Date: 01/13/2015   Label: Warner Classics  
Catalog: 623594   Number of Discs: 2
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Rachmaninov: Liturgy Of St. John's Chrysostom / Cleobury
Release Date: 05/04/2004   Label: Emi Classics  
Catalog: 57677   Number of Discs: 1
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Rachmaninov: Rhapsody On A Theme / Jean Philippe Collard
Release Date: 10/20/2009   Label: Emi Classics  
Catalog: 97170   Number of Discs: 2
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Work: Rhapsody on a theme of Paganini, Op. 43


About This Work
The last of Paganini's 24 Caprices for violin has been the subject of many sets of variations, including the composer's own set of 12, Brahms' brilliant Paganini Variations for piano, those by twentieth century composers Lutoslawski, Blacher, Read more Lloyd-Webber, and others. But the best-known off-shoot of this Caprice is Rachmaninov's Rhapsody on a Theme of Paganini, not least because one of its variations -- the 18th -- has become more famous than the Paganini tune it is based on.

The Rhapsody was one of Rachmaninov's last compositions; however, it has little in common with the handful of works from the composer's last two decades. The Corelli Variations (1931), for piano, and the Piano Concerto No. 4 (1926; rev. 1941) display a colder, more modernistic Rachmaninov, while the Rhapsody harkens back to the passionate, post-Romantic world of the 1909 Third Piano Concerto. Also unusual is that, while the composer's output was paltry in his later years, this piece was finished in a mere month and a half, from July 3 to August 18, 1934.

With three discernible sections, the Rhapsody on a Theme of Paganini resembles the fast-slow-fast movement structure of a piano concerto. Variations 11 through 18 serve as the slow movement, with the preceding and following groups representing the outer movements.

The work opens with an introduction that contains elements of Paganini's melody. There follows the first variation which states the theme, largely in the strings, the piano playing just single notes from the melodic line. The piano takes over in the next variation and shares the spotlight with the orchestra in numbers three through five, all of which are lively and light in mood. With the sixth variation, the tempo slows but the piano remains playful. The seventh brings on a drastic change, introducing what has become a trademark of Rachmaninov's major compositions: the Dies Irae theme, from the Roman Catholic Mass for the Dead; it appears in the next three variations as well. Some have suggested that this allusion to the biblical "day of wrath," while a feature of many of the composer's works, was here also a nod to the nineteenth century legend that the transcendentally gifted Paganini had bargained his soul to the Devil in exchange for his talents.

The 11th variation, as mentioned above, is the beginning of what serves as a slow movement; here the music is ethereal and subdued, remaining so until the fiery 13th, which is then gives way to a pair of more brilliant variations. The lively 15th variation is followed by a markedly subdued 16th and 17th in order to prepare for the climactic 18th, which offers one of the composer's most memorable themes; Rachmaninov surely could have used it in another work without the least suspicion of its relationship to Paganini.

The final "movement" begins with the 19th variation, which is somewhat academic-sounding. The next variations offer more color, though darker elements begin creeping in again with No. 22, which builds up to its finish in a way not unlike the finales of the Second Symphony and Third Piano Concerto. The next variation recalls parts of the Paganini theme closely and leads to the dramatic conclusion -- a powerful and ominous, if glitzy, restatement of the Dies Irae theme by the piano and orchestra.

A typical performance of the Rhapsody lasts about 25 minutes. Rachmaninov premiered it on November 7, 1934, in Baltimore, with Leopold Stokowski conducting.

 -- Robert Cummings Read less

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