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Tag: “Portrait Of The Composer Sergei Rachmaninov” – Konstantin Somov

November / Month of the Sonata – 12

Portrait of the composer Sergei Rachmaninov, 1925 - Konstantin Somov

      Portrait of the Composer Sergei Rachmaninov (1925) 

 

              Konstantin Somov

 

                     __________

      

 

Rachmaninov, late Romantic, early

Impressionist, yanked, despite his 

modern bent, Romanticism, solidly,

into the Twentieth Century, we 

heard him in movies, and 

consequently on TV, back then, on 

long-play albums, 78s at the time, 

that were flooding the market, first 

movement on the one side, the next 

two on the other, that’s how we used 

to listen

 

later, we’d hear Sergeant Pepper’s 

Lonely Heart’s Club Band doing the 

same, in the late ’60s, before discs

 

Rachmaninov doesn’t sound like 

Chopin, Beethoven, Schubert, but

you can hear their roots, their blood 

running through his compositions

 

but here, in his Piano Sonata no. 2,

Opus 36, he elaborates, a sure sign

of Impressionism, intellectual rather

than emotional appeal, something 

had become tiresome after half a

century of Romantic dramatization,

how many Anna Karenina‘s can you 

take

 

the culture was returning to objective,

rather than emotional, Charles Dickens,

Victor Hugo, and the like, bleeding-heart,

considerations, and seeking out more 

rational answers to our psychological

stresses, consequently Freud, music

had to keep up

 

later, I’ll tell you a story about how 

music changes the world

 

meanwhile, here’s Rachmaninov’s

Piano Sonata no 2

 

enjoy

 

R ! chard

how to listen to music if you don’t know your Beethoven from your Bach, XVIII – Rachmaninov

Portrait of the composer Sergei Rachmaninov, 1925 - Konstantin Somov

 

     Portrait of the composer Sergei Rachmaninov

 

                   Konstantin Somov

 

                                ______

 

though you probably still wouldn’t be able

to tell a prelude from a hole in the wall, 

nor, admittedly, can I, unless indicated,

if you’ve listened to the pieces I’ve

recently presented, you’ve noted, even 

merely sensed, really, that the preludes 

of one composer don’t sound at all like

those of the others, Bach doesn’t sound 

like Chopin, who doesn’t sound at all   

like Debussy, the first step in telling  

your Beethoven from your Bach, as 

promised in my title

 

you might not even be able to tell which  

is which as you’re listening, but you can

tell they’re different, you do the same 

thing telling your Monet from your 

Renoir

 

Rachmaninov also wrote, like Chopin, 

and Debussy, 24 preludes, and, like 

Chopin, in every key, major and minor

 

but spread out through three publications, 

Opus 3, no. 2from 1892, comprising of 

only one prelude, but a scorcher, The 

Bells of Moscow, listen

a second set, Opus 23, consists of ten, 

mostly iconic, pieces, you’ve heard 

them somewhere before, therefore 

iconic

 

the final set comes out in 1910, 

Opus 32with thirteen preludes,

for a total of 24

 

you’ll marvel, even Marilyn Monroe 

famously did

 

enjoy 

 

 

R ! chard 

“Rhapsody on a Theme of Paganini” – Rachmaninov‏

portrait-of-the-composer-sergei-rachmaninov-1925.jpg!Large

 
                                      Konstantin Somov
 
                                              _________
 
 
no one plays Rachmaninov better than
Rachmaninov, of which we’ve got aural
representations though no visual live
performances
 
but here’s a Rhapsody on a Theme of 
Paganini to knock your socks off, in 
all its kinetic, electrifying energy
 
you might remember Daniil Trifonov
from my coverage of the XVth 
who has gone on to achieve a 
stunning international reputation, 
entirely, I submit, deservedly
 
watch him set the piece on fire, at 
pace I find faster than most, with 
nevertheless all the requisite 
dexterity, indeed prestidigitation,  
necessary to weave the intricacies 
of Rachmaninovian sound into 
apposite magic, that magic 
Rachmaninov would surely ‘ve 
looked for
 
check them both out
 
 
Richard