S. Rachmaninov "Musical moments": history, video, content, interesting facts

Sergey Rachmaninov "Musical moments"

“Musical moments” of Rakhmaninov is a piano cycle, which is closely linked with a single musical and dramatic development of the image (from tragedy to a life-affirming beginning). The general mood of the cycle, as well as the musical images presented in it, anticipated the works of the composer’s later period, being a kind of creative laboratory. Created in his youth, "Musical moments" were combined with all facets of the creative activity of Sergei Vasilyevich Rakhmaninov.

The history of "Musical moments" by Sergei Rakhmaninov, the content of the work and many interesting facts read on our page.

The history of the creation of "Musical moments"

"Musical moments" Rachmaninov wrote literally in a few months, at the end of 1896, after a tour of the cities of Russia and Poland. In one of his letters to the Russian and Soviet musician-ethnographer, composer Alexander Zatayevich, Sergey Vasilyevich admitted that such a rush was forced, as some monetary difficulties arose, which biographers confirm. Despite the success and fame in wide circles, at that time Rachmaninov’s financial situation was uncertain. The concerts were rather random, therefore, since the fall of 1984, the composer began to teach music theory at the Mariinsky Women's College.

In the fall of 1896, Rachmaninoff worked on another cycle - a collection of 12 romances to poems by various Russian poets, who also graduated successfully. However, unlike “Musical moments”, love lyrics prevail in the vocal collection. “Musical moments” of Rachmaninov includes six different piano pieces, which are united by one common idea - from tragedy to light.

Unlike other earlier piano miniatures created by the maestro, “Musical Moments” are not endowed with programmatic titles, but they contain genre origins — barcarole, march, elegy, and anthem.

The plays were published in 1897 by the publishing house of Peter Jurgenson.

Interesting Facts

• "Musical moment" is a small piano piece, which in its structure is close to impromptu. She has an improvisational warehouse, lyricism and spontaneity. The name "Musical moment" was coined by the publisher M. Leidesdorf.
• In the autumn of 1896, Rachmaninoff worked on another cycle - a collection of 12 romances to poems by various Russian poets. However, unlike “Musical moments”, love lyrics prevail in the vocal collection.
• The composer dedicated his cycle of piano miniatures to A. Zatayevich.
• In some of the plays, Rachmaninov used previously written material. For example, the basis of the “Fourth Musical Moment” was laid by Fugue in D minor. Sergey Vasilyevich wrote it while still a student at the Moscow Conservatory in the classroom on the counterpoint to A. Arensky.
• It is noticeable from the manuscripts that the composer provided for the performance of miniatures in four hands, and for odd pieces, with the addition of stringed instrument (violins, cello).
• In addition to Rachmaninov, the cycle of piano pieces, called "Musical moments", also wrote Franz Schubert. It was the Austrian composer who discovered this genre to the public in the 30s-40s of the 19th century. Subsequently, "Musical Moments" composed Moritz Moszkowski, three plays were included in his cycle.
• The composer admitted that the creation of works for piano (miniatures) is given to him more difficult than symphonic, since the thematic idea itself must be presented concisely, without any digressions.
• Over time, the cycle of miniatures entered the repertoire of many famous performers: John Lill, Lazar Berman, Nikolai Lugansky and others.

Content of "Musical Moments"

The cycle is built in such a way that mobile and dynamic miniatures alternate with more restrained, smooth and slow. It is noteworthy that the composer wrote the first four plays in minor keys, of which the third and the fourth are the most dramatic. However, the cycle ends with major, life-affirming intonations.

Three pieces, united by a mobile character, are imbued with a single dynamic beginning, and also very similar to each other in the manner of presentation. Moreover, many researchers note that it was in these active numbers that the typical Rachmaninov style was fully manifested. The second, fourth and sixth plays are united by the rapid movement of passages and are full of some volitional energy. However, it cannot be said that they are absolutely similar. Rachmaninov each of these plays endowed with purely individual features, with a seeming commonality.

"The Musical Moment in E Flat Minor" (Second), full of quivering second intonations that convey anxiety and great confusion. Piece in E Minor (Fourth) - endowed with courageous, strong-willed character. The rhythm in it is particularly emphasized, and intonation rapidly soars upward, giving the product rebelliousness and mental anxiety. Such dynamic miniatures full of energy, the composer alternates with softer, lyric numbers.

"The Musical Moment in B Flat Minor" (First) opens the line of elegiac plays. The musical material of this miniature resembles distantly the Elegy in E flat minor, but it sounds even more calm and soft. Researchers of Rachmaninov's work find common features of this Musical moment with lyrical works. Tchaikovsky. However, the techniques of melodic development, as well as the emotional background in it relate to the typically Rahmaninov ones.

"Musical moment in B minor" (Third) endowed with a mournful, focused mood. The texture is intermittent, with private pauses and sighs, in which the hidden smooth rhythm (marching) is felt. He fully reveals himself in the reprise of the play, where it is reinforced by octave turns. Researchers Rachmaninoff believe that this "Musical moment" he wrote under the impression of the death of his close friend.

Contrast contributes "The Musical Moment in D Flat Major" (Fifth). It unexpectedly appears a new genre - barcarol. The bright and clear play is distinguished by its full sound, richness of colors with a rather restrained presentation. Thus, the lyrical and very gentle main melody is set out against the background of a soft, wavering accompaniment, conveying the feeling of "frozen silence." At the same time, Rachmaninov uses the unchanged ostinate figure and sedentary harmonic language (special attention is paid to tonic). At the same time, the composer sates the texture of the play with hidden polyphony, filling it with "inner life".

Among all the piano works of the early period "Musical moments"occupy a special place. The composer in these plays is already looking for and acquires his own range of images, the original Rachmanin's style. Without ignoring the generally accepted genre forms, Sergei Vasilyevich Rahmaninov treats them very freely, filling them with a special individuality.