Came on the stage a little baby, with short hands, a very cute braid hair, she started to play. Impossible to understand how such little girl could have such high level of musical spirit. We had impression to hear the Martha Argerich of Chopin Competition. Wonderful sonorities, fireful energy, sure one of the biggest promise of this century.
Elisha Wolf
Such a powerful and lightful sound, I never heard by a woman pianist. When she began playing Second Sonata by the known Russian Composer, the audience was in a status of adrenaline shock. This woman brought the Truth about Rachmaninoff in Brazil…
-Jornal do Brasil
Came on the stage a little baby, with short hands, a very cute braid hair, she started to play. Impossible to understand how such little girl could have such high level of musical spirit. We had impression to hear the Martha Argerich of Chopin Competition. Wonderful sonorities, fireful energy, sure one of the biggest promise of this century.
-Wiesbadener Kurier
Among the pianists who appeared recently on a concert stage, the name of pianist Elisha Wolf occupies a special place.
Elisha was born in 1995 in Tver, Russia and showed a musical talent in a very early age. When she was 5 years old , Elisha began her professional musical training first at the Mussorgsky Music School in Tver, and then, shortly, continued at Gnessin Music Academy in Moscow, in the studio of the legendary Tatiana Zelikman. At the age of 16, as young artist she was invited to continue her studies at the Academy of Music in Tel Aviv under the guidance of Prof. Arie Vardi. She completed her studies in “Incontri col Maestro” Piano Academy in Imola with Maestro Boris Petrushansky.
At the age of 9 she performed a series of concerts during her tour in Netherlands, Poland and Germany and ever since continues to hold a life of a concert pianist. Among the festivals that the artist collaborates with, are such distinguished as Rheingau Music Festival, Clavier Piano Cologne, Malta International Music Festival and others. She performed concerts in Moscow Conservatory, Gnessin Academy, St. Petersburg House of Music, in the Great hall of the Academy in Tel Aviv.
Among the competition achievements of the pianist First prizes at “Sidelnikov International Piano competition”, Maria Yudina International piano competition, Safonov International Piano competition among others.
In different years Elisha was awarded with scholarships of the Foundation of President of Russian Federation, Foundation of Ministry of Culture, Krainev Foundation for Gifted Children etc.
In 2018, at the age of 22, Elisha has been invited by Minister of Culture of Brazil, Miguel Proença, to get a challenge consisting of learning in 5 months the Integral piano works by Sergej Rachmaninoff. She got it performing the whole repertoire in 5 subsequently recitals at the prestigious Cecilia Meireles Hall in Rio de Janeiro.
Recently, she recorded her CD/DVD Debut with the emergent record label “Le Salon de la Musique”, publishing a worldwide première: Complete Piano Works by Sergej Rachmaninoff in Video.
Elisha Wolf also masters her skills during master-classes of such well-known teachers as Dmitry Bashkirov, Lev Natochenny, Galina Eghiazarova, Pavel Gililov , Felix Gotlib, Denis Losev.
-
Sergej Rachmaninov Morceaux de fantaisie Op. 3 Elisha Wolf
Sergej Rachmaninov Morceaux de fantaisie Op. 3 Elisha Wolf
- “𝐈 𝐰𝐨𝐮𝐥𝐝 𝐥𝐢𝐤𝐞 𝐭𝐨 𝐬𝐢𝐧𝐠 𝐭𝐡𝐞 𝐭𝐡𝐞𝐦𝐞 𝐨𝐧 𝐭𝐡𝐞 𝐩𝐢𝐚𝐧𝐨 𝐭𝐡𝐞 𝐰𝐚𝐲 𝐚 𝐬𝐢𝐧𝐠𝐞𝐫 𝐰𝐨𝐮𝐥𝐝 𝐬𝐢𝐧𝐠 𝐢𝐭. ” -
Morceaux de fantaisie written in 1892 is dedicated to A. S. Arensky.
The cycle notes a combination of the personality of the Rachmaninoff language and a connection with its predecessors. In Elegy there are features of Chopin’s melody, Schubert’s song; Liszt’s sarcasm and grotesque are in the Polichinelle.
The cycle includes five pieces : Elegy, Prelude, Melody, Polichinelle , Serenade.
Prelude (C sharp minor) remains the most famous play, which has become a kind of symbol of the composer's art. The composer spoke of her in an interview in 1910: “... I tried to draw attention to the initial topic. These three notes in the form of an octave unison should sound solemn and menacing .... A three-tone motif runs through 12 measures of the first section, and in contrast to it, a contrasting melody in chord follows in both keys. There are two melodically opposing elements, the purpose of which is to capture the attention of the audience. The essence of the main theme is a massive foundation; the contrast becomes a harmonized melody; its function is to dispel darkness. ”
The composer's idea, embodied in real sounds, exceeded all his expectations: Prelude became one of the most striking works of world musical culture.
Versions:
Rachmaninoff played these works until the end of his life. He recorded all 5 pieces for Ampico piano roles in 1919, 1923 (Serenade) and 1928 (Elegie); also for shellac record (RCA Victor); three times the Prélude (1919, 1921, 1928) , the Serenade twice (1922 and 1936), the Polichinelle in 1923 and the melody in 1940. A version of the melody and the serenade was reprinted in 1940, the melody being revised more than the serenade. There are elements of this revision in his 1923 role recording of the Serenade, but also changes to the original version, which are solved differently in the 1940 print version. In contrast, the melody in the role recording is largely the original version from 1893. The electrical recordings from 1936 and 1940 largely correspond to the printed version from 1940.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Sergej Rachmaninov Morceaux de salon op. 10 Elisha Wolf
Sergej Rachmaninov Morceaux de salon op. 10 Elisha Wolf
A series of seven piano pieces op. 10 (1893-1894) as a whole is inferior to the previous cycle - "Morceaux de fantaisie", Op. 3 - according to originality and richness of music. The name “Morceaux de salon” given by the composer indicates that he intended them to a greater extent for home music production than for performance from a concert stage. Among them, there are quite ordinary and low-independent samples, in which the individual principle is weakly expressed. Such, for example, “Nocturne” and “Romance”, with their sensitively painted lowly melodiousness, reminiscent of a similar type of piano pieces by Tchaikovsky. The seal of the external salon shine lies on Waltz and Mazurka from the same opus, related to the dance pieces of A. Rubinstein.
However, among the plays op. 10 there are bright, expressive, marked by the originality of the author's style. Such are the poetic “Barkarola”, imbued with a quiet lyrically dreamy mood, or “Humoresque”, with its severe harmonic color, rhythmic sharpness and energy, typically Rachmaninov’s formidable dynamic growths (Humoreska, like Melody and Serenade, was reworked by the author in 1940. At the same time, Raсhmaninov introduced corrections of not only texture but also harmonic order, giving some harmonic revolutions greater acuteness of sound.). Attractive melancholic in tone Melody e-moll, characterized by the freshness of melodic and harmonic turns. Like Serenade from op. 3 (with which it bears a certain resemblance in terms of the general mood of music), this play evokes associations with some episodes of Aleko, which is facilitated, in particular, by the repeated appearance of “Rachmaninov’s harmony”.
Unfortunately, most of the notes suffered during the fire. Relatively surviving works are :
Op. 10 No. 2. Waltz (in A Major)
Op. 10 No. 3. Barcarole (G minor)
Op. 10 No. 5. Humoresque (G Major)
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Sergej Rachmaninov Six Moments Musicaux Op. 16 Elisha Wolf
Sergej Rachmaninov Six Moments Musicaux Op. 16 Elisha Wolf
''𝐌𝐮𝐬𝐢𝐜 𝐦𝐮𝐬𝐭 𝐟𝐢𝐫𝐬𝐭 𝐨𝐟 𝐚𝐥𝐥 𝐛𝐞 𝐥𝐨𝐯𝐞𝐝; 𝐬𝐡𝐨𝐮𝐥𝐝 𝐠𝐨 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐡𝐞𝐚𝐫𝐭 𝐚𝐧𝐝 𝐛𝐞 𝐭𝐮𝐫𝐧𝐞𝐝 𝐭𝐨 𝐭𝐡𝐞 𝐡𝐞𝐚𝐫𝐭. 𝐎𝐭𝐡𝐞𝐫𝐰𝐢𝐬𝐞, 𝐦𝐮𝐬𝐢𝐜 𝐦𝐮𝐬𝐭 𝐛𝐞 𝐝𝐞𝐩𝐫𝐢𝐯𝐞𝐝 𝐨𝐟 𝐭𝐡𝐞 𝐡𝐨𝐩𝐞 𝐨𝐟 𝐛𝐞𝐢𝐧𝐠 𝐚𝐧 𝐞𝐭𝐞𝐫𝐧𝐚𝐥 𝐚𝐧𝐝 𝐢𝐦𝐩𝐞𝐫𝐢𝐬𝐡𝐚𝐛𝐥𝐞 𝐚𝐫𝐭. '' - Rachmaninoff.
... from tragedy to light ...
He wrote “Musical Moments” in just 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 Zataevich, Sergey Vasilyevich admitted that such a rush was forced, as some financial difficulties arose, as confirmed by biographers. Despite the success and fame in wide circles, at that time the financial situation of Rachmaninov was uncertain. Concerts were rather random in nature. In the fall of 1896, Rachmaninoff worked on another cycle - a collection of 12 romances to verses of various Russian poets, which he also successfully completed. However, unlike “Musical moments”, love lyrics prevail in the vocal collection. Rachmaninoff's “Musical Moments” includes six different piano pieces, which are united by one common idea - from tragedy to light.
8 Interesting Facts:
📍 “Musical moment” is a small piano piece, which in its structure is close to impromptu. She is characterized by an improvisational warehouse, lyricism and spontaneity.
📍The name “Musical moment” was coined by the publisher M. Leidesdorf.
📍 In the fall of 1896, Rachmaninoff worked on another cycle - a collection of 12 romances to verses of various Russian poets. However, unlike “Musical moments”, love lyrics prevail in the vocal collection.
📍 The composer dedicated his cycle of piano miniatures to A. Zataevich.
📍 In some plays, Rachmaninoff used previously composed material. For example, the “Fourth Musical Moment” was based on Fugue in D minor. Her Sergei Vasilievich wrote while still a student at the Moscow Conservatory in the class on counterpoint at A. Arensky.
📍 From the manuscripts, it is noticeable that the composer provided for the performance of miniatures in four hands, and for odd pieces with the addition of a string instrument (violin, cello).
📍 In addition to Rachmaninov, a series of piano pieces called “Musical Moments” was also written by Franz Schubert. It was the Austrian composer who opened this genre to the public in the 30-40s of the XIX century. Subsequently, “Musical Moments” was composed by Moritz Moszkowski, three plays were included in his cycle.
📍 The composer admitted that the creation of works for piano (miniatures) is more difficult for him than symphonic ones, since the thematic idea itself should be presented concisely, without any derogations.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Sergej Rachmaninov Variations on a Theme of Chopin op.22 Elisha Wolf
Sergej Rachmaninov Variations on a Theme of Chopin op.22 Elisha Wolf
"...𝐂𝐡𝐨𝐩𝐢𝐧! 𝐅𝐫𝐨𝐦 𝐭𝐡𝐞 𝐭𝐢𝐦𝐞 𝐈 𝐰𝐚𝐬 𝟏𝟗 𝐲𝐞𝐚𝐫𝐬 𝐨𝐥𝐝, 𝐈 𝐡𝐚𝐯𝐞 𝐟𝐞𝐥𝐭 𝐡𝐢𝐬 𝐠𝐫𝐞𝐚𝐭𝐧𝐞𝐬𝐬 𝐚𝐧𝐝 𝐬𝐭𝐢𝐥𝐥 𝐚𝐝𝐦𝐢𝐫𝐞 𝐡𝐢𝐦. 𝐓𝐨𝐝𝐚𝐲 𝐢𝐭 𝐢𝐬 𝐦𝐨𝐫𝐞 𝐦𝐨𝐝𝐞𝐫𝐧 𝐭𝐡𝐚𝐧 𝐦𝐚𝐧𝐲 𝐦𝐨𝐝𝐞𝐫𝐧 𝐨𝐧𝐞𝐬. 𝐈𝐭𝐬 𝐢𝐧𝐜𝐫𝐞𝐝𝐢𝐛𝐥𝐞 𝐭𝐡𝐚𝐭 𝐢𝐭 𝐫𝐞𝐦𝐚𝐢𝐧𝐬 𝐬𝐨 𝐦𝐨𝐝𝐞𝐫𝐧...." from an interview with TheEtude magazine , in April 1932.
Variations op. 22 consist of Chopin's Theme of Prelude and 22 variations. In general, the composition of the cycle can be divided into three parts. The first part includes the first 10 variations united by a single key (c-moll), where all the variations follow each other without a break. In the second part, we include the following eight variations (XI – XVIII). The final, final part is the last four variations (XIX – XXII), in which all are major and one minor.
The dramatic development of this variation cycle is directed from "darkness to light", which can be allegorically expressed in the following words: the path of the human soul through suffering and death to purification and enlightenment. It is no coincidence that Rachmaninov turned to the c-moll prelude by Chopin op. 28 No. 20. The following possible reasons can be suggested - both external and internal. We consider external reasons: firstly, the tradition of the composers of Russia and their particular passion for Chopin’s music. Secondly, the genre of romantic piano miniatures and, in particular, preludes was close to Rachmaninov. And finally, Chopin, like Rachmaninoff, “combined” performing and composing activities. It is appropriate to recall Rachmaninov’s performance of Chopin’s works, starting from the conservative period (Sonata b-moll, which entered the graduation program at the end of the Moscow Conservatory in piano and throughout all pianistic performing activities).
Often, Variations on a Theme by Chopin, Op. 22 is considered to be in a sonata structure, not by the “form” but how it is organized. Based on how the variations are grouped together, the entire work can be structured as below . The first group is organized as a one movement. It has a continuous flow in performance. The second group is mostly slow, as generally would be the case in a sonata. The last four variations would constitute the fast finale of the final sonata movement.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Elisha Wolf plays 10 Preludes from Op.23 by Sergej Rachmaninoff
Elisha Wolf plays 10 Preludes from Op.23 by Sergej Rachmaninoff
In a figurative system of a cycle of ten preludes, op. 23 there are obvious analogies to the Second Piano Concerto. For example, the poetic prelude Es-dur recalls a side part from the first part of the concert, the alarming and dramatic prelude c-moll recalls in its drawing the final construction of the same part. At the same time, in some plays of the cycle, new motives are also reflected, expanding the figurative sphere of Rachmaninoff's creativity. So, nowhere else has Rachmaninoff with such power sounded actively heroic beginning, as in a full of exulting pathos, courageous prelude B-dur. At the same time, gloomy dramatic moods are gathering, sometimes taking on an ominous color. They are especially pronounced in the “thunderous” foreplay of es-moll and in the “minuet” foreplay of d-moll, penetrated by fateful forebodings, a peculiar version of the romantic “dance of death”.
Op. 23 is composed of ten preludes, ranging from two to five minutes in length. They are:
No. 1 in F♯ minor (Largo)
No. 2 in B♭ major (Maestoso)
No. 3 in D minor (Tempo di minuetto)
No. 4 in D major (Andante cantabile)
No. 5 in G minor (Alla marcia)
No. 6 in E♭ major (Andante)
No. 7 in C minor (Allegro)
No. 8 in A♭ major (Allegro vivace)
No. 9 in E♭ minor (Presto)
No. 10 in G♭ major (Largo)
Rachmaninoff composed the works in the Hotel America, financially dependent on his cousin Alexander Siloti, to whom the Preludes are dedicated.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Elisha Wolf plays Piano Sonata No. 1 in d-moll , Op. 28 by Sergej Rachmaninov
Elisha Wolf plays Piano Sonata No. 1 in d-moll , Op. 28 by Sergej Rachmaninov
"𝐓𝐡𝐞 𝐩𝐫𝐨𝐠𝐫𝐚𝐦, 𝐭𝐡𝐚𝐭 𝐢𝐬, 𝐫𝐚𝐭𝐡𝐞𝐫, 𝐨𝐧𝐞 𝐠𝐮𝐢𝐝𝐢𝐧𝐠 𝐢𝐝𝐞𝐚, 𝐥𝐮𝐫𝐞𝐝 𝐦𝐞 𝐭𝐨 𝐬𝐮𝐜𝐡 𝐚 𝐬𝐢𝐳𝐞. 𝐓𝐡𝐞𝐬𝐞 𝐚𝐫𝐞 𝐭𝐡𝐫𝐞𝐞 𝐜𝐨𝐧𝐭𝐫𝐚𝐬𝐭𝐢𝐧𝐠 𝐭𝐲𝐩𝐞𝐬 𝐟𝐫𝐨𝐦 𝐨𝐧𝐞 𝐰𝐨𝐫𝐥𝐝 𝐥𝐢𝐭𝐞𝐫𝐚𝐫𝐲 𝐰𝐨𝐫𝐤... (𝐆𝐨𝐞𝐭𝐡𝐞𝐬 𝐅𝐚𝐮𝐬𝐭)... 𝐅𝐢𝐫𝐬𝐭 𝐩𝐚𝐫𝐭 𝐜𝐨𝐫𝐫𝐞𝐬𝐩𝐨𝐧𝐝𝐬 𝐭𝐨 𝐅𝐚𝐮𝐬𝐭, 𝐭𝐡𝐞 𝐬𝐞𝐜𝐨𝐧𝐝 𝐭𝐨 𝐆𝐫𝐞𝐭𝐜𝐡𝐞𝐧, 𝐭𝐡𝐞 𝐭𝐡𝐢𝐫𝐝 𝐭𝐨 𝐟𝐥𝐢𝐠𝐡𝐭 𝐭𝐨 𝐁𝐫𝐨𝐤𝐞𝐧 𝐚𝐧𝐝 𝐌𝐞𝐩𝐡𝐢𝐬𝐭𝐨𝐩𝐡𝐞𝐥𝐞𝐬 ".
Among the works of a philosophical plan that touch upon the fundamental issues of human life is the First Piano Sonata d-moll, in which the depth and tension of a searching thought are combined with a bright lyrical pathos and anxiety of an emotional tone. Written at the beginning of 1907, after the Second Symphony had been finished, the sonata is marked in the ordinal designation of Rachmaninoff’s compositions following the symphony op. 28.
It received a peculiar refraction of the tradition of romantic lyric and poetic sonatism (Liszt, Schumann). Guesses about the programmatic nature of the Rachmaninoff’s sonata that arose in a number of persons during its hearing were confirmed by the composer's own statements. Expressing concern that the sonata might seem too long and extended, Rachmaninoff wrote: “The program, that is, rather, one guiding idea, lured me to such a size. These are three contrasting types from one world literary work. ” According to Igumnov, who was the first performer of the sonata, the composer told him, “that when composing the sonata he had in mind Goethe's Faust and that the first part corresponds to Faust, the second to Gretchen, the third to flight to Broken and Mephistopheles ". But Rachmaninoff refused to publish the program, although he believed that when getting acquainted with it a lot in the work could become more clear to the listener.
Of course, one should not take too directly the programmatic comment given by Rachmaninoff in an interview with Igumnov. As the composer himself emphasized in a letter to Morozov, it should not be so much about the program in the proper sense of the word as about a single “guiding idea” that goes through the whole work. The main content of the sonata is “Faustian” doubts, internal bifurcation, and struggle, coupled with a painful search for truth.
Not all equally succeeded Rachmaninov in this essay. The sonata turned out to be somewhat cumbersome both in its general scale (which was felt by the author himself), and in the sense of congestion of the texture (the composer had the idea to turn it into a symphony, but this turned out to be impossible since it would require a radical revision of the whole character of the presentation). All this explains the fact that the sonata was not included in the number of the most popular and often performed Rachmaninoff's masterpieces.
At the same time, its almost complete disappearance from the pianistic repertoire cannot be considered justified: the depth and significance of the design, the emotion of the emotional structure of the music, and the monumental sound inform the sonata of an impressive effect on the listener.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Elisha Wolf plays 13 Preludes from Op. 32 by Sergej Rachmaninov
Elisha Wolf plays 13 Preludes from Op. 32 by Sergej Rachmaninov
"... 𝐓𝐡𝐞 𝐰𝐨𝐫𝐬𝐭 𝐭𝐡𝐢𝐧𝐠 𝐢𝐬 𝐝𝐞𝐚𝐥𝐢𝐧𝐠 𝐰𝐢𝐭𝐡 𝐬𝐦𝐚𝐥𝐥 𝐩𝐢𝐚𝐧𝐨 𝐭𝐡𝐢𝐧𝐠𝐬. 𝐈 𝐝𝐨𝐧𝐭 𝐥𝐢𝐤𝐞 𝐭𝐡𝐢𝐬, 𝐚𝐧𝐝 𝐢𝐭𝐬 𝐯𝐞𝐫𝐲 𝐝𝐢𝐟𝐟𝐢𝐜𝐮𝐥𝐭 𝐟𝐨𝐫 𝐦𝐞..." - Rachmaninoff wrote to Morozov in a letter dated July 31, 1910, working on a series of preludes op. 32.
Opus 32 contains 13 preludes:
No. 1 in C major (Allegro vivace)
No. 2 in B♭ minor (Allegretto)
No. 3 in E major (Allegro vivace)
No. 4 in E minor (Allegro con brio)
No. 5 in G major (Moderato)
No. 6 in F minor (Allegro appassionato)
No. 7 in F major (Moderato)
No. 8 in A minor (Vivo)
No. 9 in A major (Allegro moderato)
No. 10 in B minor (Lento)
No. 11 in B major (Allegretto)
No. 12 in G♯ minor (Allegro)
No. 13 in D♭ major (Grave – Allegro)
The C major finger-loosener often placed at the outset of such a cycle now appears as a launch-pad for the Op 32 Preludes. This one is not as ferociously sky-rocketing as its counterpart in Liszt’s Transcendentals, but it certainly issues a challenge, not least by proposing rising motifs as a counter-balance to Rachmaninov’s habitual dying falls. A neoclassical archetype not yet explored is the swaying siciliano rhythm, which now becomes the guiding thread through the B flat minor Prelude, No 2, a piece built on two waves of acceleration, neither of which succeeds in shaking off a fundamental melancholy or in avoiding a conclusion in a mood of stoical resignation.
The Allegro vivace E major Prelude does break free, however, in another neo-Bachian aerobic workout, almost like an updated solo version of a Brandenburg Concerto. There is even, perhaps, the ghost of gigue behind its shadowy successor, the E minor Prelude No 4, whose contrasting sigh figures are eventually given their due in a languorous central section. With the rocking motion and ecstatic, flowering melody of the G major No 5 we gain the first glimpse in the Op 32 set of consoling lyricism. At the opposite extreme, the turbulent F minor is full of wrathful passion. The nearest Rachmaninov comes to cheery playfulness in any of his Preludes is the almost genial F major, No 7. Pre-figuring the Étude-tableau from Op 39 in the same key, the A minor Prelude No 8 is implacably driven, as if with the wind at its back and the rain swirling round it. A further switch to the opposite mode for No 9 brings another luxuriant tapestry woven from the thread of a sighing motif. Then come two more siciliano-based pieces, the slow B minor Prelude, No 10, with its pulverizing contrasting section, and the faster, more restrained B major Prelude.
The G sharp minor Prelude, No 12, is the last favourite encore piece in the set, its harp-like figurations running like water down the window-panes of a Russian dacha. Finally the D flat major Prelude once again closes a frame, this time harking right back to the infamous C sharp minor of Op 3; it also has a certain summative quality, thanks to its inclusion of siciliano rhythms, sighing motifs, étude figurations, an accelerating middle section and a ringing chordal apotheosis. As if to trademark his piano idiom, Rachmaninov here concludes with a piece that demands a formidable hand-stretch, of the kind he almost uniquely possessed.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Sergej Rachmaninov 8 Études-Tableaux Op. 33 Elisha Wolf
Sergej Rachmaninov 8 Études-Tableaux Op. 33 Elisha Wolf
In 1911 Rachmaninoff reverts to the genre of piano miniature. He creates his famous cycle Études-Tableaux op. 33, unprecedented in piano music. The name, which remains unique in the history of music, came naturally to Rachmaninoff, since many of his works are inspired by visual images. ‘Études’ suggests the virtuosity of Rachmaninoff’s pianistic art.
In contrast to the Preludes and Moments Musicaux that usually reflect fleeting changes of the composer’s inner world, the Études-Tableaux create epic symbolic images which add up to make a grandiose ‘Tableau de Russe’. Written before the cataclysm which was to transform Russia, they were imbued with the very essence of Russia, from folklore tales to ascetic clerical culture.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Elisha Wolf plays Piano Sonata No. 2 in B-flat minor op.36 by Sergej Rachmaninov
Elisha Wolf plays Piano Sonata No. 2 in B-flat minor op.36 by Sergej Rachmaninov
"𝐌𝐲 𝐝𝐞𝐚𝐫 𝐒𝐚𝐬𝐡𝐚, 𝐬𝐮𝐦𝐦𝐞𝐫 𝐭𝐮𝐫𝐧𝐞𝐝 𝐨𝐮𝐭 𝐭𝐨 𝐛𝐞 𝐞𝐱𝐭𝐫𝐞𝐦𝐞𝐥𝐲 𝐛𝐚𝐝. 𝐈 𝐝𝐨𝐧𝐭 𝐫𝐞𝐦𝐞𝐦𝐛𝐞𝐫 𝐭𝐡𝐞 𝐰𝐨𝐫𝐬𝐭! Bad with us personally - bad around! Everything has piled up! And the plague, and cholera, rains with hail, drought, crop failure. Personally, we are only involved in the last two troubles I have listed, but I still had Tanya (daughter) scarlet fever, an extraordinary, supernatural expenditure of money for Ivanovka, which was consumed by a new manager I took and ... complete failure in musical work. .. But failure does not end here. To strengthen Tanya and change the atmosphere for my work, I decided to escape from here to the Crimea at least. I took the “necessary step” for this, that is, I warned whom it should be that since part of the harvest can already be realized, I forget about Ivanovka for a while and leave. The next day they received news of mobilization. This means that not only is it not safe to leave, but that it is impossible to take anything out of the loaves, or more precisely, it means that I have to sit here and give out money further, and that Tanya will probably grab something else here. Along with this, it also comes to mind the opportunity to remain completely without earnings in the next season; and although I am considered a “rich man,” it will be hard for me to live without earnings. I dare to assure you! Finally, the third day the apotheosis of my torment! They let me know that I was being called up as a militia warrior and that I should appear at the show. In truth, I was even funny at the first moment. A bad warrior will come out of me! Be that as it may, I got into the car and drove to Tambov to appear. In the house, I was almost deleted from the lists of the living and began to mourn. My mood began to pass, and when I went to Tambov and nearly a hundred miles I had to overtake the wagons with spare ranks going for a look - dead drunk; with some atrocious, wild snouts, who met the passage of the car with a hoot, whistle, throwing hats into the car; shouting about giving them money, etc., I was horrified and at the same time a heavy consciousness appeared that no matter who we fought, we won’t be victors."
From a letter from Rachmaninov to A. Ziloti...
The sonata is in three interrelated movements:
I. Allegro agitato (B flat minor)
II. Non allegro—Lento (E minor—E major)
III. Allegro molto (B flat major)
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Elisha Wolf plays 9 Études-Tableaux Op. 39 by Sergej Rachmaninov
Elisha Wolf plays 9 Études-Tableaux Op. 39 by Sergej Rachmaninov
The nine Etudes-Tableaux. op. 39 (1916-17) for piano solo are the last important works written by Sergei Rachmaninoff (1873- 1943) before his exile from Russia in 1917. The whole cycle, conceived on a larger scale than op. 33, was performed for the first time in February 1917, the last days of the Russian empire. The coming events cast their sinister shadows over this composition. Eight pieces of nine are written in minor.
The most important elements being the Dies irae from the Roman Catholic Mass for the Dead, Russian chant, bell sonorities, and paintings by the Swiss artist Arnold Bocklin (1827-1901). In addition, Rachmaninoff's love of nature and of his homeland is reflected throughout the study, and an explanation is given for the dark, somber sentiment that permeates many of the etudes.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique -
Sergej Rachmaninov Variations on a Theme of Corelli op. 42 Elisha Wolf
Sergej Rachmaninov Variations on a Theme of Corelli op. 42 Elisha Wolf
"𝐈 𝐡𝐚𝐯𝐞 𝐩𝐥𝐚𝐲𝐞𝐝 𝐭𝐡𝐞 𝐕𝐚𝐫𝐢𝐚𝐭𝐢𝐨𝐧𝐬 𝐚𝐛𝐨𝐮𝐭 𝐟𝐢𝐟𝐭𝐞𝐞𝐧 𝐭𝐢𝐦𝐞𝐬, 𝐛𝐮𝐭 𝐨𝐟 𝐭𝐡𝐞𝐬𝐞 𝐟𝐢𝐟𝐭𝐞𝐞𝐧 𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞𝐬 𝐨𝐧𝐥𝐲 𝐨𝐧𝐞 𝐰𝐚𝐬 𝐠𝐨𝐨𝐝. 𝐓𝐡𝐞 𝐨𝐭𝐡𝐞𝐫𝐬 𝐰𝐞𝐫𝐞 𝐬𝐥𝐨𝐩𝐩𝐲. 𝐈 𝐜𝐚𝐧𝐭 𝐩𝐥𝐚𝐲 𝐦𝐲 𝐨𝐰𝐧 𝐜𝐨𝐦𝐩𝐨𝐬𝐢𝐭𝐢𝐨𝐧𝐬! 𝐀𝐧𝐝 𝐢𝐭𝐬 𝐬𝐨 𝐛𝐨𝐫𝐢𝐧𝐠! 𝐍𝐨𝐭 𝐨𝐧𝐜𝐞 𝐡𝐚𝐯𝐞 𝐈 𝐩𝐥𝐚𝐲𝐞𝐝 𝐭𝐡𝐞𝐬𝐞 𝐚𝐥𝐥 𝐢𝐧 𝐜𝐨𝐧𝐭𝐢𝐧𝐮𝐢𝐭𝐲. 𝐈 𝐰𝐚𝐬 𝐠𝐮𝐢𝐝𝐞𝐝 𝐛𝐲 𝐭𝐡𝐞 𝐜𝐨𝐮𝐠𝐡𝐢𝐧𝐠 𝐨𝐟 𝐭𝐡𝐞 𝐚𝐮𝐝𝐢𝐞𝐧𝐜𝐞. 𝐖𝐡𝐞𝐧𝐞𝐯𝐞𝐫 𝐭𝐡𝐞 𝐜𝐨𝐮𝐠𝐡𝐢𝐧𝐠 𝐰𝐨𝐮𝐥𝐝 𝐢𝐧𝐜𝐫𝐞𝐚𝐬𝐞, 𝐈 𝐰𝐨𝐮𝐥𝐝 𝐬𝐤𝐢𝐩 𝐭𝐡𝐞 𝐧𝐞𝐱𝐭 𝐯𝐚𝐫𝐢𝐚𝐭𝐢𝐨𝐧. 𝐖𝐡𝐞𝐧𝐞𝐯𝐞𝐫 𝐭𝐡𝐞𝐫𝐞 𝐰𝐚𝐬 𝐧𝐨 𝐜𝐨𝐮𝐠𝐡𝐢𝐧𝐠, 𝐈 𝐰𝐨𝐮𝐥𝐝 𝐩𝐥𝐚𝐲 𝐭𝐡𝐞𝐦 𝐢𝐧 𝐩𝐫𝐨𝐩𝐞𝐫 𝐨𝐫𝐝𝐞𝐫. 𝐈𝐧 𝐨𝐧𝐞 𝐜𝐨𝐧𝐜𝐞𝐫𝐭, 𝐈 𝐝𝐨𝐧𝐭 𝐫𝐞𝐦𝐞𝐦𝐛𝐞𝐫 𝐰𝐡𝐞𝐫𝐞 𝐬𝐨𝐦𝐞 𝐬𝐦𝐚𝐥𝐥 𝐭𝐨𝐰𝐧 𝐭𝐡𝐞 𝐜𝐨𝐮𝐠𝐡𝐢𝐧𝐠 𝐰𝐚𝐬 𝐬𝐨 𝐯𝐢𝐨𝐥𝐞𝐧𝐭 𝐭𝐡𝐚𝐭 𝐈 𝐩𝐥𝐚𝐲𝐞𝐝 𝐨𝐧𝐥𝐲 𝐭𝐞𝐧 𝐯𝐚𝐫𝐢𝐚𝐭𝐢𝐨𝐧𝐬 (𝐨𝐮𝐭 𝐨𝐟 𝟐𝟎). 𝐌𝐲 𝐛𝐞𝐬𝐭 𝐫𝐞𝐜𝐨𝐫𝐝 𝐰𝐚𝐬 𝐬𝐞𝐭 𝐢𝐧 𝐍𝐞𝐰 𝐘𝐨𝐫𝐤, 𝐰𝐡𝐞𝐫𝐞 𝐈 𝐩𝐥𝐚𝐲𝐞𝐝 𝟏𝟖 𝐯𝐚𝐫𝐢𝐚𝐭𝐢𝐨𝐧𝐬. 𝐇𝐨𝐰𝐞𝐯𝐞𝐫, 𝐈 𝐡𝐨𝐩𝐞 𝐭𝐡𝐚𝐭 𝐲𝐨𝐮 𝐰𝐢𝐥𝐥 𝐩𝐥𝐚𝐲 𝐚𝐥𝐥 𝐨𝐟 𝐭𝐡𝐞𝐦, 𝐚𝐧𝐝 𝐰𝐨𝐧𝐭 "𝐜𝐨𝐮𝐠𝐡". - Rachmaninoff wrote to a friend, the composer Nikolai Medtner, on 21 December 1931.
“Variations on the Theme of Corelli” by Sergei Rachmaninov is one of the later works of the Russian composer, a reflection on his favorite theme of ever-running and all-destroying time. Variations written in 1931 abroad, dedicated to Fritz Kreisler.
The theme in the genre of the ancient dance of folia does not even belong to the composer Arcangelo Corelli, but to the Baroque era in general - this is a kind of sign of the forever gone “Golden Age”. Fatal inexcusability is already laid in the emphasized strict choral presentation of the theme, and the intonations of the famous Dies irae sequence - the symbol of death - sound in the melody.
Twenty variations can be grouped into three sections, which form a kind of sonata cycle with a lyrical bright middle (14 and 15 variations) and a dramatic stormy finale (from 16 to 20 variations), in which the Dies irae motif is clearly heard in imitations of bell sounds.
Rachmaninov himself first performed "Variations on the Theme of Corelli" and subsequently played this work many times in various concerts. Being a brilliant pianist, he used almost the entire palette of piano possibilities in variations, combining virtuoso technique with subtle genre stylizations and exquisite coloristics.
VISIT THE OFFICIAL WEBSITE OF LE SALON DE LA MUSIQUE! www.smclassic.com
Become our Patron! Support us! : https://www.patreon.com/lesalondelamusique
Subscribe to our Official Channel Telegram:
English: https://t.me/smclassicenglish
Italian: https://t.me/smclassicitaliano
Spanish: https://t.me/smclassicspanish
Subscribe to our Official Instagram Channel: https://www.instagram.com/lesalondelamusique/
Subscribe to our Official Facebook page:
https://www.facebook.com/lesalondelamusique
Subscribe to our Official Youtube Channel: http://www.youtube.com/c/LeSalondelaMusique
