Description of selected works. Rachmaninov preludes Rachmaninov prelude in G minor form analysis

Svistelnikova Elena Vladimirovna

Piano teacher

GBOU SPO SK Stavropol Regional Music College named after. Safonova,

Mineralnye Vody

Performance and pedagogical analysis

Rachmaninov's Preludes in D major

and G minor

essay 23

Work on an artistic image is closely related to the analysis of the work being performed. Analysis is needed not only by the performer, but also by the teacher. The ability to analyze and deeply comprehend a musical text is also necessary when students work independently on works of different styles.

This work is devoted to the performing and pedagogical analysis of two preludes by Rachmaninov D major And G minor op. 23. These preludes attract, first of all, their high artistic merits. Contrasting in nature, the preludes in D major and G minor are among the characteristic images in Rachmaninov’s work.

The richness and variety of artistic images of preludes, their deep content, bright concert style of presentation - all these qualities contribute to the enormous popularity of many preludes.

Rachmaninov's Preludes are not miniatures in the generally accepted sense of the word. Most of them are characterized not only by the scale of their images, but also by their intensive development. And this reflects the great originality of the artist.

The most important source in working on the artistic images of these works are the author's editorial instructions and the texture of the preludes. It is known that Rachmaninov himself edited all of his works, so the author's editorial instructions are an extremely important key to understanding the nature of his works.

D major The prelude is one of Rachmaninov's bright lyrical statements. Smoothness and melodiousness, wide breathing, light, soft coloring, improvisational nature of development - these features make the music of preludes attractive and poetic.

Asafiev notes in Rachmaninov’s soulful lyrics “the presence of a landscape, not pictorial, but overheard in the Russian environment by the sensitive soul of the musician.”

Indeed, many pages of Rachmaninov’s lyrics are associated with the beauty of Russian nature, with the endless expanses of our Motherland. That is why M. Gorky noticed “how well Rachmaninov hears silence,” and Repin, listening D major prelude, “saw” the lake in the spring flood, the Russian flood.”

The prelude is written in three-part form. Despite the general lyrical character, it is characterized by internal dynamics of development: a calm, contemplative mood (first section) gives way to a more excited one (development), reaching a climax in the third section of great vividness of feeling.

Type of lesson: open lesson on the subject of musical literature with students of additional education.

Purpose of the lesson:

To acquaint students with the main milestones of the biography of S.V. Rachmaninov and his works, to create conditions for the development of creative abilities and imaginative thinking through problem-based study of the material.

Educational:

• To expand children's knowledge about the great composer, to introduce students to the works of S.V. Rachmaninov and the history of their creation.

Educational: Develop skills in parsing and analyzing musical works using the example of the works of S.V. Rachmaninov.

Educational:

• Develop a listening culture, emotional and intellectual responsiveness.
• Foster feelings of patriotism.

Teaching methods: verbal-inductive (conversation), partially search (improvisation, associative search), stimulation of musical and creative activity, visual-auditory, analysis, creative task.

Forms of work: individual, group.

Office decoration:

On the table are sheet music editions of S.V. Rachmaninov’s works, B.S. Nikitin’s book “Two Lives”, audio discs, vinyl records with recordings of Rachmaninov’s works, photo albums about S.V. Rachmaninov, a small round table covered with a tablecloth with fringe, on the table there is a bust of Rachmaninoff

Teacher: Hello, guys! We will dedicate this lesson to an outstanding cultural figure.

<Рисунок 1>

Invite students to answer the questions: Whose portrait is in front of you? What do you know about this person? Why are we going to talk about him? Student answers: This is S.V. Rachmaninoff, the great Russian composer, celebrated his 140th birthday on April 2, 2013.

Teacher: “...The mission of S.V. Rachmaninov in the history of world art cannot be defined and assessed other than the mission of the singer of Russia. The years of Rachmaninov's life coincided with a period of greatest historical upheavals, which affected his own life and creative path - brilliant and tragic. The composer witnessed two world wars and two Russian revolutions. He welcomed the collapse of the Russian autocracy, but did not accept October. I lived almost half my life abroad, but until the end I felt Russian.” Now listen to what the famous director, author of the documentary film “The Geniuses of Sergei Rachmaninov” A. Konchalovsky has to say

Students are invited to watch fragment No. 1 of the film, followed by a student’s message about S. Rachmaninov’s teacher Zverev N.S.: “N.S. Zverev and his students” Zykova Liza<Рисунок 2>, <Рисунок 3>, <Рисунок 4>, <Рисунок 5>, <Рисунок 6>, <Рисунок 7>, <Рисунок 8>

“...In this photo you see three boys and Nikolai Sergeevich Zverev himself, mentor, teacher, educator. And the boys (from left to right) M. Presman, S. Rachmaninov, L. Maksimov. They and several other students lived in Zverev’s house along with those who came to study during the day - among those who came was also the future talented composer A.N. Scriabin. N. S. Zverev was a master teacher; he not only talentedly taught pianistic playing, but also raised real men in boys. The classes lasted almost the whole day: getting up at 6 am, breakfast, and then endless exercises on the piano. He was a very tough but fair man. Having gone through his harsh school, many famous musicians: Ziloti, Scriabin, Maksimov, Igumnov, Presman, Levin - acquired a lifelong love of order, the ability to work and clearly manage their time. “I owe the best that is in me to Zverev,” wrote S.V. Rachmaninov. Famous composers, poets, writers and teachers of the conservatory often gathered in Zverev’s house, and among them was P.I. Tchaikovsky, who showed his new works and listened to the play of his students - “animals”<Figure 9 >

For example, the students learned a new album of pieces for piano by P.I. Tchaikovsky’s “The Seasons”, and Seryozha Rachmaninov performed the play “November. On the three"

Students are invited to listen to a recording of P.I. Tchaikovsky’s play “November. At three." D Below is a student's message about S. Rachmaninov's studies at the Moscow Conservatory:

“S.V. Rachmaninov’s studies at the Moscow Conservatory” Voronin Gera ( ) <Рисунок 10>, <Рисунок 11>, <Рисунок 12>, <Рисунок 13>

“...Tchaikovsky was very pleased with the boy’s performance. This was the first acquaintance with the great composer, who influenced his future fate. In 1889, a quarrel occurred between Zverev and Rachmaninov. Rachmaninov began to intensively study composition, he needed a separate room, and music was playing in the house all the time - Rachmaninov left his mentor’s house, where he lived for 4 years. He continued his studies at the Moscow Conservatory. Sergei was completely captivated by the lessons of harmony and polyphony from Taneyev and free composition from Arensky. His talent was noticed by everyone at the conservatory. At the harmony exam, Pyotr Ilyich Tchaikovsky, having listened to the pieces written by Rachmaninov and performed by him himself, was so delighted that he placed three more pluses around the given five plus. Rachmaninov’s success was unsurpassed, to which Peter Ilyich said about Rachmaninoff: “I predict a great future for him.” Rachmaninov took the death of P.I. very hard. Tchaikovsky, who was close to the composer with all his soul, whose loss was irreparable.” You will now hear the composition of S.V. Rachmaninov’s “Elegiac Trio”, written by him on the death of the great Tchaikovsky. In it, with extraordinary sincerity and a painful feeling of the loss of a person close to his heart, S. V. Rachmaninov conveyed all his love and sorrow. “...The elegiac trio for piano, violin and cello “In Memory of the Great Artist” (op.9) was written by Rachmaninov on the death of Tchaikovsky in 1893. The first part begins with a mournful theme in the rhythm of a funeral march. She also ends it, as if returning the pain of loss. The second movement – ​​variations on a choral theme – is distinguished by a lighter color and balance. In the finale, a sad Russian-style chant returns as a reminder of the loss...”

Students are invited to listen to the recording - S.V. Rachmaninov “Elegiac Trio”, Further student’s message about S. Rachmaninov’s first visit to the Satins’ estate Ivanovka: “Ivanovka. Creation of the First Concerto for Piano and Orchestra” Poyarkov Egor.

“...A spark of true inspiration flew into the soul of young Sergei Rachmaninov in the summer of 1890. That summer, Sergei first came to the Ivanovka estate, which belonged to his aunt Varvara Arkadyevna Satina, his mother’s sister... <Рисунок 14>, <Рисунок 15>, <Рисунок №16>

... Many relatives gathered in Ivanovka in the summer. Among them were Sergei's three sisters - Natalya, Lyudmila and Vera Satin.

Sergei’s attention was attracted by the youngest of the sisters, Vera, and Natasha was left the role of confessor, not without deep sympathies and feelings...

...How amazing was the charm of youth! The spark of inspiration that flew into Seryozha’s soul in that unforgettable Ivanovo summer of the nineties forced him to take up the Piano Concerto and create one of his most remarkable works. It's hard to believe that it was written by a seventeen-year-old boy. How much feeling the composer put into this work! The passionate cadence of the first part, with its energy, makes you experience, together with the author, the state of his ups and downs, joy and despair. This soulful music sincerely conveys what is accessible to each of us, because in one way or another we have felt. The second part takes us to the first Ivanovo summer, where Verochka Skalon, excited by her new feeling, walks in a lilac alley in a light dress and enjoys life. And many, many fragrant herbs, flowers, ponds, steppe expanses, the incomparable air of my native Ivanovka. The concert absorbed all this, and in its musical merits it was not inferior to the “big brothers” - the later piano concertos.”

Students are invited to listen to the recording of the First Piano Concerto by S.V. Rachmaninov – 1 part (fragment),<Рисунок 19>, <Рисунок 20>, <Рисунок 21>

Teacher: “...On March 15, 1897, in St. Petersburg, in concerts organized by the wealthy philanthropist Belyaev, the first performance of the First Symphony took place, which was not understood by critics because of its innovative ideas. Rachmaninov regarded this as a failure and was painfully aware of this event. In the summer of 1897, the composer's condition was so grave that he himself did not know what to do. Due to his experiences, he developed neurasthenia and excruciating pain in his back, arms and legs. He stopped composing altogether, if not for Dr. N.V. Dal, who saved the composer from terrible depression.”

Student's message about the Prelude in C sharp minor: “ Prelude in C sharp minor S.V. Rachmaninov” Artamonov Maxim <Рисунок 17>, <Рисунок 18>

“...An event happened here that shook, inspired and instilled some hope. In the fall of 1898, Alexander Ilyich Siloti made a concert tour in Europe, America and England. Everywhere he performed Rachmaninov's Prelude in C sharp minor, and this piece was invariably greeted with thunderous applause. Along with a well-tested classical repertoire, composed of works by world-class composers, this particular prelude by Rachmaninoff was a success. English and American publishers immediately released the sheet music, which immediately sold out, and Rachmaninov's prelude was heard all over the world. Now you will hear the Prelude and from the first sounds of the prelude the main short theme will sound. It amazes us with its strength and brevity; in it the composer expressed the spirit of Russia. It’s amazing that this work was written at an early age, but is filled with humanism and all-encompassing love, faith in life.” Invite students to listen to the Prelude in C sharp minor and determine the form of the work and the nature of each part. After listening, student responses: three-part form with a small coda.

Part 1: narrative, the motive is alarming, harsh, similar to the sound of a bell, it is answered by chords of a mournful nature, the tempo is slow.

Part 2: there is a change of tempo, impetuous character, upward striving, the highest limit of sonority, strong tension.

Part 3: grows out of part 2, the piano sounds like a whole orchestra, the main melody (theme) becomes large and menacing.

The conclusion (of the coda) all subsides, reminiscent of the sound of a bell.

Student's message about the Second Concert: “The second concert for piano and orchestra - the history of creation” Minkina Katya.

“... Rachmaninov did not begin composing the Second Concerto for Piano and Orchestra (it is dedicated to N.V. Dahl, a famous doctor) immediately after treatment with N.V. Dahl, although, according to him, “musical ideas and material began to stir in him I have accumulated more than enough for my concert.” First, the second and third parts of the Second Concerto were created (the first was born later). Rachmaninov entrusted them to be played on the piano by A. Ziloti, who was delighted and convinced the composer that it was possible and necessary to go on stage with them. The success exceeded all expectations! It was said about the concert that there is a lot of poetry, beauty, and warmth in this work. The rich orchestration and cheerful creative power of Rachmaninoff demonstrate his talent at every step. The first performance of the Second Concerto for Piano and Orchestra took place on December 2, 1900, with enormous success.” <Рисунок 22> ,<Рисунок 23>

Students are invited to listen to the first part of the Second Concerto by S.V. Rachmaninov. Ask students a question: At what crucial moment do we hear this music?

Student answer: During the celebration of Victory Day on May 9, after a minute of silence there will be a minute of silence.

Teacher: The most important stage in Rachmaninov’s creative development was the creation in 1909 of the Third Piano Concerto, which is not inferior to its predecessor in melodic richness and beauty of themes. The third concert is endowed with greater maturity and depth of thought. In the same 1909, Rachmaninov successfully toured the USA for the first time. The remarkable pianist of our time, Nikolai Lugansky, speaks in more detail about the Third Concert. Next, invite students to watch a fragment of film No. 2 by A. Konchalovsky “The Geniuses of S. Rachmaninov”, then<Рисунок 24>, <Рисунок 25>

Student's message about Rachmaninov the pianist: “Rachmaninov the pianist” – Anna Spesivtseva.

“...Rachmaninoff's performance is true creativity. Striving to penetrate deeply into the author's intention, Rachmaninov discovered new features in works known to everyone, and found new colors that were not noticed by other musicians. He inevitably brought something of his own, Rachmaninov's, into the music of other authors. If sometimes his interpretation did not entirely correspond to the established idea of ​​the style of a particular composer, it was nevertheless always internally justified...

...In Rachmaninov’s playing everything is extremely simple, natural and clear. Melody, power and fullness of “singing” - these are the first impressions of his pianism... Rachmaninov’s phenomenal technical apparatus and the perfection of his playing never attract attention on their own. From beginning to end, the listener remains captivated by the artistic, creative side of the performance...”

...N.K. Medtner: “Equally a great master as a composer, pianist, conductor, in all his manifestations he amazes us mainly with the spiritualization of sounds, the revitalization of musical elements”...His gigantic technique, his virtuosity serve only to clarify inspired images.”

Rachmaninov had unusually long fingers and large hands. Thanks to this feature, he could reach with his left hand from the note “C” to the note “G” of the next octave, while pressing several more keys between them. This remarkable physical feature no doubt helped the composer shape the character of his piano works, with its large chords and wide arpeggios distributed throughout the keyboard. Possessing, in the words of his contemporaries, “magic hands,” the pianist never put technical skill at the forefront.

Students are invited to listen to the Prelude in G minor performed by S. Rachmaninov and analyze the form of the work, the nature of each part.

After listening, students characterize the musical images of the prelude:

Three-part form

1 hour – anxious, stormy, excited;

2 hours – doubt, expectation, languid lyrics;

3 hours - sounds more powerful, more voluminous than the first part

Student’s message about the life and work of Rachmaninov after 1917 “Life of S.V. Rachmaninov in exile” Orshak Dasha<Рисунок 26>, <Рисунок 27>

"…WITH. V. Rachmaninov took advantage of an offer that came unexpectedly from Sweden to perform in a concert in Stockholm. At the end of 1917, he, along with his wife Natalya Alexandrovna and children, left Russia. First he goes to Paris, then moves to Switzerland. Since 1935, the composer has lived in the USA.... <Рисунок 28>

... A new break in Rachmaninov’s work is coming, this time much longer than the previous one. Only a full decade later did the composer return to composing music, having arranged three Russian folk songs for choir and orchestra and completed the Fourth Piano Concerto, begun on the eve of the First World War. Rachmaninov was painfully homesick, constantly thinking about whether he had made a mistake by leaving his homeland. He was eagerly interested in everything that came from the Soviet Union, and his interest in his renewed homeland was sincere and deep. <Рисунок 29>, <Рисунок 30>

...He read books, newspapers and magazines that came from the USSR, and collected Soviet records. Perhaps all this served as an impetus for the gradual revival of the work of Sergei Vasilyevich, who in the 1930s created such wonderful works as “Symphonic Dances”, Rhapsody on a Theme of Paganini and the Third Symphony.”

Teacher: Rachmaninoff's last concert season - 1942-1943 - began on October 12 with a solo concert in Detroit. Sergei Vasilyevich, as he had done more than once before, again donated the entire collection from the November 7 concert in New York, in the amount of $4,046, to the needs of the war: part went to the American Red Cross, part was transferred through the Consul General to Russia, the country that he never forgot. After a serious illness, Rachmaninov died surrounded by his loved ones in Beverly Hills on March 28, 1943. <Рисунок 33>, <Рисунок 34>

Invite students to listen to “Vocalise” by S.V. Rachmaninov and, against the backdrop of the sound of this work, invite students to ask questions and express their opinions about what they heard and saw during the lesson:

1. Which works by S.V. Do you particularly remember Rachmaninoff?
2. What facts from the composer’s biography interested you?
3. What is the originality, the uniqueness of Rachmaninov’s music?
4. Is it modern now - what do you think?
5. What new did you learn in this lesson today? What was the first thing you discovered?
6. Would you like to see more classes like this on the lives of great pianists and composers?

Result of the lesson: Using the example of the biography of S.V. Rachmaninov and his works, students were able to demonstrate their ability to work with primary sources, independently select material on a given topic, and showed skills in listening culture and emotional responsiveness to the proposed musical works.

Invite students to prepare material about P.I. for the next lesson. Tchaikovsky: biography of the composer and works for analysis and listening, created by P.I. Tchaikovsky at different stages of his creativity.

Literature

1. “Sergei Rachmaninov. Two lives.”/B.S. Nikitin. – M; Publishing house “Classics - XX1”, 2008 – 208 p., ill.
2. Memories of Rachmaninov. Volume 1/Comp. Z.Apetyan. – M.: “Music, 1967 – 570 p.
3. Memories of Rachmaninov. Volume 2./Compiled by Z.Apetyan. – M. “Music”, 1967 – 548 p.
4. P.I. Tchaikovsky, A. Scriabin, S. Rachmaninov/N.I. Enukidze. – “ROSMAN”, 2002. 112 p.
5. Russian and Soviet music. Reader for high school students / Compiled by V.M. Blok, K.P. Portugalov. – M.: “Enlightenment”, 1977. – 238 p.
6. Russian musical literature. Issue 4./General edition M.K. Mikhailova, E.L. Fried. – L.: “Music”, 1973. – 256 s.

Prelude in G minor

The genre of preludes has become very widespread in Russian piano music. XIX and XX centuries, is uniquely interpreted by S. Rachmaninov. His preludes differ from the laconic, often fragmentary preludes of Lyadov and Scriabin in their larger scale, the presence of internal development, and the “concentration” of texture. Despite the absence of program titles, their music is extremely diverse and often gives rise to certain associations. In some preludes, Rachmaninov resorts to the use of established and traditional musical forms. Sometimes there are direct indications of this in the author’s definitions of tempo and character. But even in the absence of such authorial instructions, the genre nature of individual plays is felt quite clearly, for example, the barcarolle nature of the prelude in D major. However, these genre types are interpreted, as a rule, very freely and individually. The subtlety and polysemy of Rachmaninov's imagery makes it difficult to translate precise verbal concepts into the language. Rachmaninov's preludes are almost always based on one moment, one gradually revealed state of mind.

The Prelude in G minor, built on the contrasting juxtaposition of a stern, menacing and steadily growing march movement with a dreamy lyrical and melodious middle, seems to be an exception in this regard. The unity of the emotional character determines the consistency of the texture and the continuity of melodic development.

© Alexander MAYKAPAR.

Based on the book: Keldysh Yu. Rachmaninov and his time. M. 1973.

After the completion of the ten preludes that made up the series, creative interests concentrated for a long time in the field of large-scale works. He wrote "" and "Francesca da Rimini", thought about new operas, created Symphony No. 2 and Piano Concerto No. 3. Of the small works in these years, only fifteen romances and the "Italian Polka" were written, created under the impression of the performance street musicians in Italy. But in August 1910, Rachmaninov again began composing piano miniatures. The composer complains in one of his letters that creating “small piano pieces” is difficult. However, the result of this work, which did not bring the composer, as he admitted, “neither beauty nor joy,” was the creation of a new cycle of preludes.

The new notebook contained thirteen preludes. This number was due to the fact that Rachmaninov set out to write - in accordance with traditions - a complete cycle of preludes, using all keys. Combined with the Prelude in C sharp minor from “,” which he composed in 1892, and ten preludes Op. 23 these thirteen preludes constituted such a complete cycle, covering all keys.

In terms of imagery, the second cycle of preludes differs significantly from the first: it contains less contemplative lyrics, more gloomy, anxious-dramatic and courageously epic images. But some features of the first cycle are also present in the second - in particular, paired grouping of plays according to tonal relatedness (most often we are talking about a comparison of tonalities of the same name) or other characteristics. Like the first cycle, Rachmaninov never performed these thirteen preludes as a single work, but there are some unifying moments in it. Thus, the C major prelude that opens the cycle with energetic melodic moves is perceived as an introduction, and the D-flat major prelude that concludes the series sounds like a monumental epilogue.

A very interesting story is connected with Prelude No. 2 in B flat minor. Benno Moiseevich, an English pianist of Russian origin, with whom the composer communicated in exile, admitted in a conversation with the composer that this prelude reminds him of the painting by the Swiss artist Arnold Böcklin “Return Home”, and Rachmaninov replied that it was under the impression of this painting that he wrote the play . Böcklin's painting depicts a landsknecht returning home after a long absence: sitting on the edge of a small lake, he peers into the valley where the window of his home is shining. The same lyrical warmth and tranquility with a tinge of sadness characterize the prelude: the melodic grain varies without much intensity.

The Prelude in E major presents a vivid picture of a festive procession. Various coloristic effects are superimposed on the march genre basis - cheerful tunes and jubilant bell ringing appear in the piano texture. The dynamics gradually fade towards the end of the piece, creating the impression of a retreating procession. In contrast, the Prelude in E minor has an alarming impetuosity.

The Prelude in G major is full of soulful lyricism. The light, clear melody is strictly diatonic, the texture is extremely transparent. The cantilena theme, unfolding against the backdrop of quintuplet figurations, gradually expands its range, only to then dissolve into a strumming that emphasizes the pastoral nature of the musical image.

The Prelude in F minor, with its accented chords and swirling images, anticipates the apocalyptic imagery of alarm bells from The Bells.

A dialogue of voices occurs in the Prelude in F major. Both voices are rich in declamatory intonations, giving them special expressiveness. In the modal basis of the prelude, diatonicity is combined with chromaticisms, however, they only emphasize modal stability, exacerbating gravity.

The Prelude in A minor is built on a brief thematic cell of just three notes, which is persistently repeated in different registers, carried forward by a whirlwind movement.

The Prelude in B minor has a gloomy character. The measured movement combined with heavy bass sounds resembles a funeral procession. In the middle section, the main motif, which runs in magnification, accompanied by a chordal pulsation, takes on a dramatic tone. In terms of melodic intonation and texture, the middle section of the prelude echoes Malatesta’s arioso from Francesca da Rimini.

In the Prelude in B major, the characteristic rhythmic figure of the Siciliana appears, imparting a touch of danceability, which remains weakly expressed due to the choral texture.

Monumental solemnity reigns in the Prelude in D-flat major, which completes the cycle. The picture of a strict procession is accompanied by the intonations of bell ringing, which he loved so much.

All rights reserved. Copying prohibited

Op. 23 No. 1, F sharp minor
Op. 23 No. 2, B flat major
Op. 23 No. 3, D minor
Op. 23 No. 4, D major
Op. 23 No. 5, G minor
Op. 23 No. 6, E flat major
Op. 23 No. 7, C minor
Op. 23 No. 8, A-flat major
Op. 23 No. 9, E-flat minor
Op. 23 No. 10, G flat major

In the figurative structure of the cycle from ten preludes op. 23 obvious analogies with the Second Piano Concerto emerge. For example, the poetic prelude in Es-major recalls the side part from the first part of the concert, the anxious-dramatic prelude in c-minor is reminiscent in its design of the final construction of the same part. At the same time, some plays in the cycle also reflect new motifs that expand the figurative sphere of Rachmaninov’s creativity. So, nowhere until now has Rachmaninov’s heroic beginning sounded with such force as in the courageous prelude in B major, full of jubilant pathos. At the same time, dark dramatic moods thicken, sometimes taking on an ominous overtone. They are especially pronounced in the “thunderstorm” prelude in es-minor and in the “minuet” prelude in d-minor, imbued with fatal forebodings - a unique version of the romantic “dance of death”.

Rachmaninov's cycle does not represent a complete, unified whole, like, for example, Schumann's piano cycles, and each of the pieces included in it is completely independent in form and figurative content. Preludes op. 23 were created over quite a long time and, apparently, without an overall plan. Nevertheless, the entire cycle has a certain internal unity. The composer arranges individual pieces in a certain sequence, observing the logic of tonal relationships, figurative correspondences or contrasts. If in the last, tenth, prelude the tonality Ges-dur is replaced by the enharmonically equal Fis-dur, then the cycle will receive a tonal frame of the same name (Ziloti, having played all ten preludes in one concert in 1904, broke this sequence and instead of the melodious and lyrical prelude Ges- dur put a brilliant B-dur prelude at the end, which made the end of the cycle more effective, but was a well-known deviation from the author's intention.).

Within this framework, preludes are grouped according to the principle of tonal proximity; sometimes paired articulations arise based on a comparison of the same or parallel tonalities (preludes d-minor and D-dur; Es-dur and c-minor). The basis for the convergence of individual plays is also the similarity of textural features. Thus, three preludes, built on continuous motor movement (C minor, As major and es minor), follow one after another, forming a single group.

The genre of prelude, which was very widely developed in Russian piano music at the turn of the 19th and 20th centuries, is interpreted in a unique way by Rachmaninoff. His preludes differ from the laconic, often fragmentary preludes of Lyadov and Scriabin in their larger scale, the presence of internal development, and the “concert” texture. Despite the absence of program titles, their music is extremely figurative and often gives rise to certain picture associations. In some preludes, Rachmaninov resorts to the use of established genre forms. Sometimes there are direct indications of this in the author’s definitions of the tempo and character of the performance (Tempo di minuetto - in the prelude in d minor; Alia marcia - in the prelude in g minor). But even in the absence of such authorial instructions, the genre nature of individual plays is felt quite clearly (for example, the “barcarolle” prelude in D major). However, these genre types, as a rule, are interpreted by the composer very freely and individually. The subtlety and polysemy of Rachmaninov's imagery makes it difficult to translate it into the language of precise verbal concepts. Therefore, even earlier, in the piano cycle Six Musical Moments op. 16, the composer abandoned names that specified the figurative structure of individual plays, and preferred a general, neutral definition to them. In this case, he chose the term “prelude” as it was more common and widespread in the music of the early 20th century (One of the peculiar refractions of this genre is the piano preludes of C. Debussy, which, like Rachmaninoff’s preludes, are characterized by relatively expanded scales and vivid imagery of the music , with a completely different character of this imagery.).

Rachmaninov's preludes are almost always based on one moment, one gradually revealed state of mind. The G-moll Prelude, built on the contrast of a harsh, menacingly and steadily growing march movement with a dreamy lyrical and melodious middle, seems to be an exception in this regard. The unity of the emotional character determines the consistency of the texture and the continuity of melodic development. The extraordinary breadth and duration of melodic development, so remarkably manifested in the Adagio from the Second Piano Concerto, is also characteristic of a number of preludes, the form of which appears as if in one breath and is difficult to dissect.

This is the elegiac pensive opening of the cycle prelude fis-moll with a broadly drawn-out, slowly unfolding song theme. The melody develops from a short initial chant based on the variant principle and describes one large arc, reaching a brightly expressed high-pitched and dynamic climax, and then just as smoothly descends to the initial level with a gradual attenuation of the dynamics, after which the final construction of the coda type is given. The form of this prelude contains fairly clear signs of a tripartite structure with an expositional structure, a developing middle and a dynamic reprise. But due to the fact that the boundaries between sections of the form are blurred and not a single melodic structure is literally repeated, it seems that the music flows continuously, without stops or caesuras. This impression is further enhanced by the ostinato pattern of the accompaniment, which is given extraordinary expressiveness by the persistently repeated mournful intonations of a sigh.

The determining role of the melodic principle in the development of all elements of the musical whole is even more noticeably manifested in preludes Es major, the figurative connection of which with the bright, spiritually poetic episodes of the Second Piano Concerto was noted more than once. Here the line between the melodious melodic theme and the accompanying pattern is almost completely erased. Both the upper melodic voice and the left hand figurations grow from one short grain based on Rachmaninov's typical smooth step-by-step movement. A long, smoothly soaring melodic line is created on the basis of a variant development of the initial trichord motif, which, both in its basic form and in its various modifications, is constantly heard in the patterned ligature of sixteenth notes intertwining the theme. The first, then repeated in a modified form, four-bar is built on the principle of “comparison with the result” (1 + 1 = 2), but the smoothly increasing nature of the melodic pattern gives it unity and continuity of development. Further development is built on the same principle of wave-like growth, up to the climax reached at the end of the first half of the piece, where the melodic wave expands to three bars and covers a range of more than an octave.

The second part of the prelude, almost equal in duration to the first, is based on a gradual decay occurring in the same successive waves. After an inspired rise, a slow “fading” of lyrical feeling begins. Under the influence of melodic development, the meaning of the elements of form is rethought, and the entire second half is perceived, in essence, as an unusually widely deployed coda.

The melodic conditioning of the form is manifested differently in preludes D major, containing a number of features of the barcarolle genre: a broadly flowing, calm, dreamy melody, a smoothly swaying accompaniment rhythm, a “volume” texture that evokes spatial associations, and even individual pictorial touches that complement the poetic image (for example, short ascending figures of sixteenth notes in the last section, reminiscent of splashes of water). This prelude is based on a sixteen-bar song theme that is complete in its construction (Wave-like variation in the very structure of this theme is characteristic: the first three four-bars are similar in melodic pattern, but each time they sound a step higher, preparing a rapid, but quickly fading takeoff in the last four-bar.), presented twice in a row with minor variations. The second half of the play also consists of two constructions. The first of them introduces an element of movement and emotional contrast: the same thematic basis is preserved here, but the rhythmic durations are halved and the intonations of the theme form a moving, melodically upward-directed figure, which develops through a series of sequences with increasing dynamics, leading to a pathetic “Rachmainian” climax. After this, the topic is again taught in full, but in a modified version of the presentation.

The form of the prelude as a whole can be interpreted as a combination of two-parts with the verse-variation principle. But all its sections are closely welded together thanks to the continuously developing through line of wave-like rise and subsequent gradual decline.

On a more modest scale, the same principle of continuous melodic development is implemented in the Chopin-like subtle, elegant in texture of the final preludes Ges-dur. It is written in a very clear and proportional tripartite form with one theme and a middle, built on the development of its motivic elements. In the third part, this theme is presented in its original form, in the same warm “cello” register in which it was presented at the beginning. But the second high-pitched voice joining it, freely imitating the theme, gives a new color to its sound. The coda of the prelude sounds beautifully and expressively with smoothly descending sequences in the upper voice against the background of a dense, full-voiced network of figurations, somewhat reminiscent in character of the final construction of the Adagio sostenuto from the Second Piano Concerto.

Rachmaninov uses other means in the harsh, dramatic preludes of d-moll and g-moll. The main expressive and formative element in them is not the melodic-song beginning, but the rhythm, Rachmaninov-like clear, elastic and at the same time very detailed and carefully developed. As noted earlier, the connection with specific genre forms, which is indicated by the author’s own remarks, is conditional and relative in both plays. Prelude d minor, “at the tempo of a minuet,” is far in character from the decorous and cutesy old dance. Elements of various ancient genres are used by the composer not for the purposes of stylization, but as a means of a certain “defamiliarization” of the image. The general coloring of the music is cold and gloomy, something frozen and inanimate is heard in the strict regularity of the rhythmic movement, the dry, abrupt sound of the theme, its register monotony and even, subdued dynamics. Sometimes one feels the heavy, slow tread of a solemn saraband rather than the mannered squats of ladies and gentlemen dancing a gallant minuet. The stern concentration of tone is emphasized by polyphonically presented episodes in the spirit of organ prelude. The sharp rhythmic figure of the left hand in the second measure of the theme, reminiscent of distant thunderclaps, acquires particular expressive meaning:

As a kind of leithrhythm, this figure runs through the entire play and sounds either powerful and menacing, or dull and hidden.

Not without reason, some researchers have drawn an analogy between Rachmaninov’s piano piece and Taneyev’s romance “Minuet,” written somewhat later, in which direct impressions of the events of the first Russian revolution were refracted through the prism of images of the past. G. M. Kogan points out the easily perceptible similarity of one of the rhythmic figures of Rachmaninov’s prelude with the rhythmic intonation of the French revolutionary song “Qa ira”, used by Taneyev as a symbol of the collapse and death of the old, passing world.

In the coda of the prelude, from this rhythm typical of Rachmaninoff, a short, sharp motive arises, repeated many times with automatic regularity, like the mechanical chiming of a clock. All this gives the impression of mysteriously flickering eerie masks.

Prelude g-moll with marching extreme parts framing an expressive and lyrical melodious middle, evoked different interpretations. Kogan perceives it as a “piano version” of the romance “Fate”. Another researcher of Rachmaninov’s work finds in it a manifestation of “severe energy”, “the beauty of a military feat”, “the mighty pressure of a will that is all-destroying in its path”.

Such different understandings of the same work by two researchers can be justified by the figurative ambiguity of the music itself. It contains courageous energy, an inspired impulse, and at the same time anxiety before something inevitable, menacingly and inexorably approaching. The march genre is uniquely refracted in the first theme of the prelude, with its bizarre, sometimes even somewhat fantastic rhythmic outlines. The chiseled marching gait is combined with features of ironic scherzo, as if a Mephistophelian smile shines through the creeping “steps” of the theme, from which a stern, menacingly majestic image then grows. At the same time, the role of a dynamizing, continuously “stimulating” factor is played by a rhythmic turn, similar to the one that sounds with fatal monotony and invariability in the code of the prelude in d minor. This turn is heard several times in the middle episode of the prelude in g minor, serving as a connecting link between its thematically contrasting sections.

Moods of joyful elation, triumph and jubilation dominate the brilliant “knightly” preludes B major, with its warlike fanfare sounds, inviting battle cries and energetic imperative rhythms. The music of this light-colored, courageous, heroic prelude is imbued with non-stop seething movement, the boiling of a mighty force rushing into space. Wide arpeggiated passages of the left hand, creating a constant moving background, sound like powerful waves of the sea surf. This continuous movement does not stop in the calmer and softer-sounding middle episode, where a lyrically inspired melody rises steadily upward. I remember the lines from Gorky’s “Song of the Falcon”:

The sea shone in a bright light, and the waves beat menacingly against the shore.
In their lion's roar a song about a proud bird thundered, the rocks trembled from their blows, the sky trembled from a menacing song:
We sing glory to the madness of the brave!

(Of course, here we can only talk about figurative analogies, and not about the direct dependence of Rachmaninov’s prelude on the “Song of the Falcon”, which is not indicated in the author’s statements.)

In the three preludes, based on a continuous motor movement of an “etude” nature, which Rachmaninov placed in a cycle in a row (C minor, As major and es minor), the connection with Chopin’s pianism is most obvious. So, prelude es minor in double notes, was probably written under the direct influence of the etude gis-moll op. 25 (This is one of Chopin’s etudes that was part of Rachmaninoff’s permanent repertoire of pianistic studies.). IN preludes As-dur Chopin's typical method of melodizing texture is used by highlighting hidden melodic voices in figurations. However, even in these plays the characteristic “emotional tuning” of Rachmaninov’s work manifests itself with sufficient clarity. Preludes c minor And es-moll imbued with stormy, intense drama, the pathos of struggle and protest, their music is full of energy and passionate emotion. The main dynamic culminations towards which all development is directed are extremely bright and expressively sharpened. Like the rest of the plays in the cycle under consideration, these preludes evoke specific figurative associations that acquired special significance in the conditions of that time. The swirling whirlwind pattern of passages in the C-minor prelude or the menacingly howling chromaticisms in the es-minor prelude sound like the distant rumble of a growing storm.

The variety of piano presentation techniques used by the composer in this cycle serves him to embody the multifaceted realistic content. The figurative brightness and concreteness of the music, the vitality of the images themselves, deeply rooted in Russian reality, along with the wealth of expressive means and high mastery of texture, provided Rachmaninov’s preludes with wide recognition and love from the audience. Along with his Second Concerto, they entered the golden fund of the Russian classical piano repertoire.