Rachmaninov was born in 1873 and died in 1943, which is instructive: roughly contemporary with composers such as Schoenberg and Stravinsky, his music sounds nothing like the music of these two giants of 20th-century music. As a matter of fact, his music is deeply rooted in the Romantic period, so many commentators regard Rachmaninov as somewhat of an anachronism in 20th-century music—a composer who lived well into the 20th-century but who composed purely romantic music that is more in place with the late 19th century. That is not a pejorative comment, as the music of Rachmaninov is supremely beautiful, well-crafted, and is played far more often than the vast majority of 20th-century composers!
Rachmaninov at the podium
Sergei Rachmaninov
(1873-1943)
COMMENTARY
Symphonic Dances Opus 45
Stravinsky--NOT a favorite of Rachmaninov!
Similar to Prokofiev, Rachmaninov left Russia in a hurry in 1917 at the outset of the Bolshevik Revolution, but unlike Prokofiev, he never returned to his native country, settling in Europe, and ultimately in America, where he lived in Beverly Hills later in his life. As one of the greatest pianists of all time, he was fantastically successful in his performing career, as well as being a well-known conductor. However, his need to provide for his family required him to undertake many concert tours, and from the time he left Russia until his death 26 years later he only completed 6 compositions!
For the most part, Rachmaninov’s earliest orchestral works reveal influences from three major Russian composers of his formative years: Rimsky-Korsakov, Borodin, and above all Tchaikovsky, whom he revered and idolized. With regard to his style of piano writing, he had the following to say:
“I believe in what might be called indigenous music for the piano; that is, music which the Germans would describe as klaviermässig. So much has been written for the instrument that is really alien. Brahms is a notable example. Rimsky-Korsakov is possibly the greatest of Russian composers; yet no one plays his concerto these days, because it is not klaviermässig. On the other hand the concertos of Tchaikovsky are frequently heard because they lie well under the fingers! Even with my own concertos I much prefer the third, because my second is uncomfortable to play, and therefore not susceptible of so many successful effects. Grieg, although he could not be classed as a great master pianist, had the gift of writing beautifully for the piano.”
For the most part, Rachmaninov’s earliest orchestral works reveal influences from three major Russian composers of his formative years: Rimsky-Korsakov, Borodin, and above all Tchaikovsky, whom he revered and idolized. With regard to his style of piano writing, he had the following to say:
“I believe in what might be called indigenous music for the piano; that is, music which the Germans would describe as klaviermässig. So much has been written for the instrument that is really alien. Brahms is a notable example. Rimsky-Korsakov is possibly the greatest of Russian composers; yet no one plays his concerto these days, because it is not klaviermässig. On the other hand the concertos of Tchaikovsky are frequently heard because they lie well under the fingers! Even with my own concertos I much prefer the third, because my second is uncomfortable to play, and therefore not susceptible of so many successful effects. Grieg, although he could not be classed as a great master pianist, had the gift of writing beautifully for the piano.”
Rachmaninov was famous for his introverted and melancholy temperament (mainly attributed to homesickness). The great conductor Eugene Ormandy once said: “Rachmaninov was really two people. He hated his own music and was usually unhappy about it when he performed or conducted it in public so that the public only saw this side of him. But, among his close friends, he had a very good sense of humor and was in good spirits.”
Leo Eylar
A very rare photograph of Rachmaninov smiling