707:
898:
820:
802:
743:
511:
408:
375:
332:
601:
180:, a Russian composer he had met before he had composed the work, saying, "I hurry in order to get money I need by a certain date ... This perpetual financial pressure is, on the one hand, quite beneficial ... by the 20th of this month I have to write six piano pieces." Rachmaninoff completed all six during October and December 1896, and dedicated all to Zatayevich. Despite the hasty circumstances, the work evidences his early
2427:
868:
751:
643:
483:
269:
927:
2437:
224:(Op. 10, 1894), that Rachmaninoff places specific qualities of his own playing into his music. There is passionate lyricism in numbers three and five, but the others require a pianist with virtuoso technique and musical perception. These were composed during the middle of Rachmaninoff's career, and created a foundation of inner voices that he would elaborate on in his
33:
849:. Additionally, octave intervals invariably appear before fast sextuplet runs, making quick wrists and arm action necessary. The double melodies Rachmaninoff uses in this work exist purposely to "keep both hands occupied," obscuring the melody and making it difficult for the right hand to project. This is the only piece in the set with indicated
1063:
were regarded as his return to mature composition. Although revolutionary and grand in style, they retain the charm of his early works, as mentioned by pianist
Elizabeth Wolff: "They are typical of his early works, dense, rich in counterpoint, highly chromatic, poignantly nationalistic, deeply felt,
1034:
is one of the most difficult pieces in the set. Stamina and strength are required to sustain a full resonant sound, while the continuous thirty-second figure can be tiring for the pianist. Consistent tempo is a problem for this piece, due to the melody being interspersed with two other elements.
1075:
go as far as to "confirm the inexplicable inherent in genius", with "exquisite melody, wondrous harmonic changes, 'heavenly brevity'," while maintaining "a sense of contrast and variety that allows each miniature to stand alone while complementing the work on either side of it." Although it is
905:
Lacking any prodigious figures or difficult runs, the piece displays
Rachmaninoff's capability for musical lyricism. Although the piece seems simple, the mood must be sustained by playing simultaneously restrained but dynamic triplet figures in the left hand. The melody, a chordal texture with
784:
introduction with a thick texture in the left hand consisting of chromatic sextuplets. The melody is a "rising quasi-military" idea, interspersed between replications of the left hand figure, the mostly two-note melody being a strong unifying element. The middle section is a brief period of
103:
The individual pieces have been described as "true concert works, being best served on a stage and with a concert grand." Although composed as part of a set, each piece stands on its own as a concert solo with individual themes and moods. The pieces span a variety of themes ranging from the
1015:
effect. This "triple counterpoint... is titanic both in size and impact, and in potential for disaster," referring to the tension, waiting for the final climax, in this "continuing explosion." Immediately before the coda, the thick texture and canon suddenly disappear and the piece becomes
677:
Comprising only 55 measures, this piece is one of the shortest but has one of the longer playing times of about seven minutes (four and a half if the repeat is not taken). The piece is structured as a three-part form. The theme of the first and second sections are played entirely in
982:
Like the second and fourth pieces, number six is written in the form of an étude, with a repetitive but technically challenging chordal melody that is doubled in both hands. In all, the work has three distinct elements played simultaneously: the main melody, the continuous
175:
By the fall of 1896, 23-year old
Rachmaninoff's financial status was precarious, not helped by his being robbed of money on an earlier train trip. Pressed for time, both financially and by those expecting a symphony, he "rushed into production." On December 7, he wrote to
1043:, indicate that an accurate vision of relative volume is necessary. Maintaining this accuracy while managing every other element of the piece and successfully presenting a musically solid performance continues to be the ultimate challenge of all.
810:. The technique of rapidly changing the octave in which a melody is played, sometimes called "registral displacement", is used to present the figure in a more dramatic form that increases the intensity of the ending. The ending, a coda in
515: = 92. It is 131 measures long, the most of all six pieces, but the second shortest in terms of playing time, usually no longer than three and a half minutes (the shortest is number four). This piece represents a typical
619:
1007:. The middle section is wholly softer, and contains two areas with significant mounting tension, creating the aforementioned "apotheosis effect" with dramatic "false starts." Here, Rachmaninoff manipulates the theme
610:
914:, and placing the correct emphasis on the correct notes. Its relatively short melody lines are a direct contrast to Rachmaninoff's characteristically long lines, giving a shorter time to bring out the
949:
The final piece or movement of a cycle that is virtuosic and brilliant, employing the entire range of dynamics and sonorities available to the piano, bringing a set of pieces to a glorious conclusion.
1064:
and of course, exceptionally challenging to the pianist." Later performances of this work would reveal that
Rachmaninoff had hidden a subtle rhythm and vitality that emerged under the long,
119:
In an interview in 1941, Rachmaninoff said, "What I try to do, when writing down my music, is to make it say simply and directly that which is in my heart when I am composing." Even though
190:
is a sophisticated work that is of longer duration, thicker textures, and greater virtuosic demands on the performer than any of
Rachmaninoff's previous solo piano works. It is similar to
236:(Op. 33). Although he usually gave the première of his own piano works, he was not the first to perform these, and the date of the first public performance has not yet been determined.
1076:
unknown whether the financial reaction of this composition recouped his stolen money, the emotional reaction to it would be overshadowed for the following years by the catastrophic
618:
2440:
538:
with a coda: identical beginning and ending sections beginning on measures 1 and 85, and a contrasting middle section starting on measure 45. The second section radically changes
2351:
2262:
2257:
2252:
2246:
2239:
2233:
2228:
2223:
2217:
2205:
1963:
498:
The second piece, referred to as a "glittering showpiece", is positioned in contrast to the lyrical and "atmospheric" melody of the first piece. The piece is in the quick
589:
Rachmaninoff revised this piece in March 1940, changing the melody but leaving the constant sextuplets, proving that the rushing figures are not simple bravura or flair.
733:
in the taxing left hand figure place throughout. The piece is 67 measures long, with a duration of about three minutes, and has the fastest tempo of the set,
2156:
1735:
2028:
1799:
2397:
2468:
1817:
2049:
2087:
2079:
1766:
2143:
1133:
220:
2294:
2278:
2073:
1759:
833:
2339:
2334:
2329:
2319:
2299:
1681:
1493:
432:
is the longest in the set by playing time (about eight and a half minutes). It is described as a "generic hybrid", combining elements of the
806: = 112. At this point the piece develops a very thick texture, with the original left hand figure played in both hands in varying
2463:
670:
genres, to create what is called the "most
Russian" piece of the set, containing both sonorous bass and a solid melody, characteristics of
887:
accompaniment. Playing it takes approximately five minutes, and it is 53 measures long, the shortest in terms of measures. It is an
1898:
1893:
1888:
1877:
829:
766:
303:
1846:
2324:
2314:
2309:
2304:
2174:
2161:
1958:
1792:
1620:
1560:
1462:
1141:
767:
304:
1628:
2193:
729:
711:
566:
698:
octave bass. The lament of the opening theme transforms into an explicit funeral march as the left-hand octaves become regular.
81:
reproduces a musical form characteristic of a previous musical era. The forms that appear in
Rachmaninoff's incarnation are the
2346:
2289:
2111:
2004:
1997:
1990:
1969:
245:
226:
1642:
727:
The fourth piece is similar to the second in the quality of its performance. The fourth piece reveals resemblance to Chopin's
2392:
2021:
1149:
897:
819:
801:
742:
510:
407:
374:
331:
1945:
1933:
1928:
1922:
1698:
1304:„Единственное, что я стараюсь делать, когда я сочиняю, это заставить ее прямо и просто выражать то, что у меня на сердце.“
1056:
845:
The piece is a major exercise in endurance and accuracy: the introduction opens in a left hand figure requiring span of a
195:
2430:
1785:
379: = 76, and is a variation of the first theme in the unusual configuration of seven quarter notes per measure (
706:
123:
were written because he was short of money, the pieces summarize his knowledge of piano composition up to that point.
2095:
987:
116:
are both
Rachmaninoff's return to and revolution of solo piano composition. A typical performance lasts 30 minutes.
2473:
2371:
2185:
2166:
2105:
2100:
1853:
232:
765:
400:. The third section presents the last variation of the theme, again in common time, but in the fastest tempo yet,
302:
969:
thunders return and finally dominate." Despite the dark imagery presented to describe the piece, the work is in
662:." Drawing on the previous illustration of a "generic hybrid", this piece is described as a mixture between the
1552:
1214:
1202:
762:. The "registral displacement" (highlighted) alters certain notes in the familiar figure to increase tension.
2056:
1976:
55:
441:
281:
2376:
2136:
2035:
214:
716:
523:
152:
941:
or completion of struggle." It appears to be inspired by the texture in the Präludium from
Schumann's
448:, and long, all idiosyncratic elements Rachmaninoff often includes in his works. Because of this, the
2042:
1939:
1832:
937:
The last piece in the set is a quintessential nineteenth-century work, and has been described as an "
671:
177:
1001:
marked at the beginning is maintained all throughout the first section, with only brief respites to
658:
The continual gauntlets of number two are relieved by the third piece in the set, an "introspective
1983:
1808:
74:
17:
1427:
Rachmaninoff's Six moments musicaux, Op. 16, and the
Tradition of the Nineteenth-Century Miniature
1318:
416:
that returns to the first tempo, and repeats portions of the previous three parts. It ends with a
127:
opens the set with a long, reflective melody that develops into a rapid climax. The second piece,
1839:
1612:
984:
191:
527:
1677:
1616:
1556:
1489:
1485:
1458:
1430:
1137:
437:
148:
97:
1510:
789:
falling figures in the right hand and rising scales in the left. The third section is marked
1299:
965:
942:
907:
846:
807:
539:
491:
209:
205:
46:
2402:
2118:
911:
577:
417:
1731:
361:
figure for the left hand. A mid-piece pause at roughly the same area in Schubert's first
1003:
812:
2412:
1367:
1068:
915:
824: = 116, is a final, sweeping reiteration of the theme that closes in a heavy
516:
465:
380:
341:
240:
938:
828:
chord, which revisits Rachmaninoff's preoccupation with bell sounds, prominent in his
550:
544:
503:
2457:
2199:
1727:
1523:
1519:
1012:
994:
850:
683:
667:
651:
572:
337:
136:
109:
105:
556:
316:
1706:
1271:
1008:
535:
413:
867:
750:
642:
482:
367:
336: = 72. It is divided into three distinct sections. The first presents a
268:
1671:
1546:
1479:
1452:
617:
131:, is the first of the few in the set that reveal his mastery of piano technique.
2407:
1860:
991:
960:
926:
691:
679:
445:
325:
66:
659:
973:, and the result is more light-hearted than dark, but not as triumphal as the
880:
735:
634:
160:
86:
933:
is full of this thick texture, complicating the "challenging chordal melody".
791:
1434:
1248:
890:
204:(Op. 8, No. 12)—in both compositions, detail is more functional than
963:
main theme and only some brief midsection hazy sunshine the storm before
794:
1243:
1077:
975:
695:
561:
519:
433:
358:
181:
93:
90:
82:
2436:
494:
change so frequently they become one of the major hurdles in this piece.
464:
stands on its own with difficulties, such as the sections with multiple
365:
further emphasizes the influence of Schubert. The second part is marked
32:
1364:
The Complete Piano Music of Sergei Rachmaninov played by Howard Shelley
970:
825:
397:
1777:
1211:
An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff
1065:
884:
747: = 104, and is the shortest work in terms of playing time.
687:
531:
140:
1080:
in 1897 of his two-years' labor: the Symphony No. 1, Op. 13, 1895.
763:
499:
321:
300:
70:
31:
902: = 54, with a simple melody presented in ternary form.
1071:, furthering his acclaim as an incredibly complex musician. The
663:
1781:
1771:
135:
is a contrast to its two surrounding pieces, explicitly named "
155:, to synthesize an explosion of melodic intensity. The fifth,
1059:, Rachmaninoff was distracted from solo piano work, and the
599:
570:(Op. 10, No. 12, 1831). Ending the piece is a slow coda in
184:, and sets an example for the quality of his future works.
1673:
The Illustrated Lives of the Great Composers: Rachmaninoff
1055:
were well received by critics. During the writing of his
564:
and a cascading left hand figure reminiscent of Chopin's
871:
The left hand plays almost identical figures throughout
780:
is in ternary form with a coda. The piece begins with a
560:. It is, throughout, a relentless torrent of descending
530:(Opp. 10, 25), with a melody interspersed between rapid
1511:"Piano Sonata no. 2; Variations on a Theme of Corelli;
1331:
Pristine Classical – Lilya Zilberstein CD (Liner notes)
798:(more life) and is played even faster than the intro,
723:
in the continual left-hand figures and minimal melody.
167:, which closes the set in a thick three-part texture.
147:
draws inspiration from several sources, including the
1548:
The Harvard Concise Dictionary of Music and Musicians
1451:
Bertensson, Sergei; Jay Leyda; Sophia Satina (2001).
243:'s collection of six short piano pieces, also called
60:
959:
This "stormy, agitated" work contains a "vehemently
2385:
2364:
2271:
2128:
2065:
2014:
1914:
1907:
1870:
1824:
1732:"About the Work: Symphony No. 1 in D minor, Op. 13"
650:has low, dark, and thick melodies reminiscent of a
1024:theme and amalgamates to a majestic ending played
997:. Dynamics play a large part in this piece: the
1244:"Elizabeth Wolff: 19th century classical piano"
1020:. Upon entering the coda, the work resumes the
947:
1736:John F. Kennedy Center for the Performing Arts
1793:
8:
2398:Music written in all major and/or minor keys
1703:The Flying Inkpot classical concert reviews
1609:Sonata No. 1 and Other Works for Solo Piano
1551:. Cambridge, Massachusetts: Pelknap Press (
2268:
1911:
1800:
1786:
1778:
1481:Rachmaninoff: Composer, Pianist, Conductor
1420:
1767:International Music Score Library Project
1418:
1416:
1414:
1412:
1410:
1408:
1406:
1404:
1402:
1400:
1602:
1600:
1598:
1596:
1594:
1592:
1454:Sergei Rachmaninoff: A Lifetime in Music
925:
866:
749:
705:
641:
481:
452:is sometimes called an extension of his
267:
77:between October and December 1896. Each
73:pieces composed by the Russian composer
27:Solo piano pieces by Sergei Rachmaninoff
1699:"Lazar Berman Celebrity Concert review"
1643:"Rachmaninov Moment Musicaux Ashkenazy"
1590:
1588:
1586:
1584:
1582:
1580:
1578:
1576:
1574:
1572:
1446:
1444:
1313:
1311:
1089:
682:, accompanied by a left hand figure of
954:Robin Hancock, Boston University, 1992
879:The piece is similar to the form of a
690:. The third section has the melody in
632:
1665:
1663:
1457:. Indiana: Indiana University Press.
1130:Rachmaninoff: Life, Works, Recordings
412: = 84. The piece ends in a
7:
1357:
1355:
1353:
1351:
1349:
1347:
1196:
1194:
1192:
1190:
1188:
1186:
1184:
1182:
1180:
1178:
1123:
1121:
1119:
1117:
1115:
1113:
945:. The piece was once summarized as:
460:set (Op. 10, No. 1, 1894). However,
1429:(dissertation). Boston University.
1384:
1382:
1380:
1378:
1237:
1235:
1233:
1231:
1176:
1174:
1172:
1170:
1168:
1166:
1164:
1162:
1160:
1158:
1111:
1109:
1107:
1105:
1103:
1101:
1099:
1097:
1095:
1093:
1035:Additionally, the dynamics, mostly
45:(French for "Six Musical Moments";
18:Six Moments Musicaux (Rachmaninoff)
2469:Piano music by Sergei Rachmaninoff
25:
1242:Wolff, Elizabeth (January 2004).
2435:
2426:
2425:
2194:Variations on a Theme of Corelli
1484:. London: Scolar Press. p.
896:
818:
800:
741:
633:Problems playing this file? See
615:
509:
406:
373:
330:
2247:Morceau de Fantaisie in G minor
2157:Variations on a Theme of Chopin
1998:Rhapsody on a Theme of Paganini
1899:Piano Concerto No. 4 in G minor
1894:Piano Concerto No. 3 in D minor
1889:Piano Concerto No. 2 in C minor
1670:Matthew-Walker, Robert (1984).
1362:Matthew-Walker, Robert (1994).
280:shows off the long melody in a
2393:Sergei Rachmaninoff recordings
2029:Liturgy of St. John Chrysostom
910:, creates a difficult task in
883:, a folk song with a rhythmic
576:(at ease) which closes with a
239:The set's name is inspired by
1:
2162:Piano Sonata No. 1 in D minor
1697:Soo, Kian Hing (1999-05-14).
1425:Hancock, Robin James (1992).
593:3. Andante cantabile, B minor
212:. It is here, rather than in
1607:Rachmaninoff, Serge (2001).
754:Left hand figure in opening
69:. 16, is a set of solo
62:Shest’ muzykál’nykh moméntov
2464:Compositions for solo piano
1391:Piano Music of Rachmaninoff
719:, top) bears comparison to
542:, constantly changing from
61:
36:Sergei Rachmaninoff in 1901
2490:
2372:Conservatoire Rachmaninoff
2106:Suite No. 2 for two pianos
2101:Suite No. 1 for two pianos
1319:"Mussorgsky/Rachmaninov –
990:figures, and a descending
758:(top) and third section's
51:Шесть музыкальных моментов
2421:
1946:Symphony No. 3 in A minor
1934:Symphony No. 2 in E minor
1929:Symphony No. 1 in D minor
1878:Piano Concerto No. 1 in F
1815:
1676:. London: Omnibus Press.
1321:Pictures at an Exhibition
1303:
534:figures. It is in strict
418:perfect authentic cadence
50:
2234:Piece (Canon) in D minor
1641:Waller, Patrick (2006).
1553:Harvard University Press
1509:Anderson, Keith (2000).
1215:Florida State University
163:form, before the finale
2175:Piano Sonata No. 2 in B
2096:Cello Sonata in G minor
1647:Music Web International
1545:Randel, Don M. (1999).
1478:Martyn, Barrie (1990).
1393:(liner notes). Vox Box.
1389:Darrell, R. D. (1977).
894:(sustained at ease) at
396:). This part ends in a
328:long, and is marked at
314:The first piece has an
108:of number three to the
1772:Piano.ru – Sheet music
1368:Nimbus Records Limited
1270:Brisson, Eric (2007).
1201:Angela Glover (2003).
1128:Harrison, Max (2006).
957:
934:
876:
857:5. Adagio sostenuto, D
774:
772:
724:
655:
625:Performed by Debbie Hu
604:
522:, similar in style to
495:
440:genres. The melody is
311:
309:
85:, song without words,
37:
2377:Rachmaninoff (crater)
2137:Morceaux de fantaisie
1611:. Mineola, New York:
979:would make it sound.
929:
870:
770:
753:
709:
645:
603:
485:
307:
271:
215:Morceaux de fantaisie
35:
2151:Six moments musicaux
1818:List of compositions
1053:Six moments musicaux
922:6. Maestoso, C major
830:Piano Concerto No. 2
246:Six moments musicaux
188:Six moments musicaux
178:Aleksandr Zatayevich
98:theme and variations
42:Six moments musicaux
2253:Fughetta in F major
2240:Four Improvisations
2050:Three Russian Songs
1847:Francesca da Rimini
1809:Sergei Rachmaninoff
1213:(Ph. D. treatise).
730:Revolutionary étude
712:Revolutionary étude
567:Revolutionary Étude
490:s section two, the
454:Nocturne in A minor
438:theme and variation
112:of number six, the
75:Sergei Rachmaninoff
2352:Prelude in F major
1959:Scherzo in D minor
1840:The Miserly Knight
1613:Dover Publications
1325:6 Moments musicaux
1136:. pp. 72–73.
985:thirty-second note
935:
877:
775:
773:
725:
702:4. Presto, E minor
666:without words and
656:
605:
517:nineteenth-century
496:
468:in a single hand.
402:Andantino con moto
371:(with motion), at
312:
310:
192:Alexander Scriabin
38:
2474:1896 compositions
2449:
2448:
2360:
2359:
2144:Morceaux de salon
2074:Morceaux de salon
1954:
1953:
1683:978-0-7119-0253-4
1495:978-0-859-67809-4
768:
648:Andante cantabile
620:
458:Morceaux de Salon
357:) with a typical
305:
221:Morceaux de salon
218:(Op. 3, 1892) or
133:Andante cantabile
59:
16:(Redirected from
2481:
2439:
2429:
2428:
2347:Preludes, Op. 32
2290:Preludes, Op. 23
2284:
2283:
2269:
2218:Lento in D minor
2211:
2210:
2180:
2179:
2112:Russian Rhapsody
2005:Symphonic Dances
1991:Isle of the Dead
1984:Caprice bohémien
1970:Prince Rostislav
1964:Suite in D minor
1912:
1883:
1882:
1802:
1795:
1788:
1779:
1765:: Scores at the
1761:Moments musicaux
1747:
1746:
1744:
1742:
1724:
1718:
1717:
1715:
1714:
1705:. Archived from
1694:
1688:
1687:
1667:
1658:
1656:
1654:
1653:
1638:
1632:
1626:
1604:
1567:
1566:
1542:
1536:
1534:
1532:
1531:
1513:Moments musicaux
1506:
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1499:
1475:
1469:
1468:
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1438:
1422:
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1342:
1341:
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1338:
1315:
1306:
1305:
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1286:
1274:Moments musicaux
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1261:
1260:
1258:
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1226:
1225:
1223:
1222:
1205:Moments musicaux
1198:
1153:
1147:
1125:
955:
901:
900:
873:Adagio sostenuto
862:
861:
842:(Op. 3, No. 2).
839:
838:
823:
822:
805:
804:
769:
746:
745:
622:
621:
602:
585:
584:
514:
513:
477:
476:
472:2. Allegretto, E
425:
424:
411:
410:
394:
393:
392:
391:
378:
377:
363:Moments musicaux
355:
354:
353:
352:
340:in common time (
335:
334:
306:
298:
297:
296:
295:
263:
262:
249:(Op. 94, 1828).
210:musical argument
201:
200:
159:is a respite in
157:Adagio sostenuto
121:Moments musicaux
114:Moments musicaux
64:
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52:
21:
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2403:Ivanovka estate
2381:
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2267:
2229:Three Nocturnes
2208:
2207:
2187:Études-Tableaux
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2168:Études-Tableaux
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2119:Polka Italienne
2061:
2022:All-Night Vigil
2010:
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1522:performing for
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1309:
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1293:
1284:
1282:
1272:"Rachmaninov –
1269:
1268:
1264:
1255:
1253:
1241:
1240:
1229:
1220:
1218:
1217:. pp. 9–15
1200:
1199:
1156:
1144:
1127:
1126:
1091:
1086:
1049:
956:
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908:suspended tones
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258:1. Andantino, B
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233:Études-Tableaux
198:
197:
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153:Frédéric Chopin
28:
23:
22:
15:
12:
11:
5:
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2098:
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2089:Trio élégiaque
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2081:Trio élégiaque
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1987:
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1961:
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1923:Youth Symphony
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1755:
1754:External links
1752:
1749:
1748:
1730:(2002-11-23).
1728:Freed, Richard
1719:
1689:
1682:
1659:
1633:
1621:
1568:
1561:
1537:
1535:, liner notes.
1515:: Rachmaninov"
1501:
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1307:
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1262:
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1057:Symphony No. 1
1048:
1045:
1009:contrapuntally
951:
923:
920:
864:
855:
847:tenth interval
816:(very quick),
703:
700:
694:, alongside a
630:
624:
614:
611:No. 3, B minor
609:
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591:
578:plagal cadence
507:(quickly), at
479:
470:
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347:
324:, is 113
290:
282:compound meter
265:
256:
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241:Franz Schubert
172:
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79:Moment musical
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2288:
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2263:Miscellaneous
2261:
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1709:on 2007-10-07
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1562:0-674-00978-9
1558:
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1524:Naxos Records
1521:
1516:
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1464:0-253-21421-1
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1033:
1029:
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1026:fortississimo
1023:
1019:
1014:
1011:to develop a
1010:
1006:
1005:
1000:
996:
993:
989:
986:
980:
978:
977:
972:
968:
967:
966:fortississimo
962:
961:triple-dotted
950:
946:
944:
943:Bunte Blätter
940:
932:
928:
921:
919:
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699:
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693:
689:
685:
681:
675:
673:
672:Russian music
669:
668:funeral march
665:
661:
653:
652:funeral march
649:
644:
638:
636:
612:
592:
590:
587:
579:
575:
574:
569:
568:
563:
559:
558:
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541:
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506:
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493:
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471:
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459:
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443:
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435:
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409:
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389:
376:
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369:
364:
360:
356:
350:
339:
333:
327:
323:
319:
318:
293:
283:
279:
275:
270:
257:
252:
250:
248:
247:
242:
237:
235:
234:
230:(Op. 23) and
229:
228:
223:
222:
217:
216:
211:
207:
206:ornamentative
203:
194:'s momentous
193:
189:
185:
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179:
170:
168:
166:
162:
158:
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150:
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138:
137:funeral march
134:
130:
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117:
115:
111:
107:
106:funeral march
101:
99:
95:
92:
88:
84:
80:
76:
72:
68:
63:
57:
48:
44:
43:
34:
30:
19:
2451:
2365:Recognitions
2279:Prelude in C
2258:Three Pieces
2245:
2238:
2216:
2198:
2186:
2167:
2150:
2149:
2142:
2135:
2117:
2110:
2088:
2080:
2072:
2055:
2048:
2041:
2034:
2027:
2020:
2003:
1996:
1989:
1982:
1975:
1968:
1938:
1921:
1859:
1852:
1845:
1838:
1831:
1774:(in Russian)
1760:
1739:. Retrieved
1722:
1711:. Retrieved
1707:the original
1702:
1692:
1672:
1657:Liner notes.
1650:. Retrieved
1646:
1636:
1629:Google Books
1608:
1547:
1540:
1528:. Retrieved
1518:
1512:
1504:
1480:
1473:
1453:
1426:
1390:
1372:Liner notes.
1363:
1335:. Retrieved
1330:
1324:
1320:
1298:Original in
1294:
1283:. Retrieved
1279:
1273:
1265:
1254:. Retrieved
1247:
1219:. Retrieved
1210:
1204:
1150:Google Books
1129:
1072:
1060:
1052:
1050:
1040:
1036:
1031:
1030:
1025:
1021:
1017:
1002:
998:
988:broken chord
981:
974:
964:
958:
948:
936:
930:
904:
888:
878:
872:
844:
834:Prelude in C
811:
790:
786:
781:
777:
776:
759:
755:
734:
728:
726:
720:
710:
692:minor sixths
680:minor thirds
676:
657:
647:
588:
571:
565:
555:
549:
543:
536:ternary form
502:
497:
487:
461:
457:
453:
449:
429:
428:
401:
387:
366:
362:
348:
315:
313:
291:
277:
273:
244:
238:
231:
225:
219:
213:
187:
186:
174:
164:
156:
144:
132:
128:
124:
120:
118:
113:
102:
78:
41:
40:
39:
29:
2413:Romanticism
2408:Villa Senar
2224:Four Pieces
1861:Monna Vanna
1741:15 December
1276:(6), op.16"
1004:mezzo forte
992:eighth note
813:Prestissimo
739:(quick) at
684:open fifths
646:The entire
488:Allegretto'
320:(moderate)
253:Composition
2458:Categories
2206:Étude in F
2129:Solo piano
1915:Symphonies
1908:Orchestral
1713:2007-09-10
1652:2007-08-18
1530:2007-08-20
1520:İdil Biret
1337:2007-09-16
1285:2007-08-19
1280:Pianopedia
1256:2007-09-10
1221:2019-05-05
1132:. London:
1084:References
1041:fortissimo
999:fortissimo
939:apotheosis
881:barcarolle
853:markings.
787:pianissimo
782:fortissimo
635:media help
562:half steps
551:fortissimo
504:allegretto
446:syncopated
196:Étude in D
182:virtuosity
171:Background
161:barcarolle
129:Allegretto
87:barcarolle
2043:The Bells
1940:The Bells
1249:Magnatune
1207:, Op. 16"
1134:Continuum
1047:Reception
906:frequent
891:sostenuto
808:registers
557:sforzando
554:and even
532:sextuplet
462:Andantino
450:Andantino
442:chromatic
430:Andantino
317:andantino
274:Andantino
208:in their
125:Andantino
56:romanized
2431:Category
2282:♯
2272:Preludes
2209:♯
2189:, Op. 39
2178:♭
2170:, Op. 33
2057:Vocalise
1977:The Rock
1881:♯
1871:Concerto
1854:Salammbô
1763:, Op. 16
1627:Text at
1435:48147852
1148:Text at
1078:premiere
1032:Maestoso
976:Maestoso
952:—
931:Maestoso
860:♭
837:♯
760:Più vivo
696:staccato
583:♭
540:dynamics
492:dynamics
475:♭
434:nocturne
423:♭
368:con moto
359:nocturne
326:measures
278:Con moto
261:♭
227:Preludes
199:♯
165:Maestoso
149:Preludes
91:virtuoso
83:nocturne
2386:Related
2066:Chamber
1300:Russian
1073:Moments
1069:phrases
1066:melodic
1061:Moments
1013:canonic
971:C major
916:phrases
912:voicing
889:adagio
826:E minor
688:octaves
660:rêverie
586:minor.
466:phrases
456:of the
426:minor.
398:cadenza
139:" and "
58::
47:Russian
2036:Spring
1680:
1619:
1559:
1492:
1461:
1433:
1333:. 2004
1140:
885:tuplet
778:Presto
771:Listen
756:Presto
736:Presto
721:Presto
717:Chopin
573:Adagio
528:Études
420:into B
308:Listen
276:, the
145:Presto
141:lament
96:, and
2441:Audio
2285:minor
2212:major
2181:minor
2091:No. 2
2083:No. 1
2015:Vocal
1884:minor
1833:Aleko
1825:Opera
1037:forte
1022:forte
1018:piano
995:motif
863:major
851:pedal
840:minor
545:piano
520:étude
500:tempo
478:minor
404:, at
338:theme
322:tempo
264:minor
202:minor
110:canon
94:étude
71:piano
1743:2019
1678:ISBN
1617:ISBN
1557:ISBN
1490:ISBN
1459:ISBN
1431:OCLC
1251:.com
1138:ISBN
1051:The
1039:and
832:and
795:vivo
686:and
664:song
580:in E
436:and
414:coda
1555:).
1486:111
792:Più
548:to
526:'s
486:In
299:).
272:In
151:of
143:."
65:),
2460::
2340:10
1734:.
1701:.
1662:^
1645:.
1615:.
1571:^
1517:.
1488:.
1443:^
1399:^
1377:^
1366:.
1346:^
1329:.
1310:^
1302::
1278:.
1246:.
1230:^
1209:.
1157:^
1092:^
1028:.
918:.
674:.
444:,
100:.
89:,
67:Op
53:,
49::
2335:9
2330:8
2325:7
2320:6
2315:5
2310:4
2305:3
2300:2
2295:1
1801:e
1794:t
1787:v
1745:.
1716:.
1686:.
1655:.
1631:.
1625:.
1565:.
1533:.
1498:.
1467:.
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