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Home , Morceaux de fantaisie, Polka Italienne, The Rock (Rachmaninoff)

Rachmaninoff COMPLETE MUSIC Sergei 1873-1943 Complete Piano Music

Études-Tableaux Op.33 Prelude Op.3 No.2 Variations on a Theme of Chopin Op.22 Moments Musicaux Op.16 1. No.1 in F minor, allegro 18. Lento, in C sharp minor 4’09 42. Theme: largo 1’13 68. No.1 in B flat minor, andantino 7’06 non troppo 2’47 43. Var. 1: moderato 0’42 69. No.2 in E flat minor, allegretto 3’10 2. No.2 in C, allegro 2’23 Op.23 44. Var. 2: allegro 0’15 70. No.3 in B minor, andante 3. No.3 in C minor, grave 5’35 19. No.1 Largo in F sharp minor 3’00 45. Var. 3 0’15 cantabile 6’25 4. No.4 in D minor, moderato 3’04 20. No.2 Maestoso in B flat 3’33 46. Var. 4 0’50 71. No.4 in E minor, presto 2’56 5. No.5 in E flat minor, 21. No.3 Tempo di minuetto 47. Var. 5: meno mosso 0’24 72. No.5 in D flat, andante non allegro-presto 1’50 in D minor 3’13 48. Var. 6: meno mosso 1’02 sostenuto 3’22 6. No.6 in E flat, allegro con fuoco 1’59 22. No.4 Andante cantabile in D 4’32 49. Var. 7: allegro 0’17 73. No.6 in C, maestoso 4’38 7. No.7 in G minor, moderato 4’01 23. No.5 Alla marcia in G minor 3’46 50. Var. 8 0’21 8. No.8 in C sharp minor, grave 2’55 24. No.6 Andante in E flat 2’38 51. Var. 9 0’20 Alexander Gavrylyuk piano 25. No.7 Allegro in C minor 2’33 52. Var. 10: più vivo 0’30 Études-Tableaux Op.39 26. No.8 Allegro vivace in A flat 3’30 53. Var. 11: lento 1’27 Piano Sonata No.2 in B flat minor 9. No.1 in C minor, 27. No.9 Presto in E flat minor 1’51 54. Var. 12: moderato 2’05 Op.36 (revised version, 1931) allegro agitato 3’13 28. No.10 Largo in G flat 3’32 55. Var. 13: largo 1’15 Movement 1 10. No.2 in A minor, lento assai 6’10 56. Var. 14: moderato 1’20 74. Allegro agitato 1’40 11. No.3 in F sharp minor, Preludes Op.32 57. Var. 15: allegro scherzando 1’23 75. Meno mosso: Measure 38 1’39 allegro molto 2’54 29. No.1 Allegro vivace in C 1’14 58. Var. 16: lento 1’08 76. Measure 55 1’43 12. No.4 in B minor, allegro assai 3’38 30. No.2 Allegretto in B flat minor 3’07 59. Var. 17: grave 1’33 77. Tempo I: 98 2’54 13. No.5 in E flat minor, 31. No.3 Allegro vivace in E 2’37 60. Var. 18 più mosso 0’50 appassionato 5’29 32. No.4 Allegro con brio 61. Var. 19: allegro vivace 1’11 Movement 2 14. No.6 in A minor, allegro 2’45 in E minor 5’36 62. Var. 20: presto 1’07 78. Non allegro – Lento 3’22 15. No.7 in C minor, lento, lugubre 5’25 33. No.5 Moderato in G 3’11 63. Var. 21: andante-più vivo 2’36 79. Poco più mosso: 36 1’14 16. No.8 in D minor, 34. No.6 Allegro appassionato 64. Var. 22: maestoso 4’50 80. Tempo I: 63 – attacca 1’30 allegro moderato 3’36 in F minor 1’27 17. No.9 in D, allegro moderato 3’35 35. No.7 Moderato in F 2’17 Piano Sonata No.1 in D minor Op.28 Movement 3 36. No.8 Vivo in A minor 1’48 65. I. Allegro moderato 12’05 81. L’istesso tempo – Allegro molto 1’42 Zlata Chochieva piano 37. No.9 Allegro moderato in A 2’58 66. II. Lento 8’06 82. A tempo meno mosso: 76 0’55 38. No.10 Lento in B minor 5’25 67. III. Allegro molto 14’16 83. Tempo I: 106 1’20 Recording: 4-5 September 2015, Westvest Church, 39. No.11 Allegretto in B 2’18 84. Tempo rubato: 184 1’37 Schiedam, Netherlands 40. No.12 Allegro in G sharp minor 2’28 Zlata Chochieva piano Producer: Pieter van Winkel p 2016 Piano Classics 41. No.13 Grave in D flat 5’09 © 2021 Brilliant Classics Recording: January 2012, Studio I Musicanti, Rome Piano Classics is a tradename of Brilliant Classics B.V. Lukas Geniušas piano Sound engineer, mastering and producer: Giovanni Caruso Musical supervision: Dario Paolini, Giovanni Caruso Recording: Live, Grand Hall of Moscow Editing: Giovanni Caruso, Andrea Caruso Conservatory, March 25, 2013 Piano Gran Coda Yamaha CFIII Sound engineer/mastering: Anastasia Rybakova p 2016 Piano Classics Engineer: Igor Solovyov © 2021 Brilliant Classics Executive producer: Eugene Platonov Piano Classics is a tradename of Brilliant Classics B.V. p 2016 Piano Classics © 2021 Brilliant Classics Piano Classics is a tradename of Brilliant Classics B.V. Variations on a theme of Corelli Op.42 Four Improvisations on Themes of Op.3 132. Oriental Sketch in B flat 85. Theme. Andante 1’01 Arensky, Glazunov, Taneyev and 113. Elégie in E flat minor 4’46 Non allegro 86. Var. 1. Poco più mosso 0’47 Rachmaninoff (c.1896–97) 114. Prélude in C sharp minor 3’50 (14–27 November 1917) 1’57 87. Var. 2. L’istesse tempo 0’39 107. Moderato in E minor 0’55 115. Mélodie in E major 3’56 88. Var. 3. Tempo di menuetto 0’36 108. Allegretto in C major 0’43 116. Polichinelle in F sharp minor 3’45 133. Piece (Prelude) in D minor 89. Var. 4. Andante 0’55 109. Allegro scherzando in 117. Sérénade in B flat minor 3’22 Andante ma non troppo – 90. Var. 5. Allegro 0’20 B flat minor 0’38 Poco più mosso – Tempo I 91. Var. 6. L’istesso tempo 0’21 110. Lento – Tempo di valse – Transcriptions (14–27 November 1917) 2’37 92. Var. 7. Vivace 0’26 Tempo di marcia – Tempo del J.S. BACH. from the violin partita in E 93. Var. 8. Adagio misterioso 1’02 commincio, largo in F minor 1’06 118. Prélude 4’00 134. Fragments in A flat 94. Var. 9. Un poco più mosso 1’16 119. Gavotte 3’18 Andante semplice – Più mosso – 95. Var. 10. Allegro scherzando 0’34 111. Morceau de fantaisie in G minor 120. Gigue 1’54 Come prima 96. Var. 11. Allegro vivace 0’20 (Delmo) Liberamente (15–28 November 1917) 2’02 97. Var. 12. L’istesso tempo 0’31 (11–23 January 1899) 1’00 121. F. SCHUBERT Wohin? 2’33 98. Var. 13. Agitato 0’41 122. G. BIZET Menuet from 135. The Star-Spangled Banner in B flat 99. Intermezzo: A tempo rubato 1’25 112. Fughetta in F Moderato ‘L’Arlésienne” 3’00 (15 December 1918) 1’28 100. Var. 14. Andante 1’05 (4–16 February 1899) 2’27 123. F. MENDELSSOHN Scherzo from arr. after John Stafford Smith’s 101. Var. 15. L’istesso tempo 1’16 “A Midsummernight dream” 4’29 To Anacreon in Heaven, 5th Book 102. Var. 16. Allegro vivace 0’36 Nils Franke piano 124. S. RACHMANINOFF of Canzonets, Catches, Canons and 103. Var. 17. Meno mosso 1’16 The Lilacs 2’32 Glees, London 1799 104. Var. 18. Allegro con brio 0’34 Recording: 27 April 2011, Westvest Church Schiedam, 125. S. RACHMANINOFF 105. Var. 19. Più mosso - Agitato 0’29 The Netherlands (tr.1-6); January & April 1993 The Daisies 2’44 Nils Franke piano (tr.7-17), June 1994 (tr.18-39), John Addison Concert 106. Var. 20. Più mosso - Coda 2’29 Hall, Fort Washington, USA; 1–3 August 2008, Music 126. P. TCHAIKOVSKY Lullaby 5’03 Room, Champs Hill, West Sussex, England (tr.40-45) 127. M. MUSSORGSKY Recording: September 1995, Moscow Conservatory Santiago Rodriguez piano Producer: Pieter van Winkel (tr.1-6); Natalia Hopak from (tr.1-19); 1–3 August 2008, Music Room, Champs Hill, West Sussex, England (tr.20-23) Rodriguez (tr.7-39); Ates Orga (tr.40-45) “The Sorochintsy fair” 2’05 Engineer: Peter Arts (tr.1-6); Edward Kelly (tr.7-39); Producer: Edward Shakhnazarian (tr.1-19); Ates Orga James Shannon, Andrew Mellor (Editor) (tr.40-45) 128. N. RIMSKY-KORSAKOV (tr.20-23) Licensed from Élan Recordings (tr.7-39) The Flight of the Bumble-bee, from Editing: Farida Uzbekova )tr.1-19); p 2016 Piano Classics (tr. 1-6) “The Tale of the Tsar Saltan” 1’09 Engineer: James Shannon (tr.20-23) Editing: Farida Uzbekova (tr.1-19); Andrew Mellor © 2021 Brilliant Classics 129. F. KREISLER Liebesleid 4’29 Piano Classics is a tradename of Brilliant Classics B.V. (tr.20-23) 130. F. KREISLER Liebesfreud 6’39 p 2016 Piano Classics (tr. 1-19) © 2021 Brilliant Classics 131. Polka V.R. 4’10 Piano Classics is a tradename of Brilliant Classics B.V.

Alexander Ghindin piano Suite in D minor (1890/1891) Fantaisie-tableaux (Suite No.1) for two Symphonic Dances for two 136. Lento -Allegro moderato 5’48 pianos Op.5 Op.45 137. Lento 5’34 157. Barcarolle 7’48 175. I. Non allegro 10’56 138. Menuetto-Trio 2’20 158. La nuit…l’amour 5’45 176. II. Andante con moto, 139. Allegro 4’43 159. Les larmes 6’34 tempo di valse 8’41 160. Pâques 2’26 177. III. Lento assai – 140. Song without words Allegro vivace 12’39 in D minor, lento (1886/7) 1’27 161. Russian Rhapsody 8’50 178. Romance in G for piano duet 1’44 Four Pieces (1887-1891) Six Morceaux for piano duet Op.11 141. Romance 1’59 162. Barcarolle 4’59 179. Prelude in C sharp minor 142. Prélude 3’12 163. Scherzo 2’47 for two pianos 4’21 143. Mélodie 3’02 164. Russian Theme 4’15 144. Gavotte 3’39 165. Valse 3’41 Ingryd Thorson & Julian Thurber 166. Romance 3’35 piano duet Nocturnes (1887/88) 167. Slava 4’17 with David Gardiner (168–169) 145. Nocturne in F 3’24 146. Nocturne in F sharp minor 4’03 Two Pieces for piano six-hands Recording: 1985, Paula’s Recording Hall, Denmark 147. Nocturne in C minor 4’03 168. Valse 1’11 Producer: Karin Jürgensen Engineers: Leif Ramlöv Svendsen & Karin Jürgensen 148. Canon in E minor (1889-92) 2’26 169. Romance 3’42 Licensed from Paula Records, Denmark 149. Prelude in F (1891) 2’34 © 2021 Brilliant Classics 170. for piano duet 1’56 Morceaux de salon Op.10 (1893/4) 150. Nocturne 4’47 Suite No.2 for two pianos Op.17 151. Valse 3’16 171. I. Introduction 4’28 152. Barcarolle 4’49 172. II. Valse 6’25 153. Mélodie 3’50 173. III. Romance 7’01 154. Humoresque 3’20 174. IV. Tarantelle 6’02 155. Romance 4’07 156. Mazurka 5’33

Elisa Tomellini piano

Recording: 21/22 February 2016, Cavalli Music Recording Studio, Castrezzato/Brescia, Italy Producer: Alberto Spano Engineer: Rino Trasi Piano: Steinway & Sons Grand Piano, Model D 274 No. 594457 (Hamburg 2013) from the Passadori Pianoforti Collection, Brescia Piano technician: Giulio Passadori p 2016 Piano Classics © 2021 Brilliant Classics Piano Classics is a tradename of Brilliant Classics B.V.

Cover: Bain Collection/Library of Congress, Washington DC © 2021 Brilliant Classics Preludes Etudes Tableaux Rachmaninoff may have formed the idea of composing a complete sequence of Although Rachmaninoff never denied the existence of extra-musical influences on preludes covering all twenty-four keys in the manner of Chopin in 1902, while his creative process, stating: “there must be something definite before my mind to working on the Chopin Variations, based on the C sharp minor prelude (Op.28/20). convey a definite impression, otherwise the ideas refuse to appear”, he was careful His previous preludes were either stand-alone pieces - the Prelude F major of 1891, to conceal this process, and his piano compositions generally have neutral or generic revised as a duet for piano and cello (Op.2/1) - or had appeared in collections of titles which give few clues as to their meaning or interpretation. This no doubt unrelated works - the second of the Four Pieces or the famous Prelude in C sharp would also have been the case with the two sets of Etudes-Tableaux (Opp. 33 and minor from the Morceaux de Fantasie (Op.3/2). By the summer of 1903, he had 39) but for a proposal from Serge Koussevitzky in 1930 for Respighi to orchestrate completed nine which together with the G minor prelude of 1901, whose expansively a selection of them. Rachmaninoff reacted enthusiastically to the idea and to assist lyrical second theme has obvious affinities with the recently completedSecond Piano Respighi revealed to him the “secret explanations” of the five chosen pieces Op.33/7,( , were published as a set of ten (Op.23) in 1904. Although these show and Op 39/2, 6, 7 and 9). The original set comprised nine pieces composed between Rachmaninoff at both his most brilliant and most tender, especially in the E flat 11th August and 11th September 1911, but three (numbers 3 to 5 in the original major prelude completed on the same day his daughter was born (14th May 1903), sequence) were removed before publication in August 1914. The reasons for this are he admitted that he had not enjoyed their composition, the need to earn money obscure - possibly Rachmaninoff wished conceal evidence of self-borrowing from being his primary motivation. The choice of a different key for each one points to the projected Fourth Piano Concerto (only completed in 1926) and the First Piano an intention to compose a complete cycle (or at least indicating that he was leaving Sonata of 1908 – and the “Third” and “Fifth” remained unpublished (as he wished) his options open to do so) and although there is no coherent key arrangement (e.g. until 1948. They are now generally restored to their original places in Op.33 (as Chopin’s circle of fifths or Bach’s rising semitone) a simple pattern is introduced by a here) permitting the work to be heard more or less as Rachmaninoff first conceived it major/minor alternation and some grouping by relative and parallel keys. It would be (although not as he intended it to be heard). An entirely faithful reconstruction of the another seven years before Rachmaninoff was to complete the sequence, composing original is however precluded by the inclusion of the A minor piece in the Op.39 set. thirteen in the remaining keys in two short bursts of intense creativity between 23rd Rachmaninoff began work on this in late 1915, completing it the following autumn August and 10th September 1910 (the early C sharp minor piece making up the total). and its composition were overshadowed not only by the war but also the deaths in As in Op.23, major and minor keys alternate but here with a greater juxtaposition quick succession of his friends Skriabin and Taneyev and his father. Both sets feature of parallel and relative keys, and by placing the D flat major prelude last, to mirror Rachmaninoff’s signature musical characteristics – the Dies irae motif and bell-like the enharmonic C sharp minor written almost ten year previously, a neat circularity sonorities - and his notes for Respighi reveal that Op.33/7 depicts a Russian fair, is achieved. The D flat major prelude refers back to its predecessor in several ways, Op.39/2 “The Sea and Seagulls” (a slightly implausible connection which seems to the opening bars containing an almost identical downward chord sequence, brought have been made by his wife rather than Rachmaninoff himself) and Op.39/6 “The out more forcefully on its return in the closing pages, while the second section clearly Tale of Red Riding Hood and the Wolf” (although in this version the wolf seems recalls the parallel Agitato passage of the earlier work. Shortly after their completion to have the last word!). The “story” behind Op.39/7 is the most detailed: a funeral Rachmaninoff gave two complete performances of the thirteen preludes (published as march and choir heard in alternation, with the E flat minor passage suggesting “a Op.32) thereafter including only selections in his programmes (as he had done with fine rain…. incessant and hopeless”, recalling the bad weather at Skriabin’s funeral the Op.23 set) and although a complete edition of all twenty-four (including the C (which was to prove fatal to Taneyev who caught pneumonia). The title “Snowstorm” sharp minor) appeared in 1911, he never performed them in their entirety. for Op.33/6 although apposite, is not Rachmaninoff’s own and according to Oscar von Riesemann’s not altogether reliable biography, Op.33/8 and Op.39/1 were based on Arnold Böcklin’s paintings “Morning” and the “Play in the Waves” respectively. much developmental thematic material. The three movements are linked by bridging The finalOp.39 etude which introduces an optimistic note into the set with the passages, giving the impression of a single movement work: the first follows strict appearance of the major for the first time, was the last piece Rachmaninoff completed sonata form in thematic development and key progressions, the bridging passage before leaving Russia in December 1917. introducing the E minor of the second. Rachmaninoff completely revised the ending to this movement, replacing the return to the first theme with a coda-like passage Sonatas containing entirely new material. The transitional passage returns the work to B Rachmaninoff’s initial judgement on the First Piano Sonata was somewhat flat minor in the final movement whose opening Rachmaninoff reworked to pick pessimistic: “too long and difficult....and of dubious musical value”. He sought up the thematic material of the first movement’s opening to create a greater sense of advice from his friends Nikita Morozov and Konstantin Igumnov and the version cyclical unity. The revised version was certainly much shorter and less diffuse than published in April 1908 was shorter and showed significant structural alterations the original but many believed the revisions damaged the work’s internal architecture from the original. Unusually he did not premiere the work himself and was not even and Horowitz persuaded Rachmaninoff to allow him to create another version which present when Igumnov gave the first performance in Moscow in October 1908. combines material from both versions. Rachmaninoff later disclosed to him a programmatic substructure for the sonata’s three movements taken from Goethe’s Faust. He follows Liszt’s Faust Variations in the representation of Faust, Gretchen and Mephistopheles in each of its three The Variations for the Piano on a Theme by Chopin (Op.22) on which he began movements and had at one point actually contemplated transforming the sonata into work in August 1902, was Rachmaninoff’s first major work for solo piano The theme a symphony. The first movement opens with the “Faust” motif alternatingpianissimo is taken from the Prelude in C sharp minor (Op.28/ 20), shortened slightly by the fifths withforte chordal cadences. A second meditative theme of descending and omission of bars 5-8. It has been suggested the twenty-two variations conceal the ascending figures becomes progressively more turbulent, combining with the Faust structure of a three or four movement work, but such theories, although persuasive, theme to form a third chant-like theme. These elements are developed in increasingly are compromised by the fact the published edition authorizes the omission of tumultuous fashion as the movement progresses with “Gretchen” theme prefigured variations 7, 10 and 12 (in addition to the Presto coda) which if implemented would towards the close. The second movement is simpler in structure but its long melodic damage any underlying structure. The first fourteen variations retain the C sharp line underpinned by unstable figuration does is not a straightforward picture of the minor of the theme (apart from an excursion into E flat relative major in variation “eternal feminine”. The Allegro molto finale does not introduce any new themes but 11), ranging thereafter through a variety of keys before ending up in C major. In the is constructed from short snatches of material from the first two movements, with the first half of the work, the variations are shorter and although distinct in character, almost inevitable appearance of the Dies irae towards the end of the second reprise. remain close to the theme but become longer and stylistically more varied as the work The work was politely rather than enthusiastically received and Rachmaninoff progresses. Had Rachmaninoff produced a new edition as he promised, he might seldom performed it, dropping it completely from his concert programmes after the well have revised the final four variations which he always considered to be too long. composition of the Second Sonata. This was sketched during a visit to Rome in 1913, The Variations on a Theme by Corelli (Op.42) composed in 1931 at the same time simultaneously with the composition of and shares that work’s fascination as the revision of the Second Sonata, was Rachmaninoff’s first original work for solo with bell-like timbres and sonorities particularly in the first movement recapitulation piano since 1917 and his last major one for the instrument. Although the theme had and the opening of the third movement. Rachmaninoff had similar concerns about indeed been used by Corelli in his sonata for violin Op.5/12 (to which Rachmaninoff this sonata, particularly on its length and complexity but took no steps to revise had probably been introduced by Kreisler to whom Op.42 is dedicated), it was not it until 1931 when he rewrote it substantially, tightening its structure and cutting in fact by him but a 17th century Portuguese dance tune La Folia, used by many composers including Bach Handel and Purcell and more recently Liszt in the Folie Sostenuto is a barcarolle whose gentle melody unfolds above rocking left hand triplets d’Espagne. The twenty variations are interrupted by an intermezzo and followed and the Maestoso provides a bravura conclusion to the work with its emphatic by a coda and as with Op.22 some have discerned within it a three or even four chordal theme and simple descending melody in octaves embedded in thirty-second “movement” work comprising: variations 1-13, 14-15 (slow movement) and 16-20 note figuration which is played almost uninterruptedly throughout the work. (finale - with 16-17 potentially comprising a separate “scherzo”). As withOp.22 , When the publisher Gutheil, who had paid five hundred roubles forAleko offered Rachmaninoff sanctioned the omission of certain variations (11, 12 and 19) at the Rachmaninoff two hundred for a collection of five short pieces, he readily accepted player’s discretion. The first four variations remain close to the theme, which is then and these duly appeared in 1893 under the title Morceaux de Fantaisie. However gradually disassembled until by variation 13 it is almost submerged. The cadenza-like he was later to regret selling the rights to what was to become his most popular and intermezzo with its mysterious arpeggiated chords shifts the key into the D flat major most frequently performed work - the Prelude in C sharp minor. The other pieces in of the two nocturne-like movements in which the integrity of the theme is restored. the set which never quite caught the popular imagination are the Chopinesque studies D minor returns abruptly in the Allegro vivace 16th which begins an increasingly Elégie and Mélodie, Polichinelle (Pulcinella) whose mercurial character suggests hectic progression to the conclusion where a meditative coda restores calm, the theme the commedia del arte character (although the title was actually suggested after its making a final ghostly appearance in the closing bars. Rachmaninoff was never quite completion) and Sérénade – a waltz whose Spanish overtones possibly derive by happy with the Corelli Variations and never played them complete – he once admitted the gypsy context of . The Morceaux de Fantaisie was the first work for solo that he would reorder or omit variations in performance depending on how often the piano to which Rachmaninoff gave an opus number (Op.3) although several earlier audience coughed and on one particularly noisy occasion he only managed ten! ones survive, some written as student compositions – the Lento in D minor, the Canon in E minor and the piano version of the orchestral Suite in D Minor, others Moment Musicaux/Miscellaneous as independent compositions - the Three Nocturnes and Four Pieces, all of which The six pieces published as Op.16 and given the title Moments Musicaux by his remained unpublished until after Rachmaninoff’s death. The Morceaux de Salon publisher were completed in a very short time at the end if 1896 when Rachmaninoff (Op.10) of 1895 is a more ambitious in its scope and emotional range and show was in desperate need of money. However they show no sign of the haste or financial Rachmaninoff’s true potential as a keyboard composer. His very first completed work constraint of their composition and represent his most accomplished work for piano had been a transcription of Tchaikovsky’s Manfred Symphony (now lost) and he later up to that point. Unlike the earlier Morceaux de Fantasie and Morceaux de Salon returned to this form to create transcriptions for his own use in concert performance which bear evocative or generic titles, the pieces are untitled, leaving listeners to and the recording studio. All, apart from the 1911 Polka de VR (referring to his interpret their strongly contrasting moods for themselves. The first four are tonally father Vasilly Rachmaninoff to whom he erroneously attributed the charming original related in minor keys of ascending fourths (B flat minor, E flat, B minor, E) while the which is in fact a piece entitled Lachtäubchen by Franz Behr) were written during his last two are in the major keys of D flat and C. The openingAndantino is essentially years abroad. While most remain faithful to the original work – e.g. the Mendelssohn, a set of variations upon a long melodic line, and the Presto, which Rachmaninoff Rimsky Korsakov and Mussorgsky pieces, some such as the Bach violin Partita extensively revised in 1940, a Chopinesque etude whose simple melody, rising and movements and Schubert’s Wohin? are more radical in their treatments. Lullaby falling in octaves, is blended into swirling triplet and sextuplet passagework. The based on Tchaikovsky song was to be Rachmaninoff’s final work, thus ending his opening bars of the Andante cantabile contain a strong reminiscence of Im Treibhaus compositional career as it had begun - with a Tchaikovsky transcription. from Wagner’s Wesendonk Lieder and the fourth, another Chopinesque etude, is © Julian Haylock reminiscent of the Op.10/12 (Revolutionary) and Op. 25/12 and requires a genuine virtuoso technique to negotiate the intricate sextuplet passagework. The Adagio Piano Duets work, the Suite brims over with a new-found melodic luxuriance and creative Rachmaninoff’s first piece of ensemble piano music, an 1886 arrangement of his dynamism which fuse to produce among the finest of all works for two pianos. beloved Tchaikovsky’s Manfred Symphony for piano duet, hasn’t survived, but Rachmaninoff’s final original work for piano ensemble, the delightfulPolka at least we have his 1891 piano duet transcription of The Sleeping Beauty which, italienne for piano duet (1906), provides a rare example of him letting his hair down, according to contemporary reports, was immeasurably more skilful in any case. His while his piano-duet and two-piano arrangements of , Caprice bohemian, first original work in this genre, a Valse & Romance for six hands (1890-1), was First Symphony and, most notably, Symphonic Dances, lay further evidence of his composed for his three cousins, the Skalon sisters, to play seated at one piano, the ability to translate orchestral textures in pianistic terms. music’s main point of interest being that he later adapted the opening of the Romance as the central movement of his Second Piano Concerto. Rachmaninoff began 1891 in full flow with his exhilaratingRussian Rhapsody for two pianos, composed in the form of a theme and eight variations, and completed in just three days. The theme itself has an untypically folk-like feel to it, and the self-conscious brilliance of the succeeding variations suggests that they was written primarily as a vehicle for his own virtuosity. It was around this time that Rachmaninoff first emerged with a daring new cropped hairstyle, which so delighted his friends and family that he kept it to the end of his days. Just two years separate the Rhapsody from the Fantaisie-tableaux (Suite No.1) for two pianos, dedicated to Tchaikovsky with his permission, yet stylistically it seems light years away from its predecessor. Cast in four mesmerising movements, it is one of the most prophetic of Rachmaninoff’s early opuses. The sounds of bells are obsessively recalled throughout, particularly during the manic finale. The curious association for Rachmaninoff of bells with weeping is made explicit by the third movement, ‘Tears’. This was directly inspired by the awesome chimes of St. Sofiya’s Cathedral in Novgorod, which Rachmaninoff had often visited with his grandmother. If the piano-duet Romance and the Six Pieces for piano duet Op.11, both dating from 1894, are more salonesque in hue – Rachmaninoff later confessed that the latter were composed simply to ‘help balance the books,’ and never played them publicly or even privately to an audience – there is no doubting the recreative brilliance of his 1897 piano-duet transcription of Glazunov’s Sixth Symphony. Rachmaninoff’s one incontrovertible masterpiece of multiple pianism, however, is the Suite No.2 for two pianos, Op.17 (1901), premiered by Rachmaninoff and his cousin, Alexander Siloti. The chant-like shape of many of the themes, the whirlwind, bell-wrung finale, and several concealed references to theDies Irae, make this the Rachmaninoff work par excellence. Brighter in general mood than his most recent