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Yhtenäistetty Sergei Rahmaninov Suomen musiikkikirjastoyhdistyksen julkaisusarja 148 Yhtenäistetty Sergei Rahmaninov Heikki Poroila Suomen musiikkikirjastoyhdistys Helsinki 2012 Julkaisija Suomen musiikkikirjastoyhdistys Toimitustyö ja ulkoasu Heikki Poroila © Heikki Poroila 2012 01.4 POROILA , HEIKKI Yhtenäistetty Sergei Rahmaninov : teosten yhtenäistettyjen nimekkeiden ohjeluettelo / Heikki Poroila. – Helsinki : Suomen musiikkikirjastoyhdistys, 2012. – 25 s. : kuv. – (Suomen musiikkikirjastoyhdistyksen julkaisusarja, ISSN 0784-0322 ; 148). ISBN 978-952-5363-47-0 (PDF) ISBN 978-952-5363-47-0 (PDF) 2 Yhtenäistetty Sergei Rahmaninov Esipuhe Sergei Vasiljevitš RAHMANINOV (1.4.1873 – 28.3.1943) ei useimpien hakuteosten hänelle uhraaman palstatilan perusteella ollut Stravinskyn tai Prokofjevin veroinen säveltäjä. Ammat- tikriitikoiden ja musiikkitieteilijöiden jonkinasteinen väheksyntä saattaa pohjautua siihen tosi- asiaan, ettei säveltäjä Rahmaninov koskaan noussut selkeästi pianisti Rahmaninovin ohitse. Ehkä myös säveltäjän tyylillinen vanhakantaisuus ja suoranainen 1900-luvun virtausten kiel- täminen löi häneen jo varhain ”ei kiinnostavan” leiman. Kriittisten musiikkitieteilijöiden nä- kemyksistä riippumatta Rahmaninovin suosio suuren yleisön joukossa on pysynyt vankkana. Viime vuosina on alkanut markkinoille tulla aiemmin huonosti tunnettuja teoksia. Yleisön- suosion syitä ei tarvitse ihmetellä, loihan säveltäjä varsinkin Yhdysvalloissa maineensa lähin- nä virtuoosisena pianistina. Rahmaninovin modernismia kaihtava sävelkieli on tuntunut myös aina olevan musiikin harrastajien suosiossa. Rahmaninovin sävellystuotanto on 1900-luvun mittapuunkin mukaan melko suppea. Ak- tiivinen ura esiintyvänä taiteilijana esti monena vuonna sävellystyön lähes kokonaan, minkä lisäksi säveltäjän kiinnostus kohdistui pääasiassa pianotuotantoon sekä yksinlaulusarjoihin. Näiden rinnalla syntyi vain muutama lyhyt ooppera, joukko orkesteriteoksia (kolme sinfoni- aa) sekä muutamia kamarimusiikkiteoksia. Vokaaliteoksensa Rahmaninov sävelsi venäjänkielisiin teksteihin – kuten myös Prokofjev –, mutta pianoteoksille hän antoi jo varhain lähinnä ranskankielisiä nimiä. Tästä syystä ei te- osten nimissä ole suurempia ongelmia sen paremmin kielellisesti kuin teknisestikään. Suhteel- lisen harvat teokset ovat vakiintuneet suomenkielisellä nimellä, koska useimmilla suosikkite- oksilla ei ole erisnimeä. Sergei Rahmaninov vietti pääosan aikuiselämästään ulkomailla, päätyen Euroopan kautta varmimman leivän esiintyvälle taiteilijalle tarjonneeseen Yhdysvaltoihin. Tästä maailmankan- salaisuudesta ei näytä tarttuneen juuri mitään itse sävellyksiin. Elämänsä loppupuolella Rah- maninov kyllä suoritti muutaman hyppäyksen pois venäläisyydestä, mutta suuntana ei ollut vuosisadan moderni sävelkieli vaan menneisyys – Paganini ja Corelli. Venäläisen yläluokan jälkeläinen Sergei Rahmaninov kuoli – paljolti kuluttavien esiinty- miskiertueiden seuraamuksiin, vaikka ratkaisevaksi osoittautui liian myöhään todettu syöpä – Los Angelesin Beverly Hillsin alueella, joka on tunnettu filmitähtien ja muiden julkkisten kotiseutuna. Hänen voimakkaan romanttinen, mutta samalla selkeä musiikkinsa on jaksanut elää jo miltei vuosisadan ajan, joten ei ole kohtuutonta todeta, että suuri tai ei, Rahmaninovin musiikki puhuttelee ihmisiä pysyvästi. 3 Yhtenäistetty Sergei Rahmaninov Rahmaninovin sävellysten nimien standardoinnin ongelmia ja ratkaisuja Nimekkeiden kieliasu Vaikka Rahmaninovin tuotanto jakautuu melko selkeästi venäjänkielisiin lauluihin ja kan- sainvälisiin soitinteoksiin, on joidenkin teosten kohdalla epäselvää, minkä kielistä nimitystä olisi pidettävä alkuperäisimpänä. Olen lähtenyt paitsi teosluettelon (Threlfall 1982*) ratkai- suista, myös siitä periaatteesta, että soitinsävellysten kohdalla on merkitystä ensimmäisen painetun julkaisun kielellä. Tämän takia jotkin teokset, joilla on myös venäjänkielinen nimi (esim. Morceaux de fantaisie – Pjesy-fantazi), esiintyvät standardoituna yleensä ranskankieli- sessä muodossa. Suomenkielisiä nimekkeitä ei luettelossa ole, koska mikään niistä ei ole va- kiintunut yleiseen käyttöön. Myöskään laulujen nimiä en ole ryhtynyt suomentamaan, koska olisin joutunut kääntämään ne kaikki. Englanninkieliset käännökset antanevat riittävän kuvan laulujen aiheista. Opusnumerottomien teosten numerointi Teosluettelossa on käytetty omaa numerointia ja koodia, jossa on roomalainen kakkonen ryhmätunnuksena ja sen perässä järjestysnumero (esim.II/70 on ooppera Aleko ). Näillä koo- deilla ei ole laajemmin yleistynyttä merkintätapaa (esim. Grove ei käytä niitä ollenkaan), mut- ta ne antavat monen teoksen kohdalla niin selkeää tunnistusapua, että pidän niiden käyttämistä järkevänä. Koodin merkitsemistavan olen ratkaissut siten, että numeroiden edessä on lyhenne SR (Sergei Rahmaninov), jota teosluettelon tekijät käyttävät muuten yleisesti. Lyhenne on epävirallinen, mutta mielestäni riittävän selkeä. Muutokset edelliseen ohjeluetteloon Tähän verkkoversioon on korjattu huomattuja kirjoitusvirheitä, minkä lisäksi alkukielisiä ni- mityksiä kyrillisin kirjaimin on lisätty mahdollisuuksien mukaan. Suurin muutos on eräiden lauluopusten purkaminen itsenäisiksi lauluiksi historiallisten tosiasioiden valossa sekä eräiden opusten nimien kielen muuttaminen paremmin Rahmaninovin alkuperäistä tarkoitusta vastaa- viksi. Kaikki nämä muutokset on luettelossa selkeästi ilmoitettu ja merkitty punaisella . Huom! Lukuisten nimekkeisiin tehtyjen muutosten takia on suositeltavaa, ettei vanhaa painettua luetteloa Yhtenäistetyt venäläiset enää käytetä luetteloinnissa . * Threlfall, Robert A Catalogue of the compositions of S. Rachmaninoff / by Robert Threlfall and Geoffrey Nor- ris. – London : Scolar Press, 1982. – 218 s. – ISBN 0-85967-617-X Perusteellisin käytettävissä oleva teosluettelo, jonka ratkaisut ovat toimineet myös käsillä ole- van ohjeluettelon pohjana. Teosluettelossa on useimmat – eivät kuitenkaan kaikki – nimek- keet merkitty myös kyrillisin kirjaimin, mikä on helpottanut translitterointiratkaisuja. 4 Yhtenäistetty Sergei Rahmaninov Opusnumeroidut teokset [Konsertot, piano, ork., nro 1, op1, fis-molli] 1890-1891. Osat: 1. Vivace – Moderato, 2. Andante ja 3. Allegro vivace. [Konsertot, piano, ork., nro 1, op1, fis-molli (1917)] 1917. Uudistettu versio. [Prélude et Danse orientale, op2] 1892. Sello ja piano. Osat: 1. Prélude (Comodo, F-duuri) ja 2. Danse orientale (Andante can- tabile, a-molli). [Morceaux de fantaisie, op3] 1892. Piano. V: Pjesy-fantazii. 5 morceaux de fantaisie. Пьесы -фантазии [Morceaux de Fantaisie, op3. Nro 1, Elégie] [Morceaux de Fantaisie, op3. Nro 2, Prélude] [Morceaux de Fantaisie, op3. Nro 3, Mélodie] [Morceaux de Fantaisie, op3. Nro 4, Polichinelle] [Morceaux de Fantaisie, op3. Nro 5, Sérénade] [Laulut, lauluääni, piano, op4] 1890-1893. [Laulut, lauluääni, piano, op4. Nro 1, O net, molju, ne uhodi!] V: O no, I beg you, forsake me not. О нет , молю , не уходи ! [Laulut, lauluääni, piano, op4. Nro 2, Utro] V: Morning. Утро [Laulut, lauluääni, piano, op4. Nro 3, V moltšani notši tainoi] V: In the silence of the secret night. В молчаньи ночи тайной [Laulut, lauluääni, piano, op4. Nro 4, Ne poi, krasavitsa] V: Sing not to me, beautiful maiden. Не пой , красавица [Laulut, lauluääni, piano, op4. Nro 5, U ñññ ty, niva moja] V: Oh thou, my field. Уж ты , нива моя [Laulut, lauluääni, piano, op4. Nro 6, Davno l, moi drug] V: How long, my friend. Давно ль , мой друг [Fantasiat, pianot (2), op5] 1893. V: Tableaux pour deux pianos. Sarjat, pianot (2), nro 1, op5. Сюита № 1 для двух фортепиано [Fantasiat, pianot (2), op5. Nro 1, Barcarolle] [Fantasiat, pianot (2), op5. Nro 2, La nuit... l’amour] [Fantasiat, pianot (2), op5. Nro 3, Les larmes] [Fantasiat, pianot (2), op5. Nro 4, Pâques] 5 Yhtenäistetty Sergei Rahmaninov [Morceaux de salon, op6] 1893. Viulu ja piano. V: Salonnyje pjesy. 2 morceaux de Salon. Салонные пьесы [Morceaux de salon, op6. Nro 1, Romance] [Morceaux de salon, op6. Nro 2, Danse hongroise] [Utjos, op7] 1893. Orkesterifantasia. Otavassa nimeke on translitteroitu väärin muodossa ”Utios”. V: Kallio. The rock. The crag. Утёс [Laulut, lauluääni, piano, op8] 1893. Laulut on sävelletty venäjännöksiin saksalaisista ja ukrainalaisista teksteistä. [Laulut, lauluääni, piano, op8. Nro 1, Retšnaja lileja] V: The water lily. Речная лиея [Laulut, lauluääni, piano, op8. Nro 2, Ditja! Kak tsvetok, ty prekrasna] V: Child, thou art as beautiful as a flower. Дитя ! Как цветок , ты прекрасна [Laulut, lauluääni, piano, op8. Nro 3, Duma] V: Brooding. Дума [Laulut, lauluääni, piano, op8. Nro 4, Poljubila ja na petšal svoju] V: I have grown fond of sorrow. Полюбила , я на печаль свою [Laulut, lauluääni, piano, op8. Nro 5, Son] V: The dream. Сон [Laulut, lauluääni, piano, op8. Nro 6, Molitva] V: A prayer. Молитва [Trio élégiaque, op9] 1893. Piano, viulu ja sello. Osat: 1. Moderato – Allegro vivace, 2. Quazi variazione ja 3. Al- legro risoluto – Moderato. Sävellaji on d-molli. Teoksen ensimmäisessä painoksessa on toisen osan säestyksessä mukana myös harmoni. V: Elegitšeskoje trio. Элегическое трио [Morceaux de salon, op10] 1893-1894. Piano. V: 7 morceaux de salon. Salonnyje pjesy. Салонные пьесы [Morceaux de salon, op10. Nro 1, Nocturne] [Morceaux de salon, op10. Nro 2, Valse] [Morceaux de salon, op10. Nro 3, Barcarolle] [Morceaux de salon, op10. Nro 4, Mélodie] [Morceaux de salon, op10. Nro 5, Humoreske] [Morceaux de salon, op10. Nro 6, Romance] [Morceaux de salon, op10. Nro 7, Mazurka] [Kappaleet, piano, 4-kät., op11] 1894. V: Six morceaux pour le piano à quatre mains. Шесть пьес для фортепиано
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