By Rachmaninoff, Sergei; Scott, Michael; Rachmaninoff, Sergei
The musical baby of Russia's golden age, Sergei Rachmaninoff, used to be the final nice romantic. Scorned by means of the musical institution till very lately, his song obtained opposed studies from critics and different composers. Conversely, it by no means didn't locate frequent well known acclaim. Michael Scott's e-book investigates Rachmaninoff's severe and infrequently melodramatic lifestyles, following him from imperial Russia to his years of exile as a wandering virtuoso and his loss of life in Beverley Hills in the course of the moment global struggle, tired through his punishing schedule. Read more...
summary: The musical baby of Russia's golden age, Sergei Rachmaninoff, was once the final nice romantic. Scorned via the musical institution till very lately, his song acquired antagonistic experiences from critics and different composers. Conversely, it by no means did not locate frequent renowned acclaim. Michael Scott's booklet investigates Rachmaninoff's excessive and sometimes melodramatic existence, following him from imperial Russia to his years of exile as a wandering virtuoso and his demise in Beverley Hills in the course of the moment international warfare, tired by way of his punishing agenda
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Additional resources for Rachmaninoff
26 Tchaikovsky’s influence on Rachmaninoff’s music is obvious enough but his two conservatory teachers – Arensky who taught him harmony, fugue and free composition, and Taneyev, from whom he learned counterpoint – were scarcely less important. 27 Although a Rimsky-Korsakov pupil, that did not prevent his master dismissing him:28 ‘he will soon be forgotten,’ he asserted. This may have been an oblique reference to Arensky’s alcoholism which brought his career (and life) to an untimely premature conclusion, or maybe Rimsky was jealous because Arensky ‘had fallen under Tchaikovsky’s influence’.
It was not for another two weeks that Arensky told me what he had written; he was probably afraid I would become vain so he had tried to keep it a secret from me. The board had granted me a ‘five plus’ [top marks], and Tchaikovsky had added three more plus signs–above it, below it and to the side of it. 31 As a reward Zverev permitted him for the first time, when he was fifteen, to visit the home of his relatives, the Satins. Natalia, the elder daughter of the Satins who Sergei would marry a decade later, remembered how condescending he was to her after she played through a piano reduction of one of Vanya’s arias from Glinka’s A Life for the Tsar.
3). On other occasions he played pieces by Moszkowski and Schulhoff, a pupil of Chopin. When the boys were not at the conservatory, they would be at home practising under the beady eye of Zverev’s spinster sister, Anna Sergeyevna, ‘a rather disagreeable and spiteful person,’8 as Rachmaninoff described her. She would carry out her brother’s instructions and see that the boys were not late to start practicing or early to finish. Although Zverev was not concerned with the study of theory and harmony – these were of greater importance to composers than pianists – he did employ a teacher, Mme Belopolskaya, who would play four-hand arrangements with the boys in turn.
Rachmaninoff by Rachmaninoff, Sergei; Scott, Michael; Rachmaninoff, Sergei