Rachmaninoff: Moments Musicaux, (Litvintseva, Giltburg)

The first great set of miniatures Rachmaninoff wrote – less acerbic and harmonically dense than the later preludes and etudes-tableaux, more generous and exultant. Nonetheless, many of the traits that would come to dominate the later works – expressive counterpoint, chromaticism, long melodies, huge bell-like sounds – are fully present here for the first time. The set is interestingly organised; it alternates slow and fast pieces, with the slow pieces exploring various romantic genres (Nos. 1, 3, and 5 are a nocturne/variation set, elegy/funeral march, and nocturne/barcarolle respectively), and the fast taking the form of concert etudes that match Chopin’s in their meticulous exploration of pianistic texture. No.1 – Andantino in Bb min. Five variations on a nocturne theme (0:00, 1:18, 2:18, 3:49, 5:17), with the climax coming late in Var.4, the only variation that forsakes counterpoint for a single sinuous melodic line. Var.3 breaks from the other variations in transforming the theme quite radically (putting it in Gb and 7/4 time), superimposing an overall ABA form on the work. No.2 – Allegro in Eb min. An intoxicating thing. A syncopated, chromatic line rises out of the keyboard in octaves, while both hands each play their own triplet semiquaver counterpoint. Unexpected shifts in harmony sly, sudden changes in volume. If this were an etude, it’d be a study in voicing a melody over rapid counterpoint and dynamic control. ABA form, with the middle section beginning at 7:53 built around the two-note rising motif that closed the A section. No.3 – Andante cantabile in B min. Starts out as an elegy, with the entrance of thirds in the middle section adding a sense of longing. When the theme returns, it is now accompanied by the iron rasp of an octave accompaniment deep in the bass, and it comes clear this is a funeral march. Not too surprisingly, the bass line traces out the Dies Irae (12:48; this is just one of the many, many places in R.’s oeuvre where the Dies Irae is referenced). Also notable is the lovely use of chord extensions at key moments for expressive effect (see the 13th at 16:25 – sounds a bit to stable to just be a passing harmony, to my ear). No.4 – Presto in E min. The famous one, for good reason. As an etude, it’s indebted to Chopin’s Revolutionary (all that fierce, delicate work in the LH), and also the . Essentially, this work inverts the ’s technique – just as the , rapid figuration is built from alternating chromatic and harmonic notes, but R. puts the figuration in the LH (at least at first), sometimes doubles it an adds octave displacement, and alternates one harmonic note with two chromatic notes (rather than Chopin’s one) to create a more pungent texture. No.5 – Adagio sostenuto in Db maj. A beautiful and understated piece, where a lot of work is done by small stepwise shifts in harmony. Pretty remarkable how much emotional effect R. can generate with the most modest countermelody or secondary voice. Reminiscent of the middle section of the Op.9 No.1, and No.1 (especially the coda). No.6 – Maestoso in C maj. A masterpiece. Begins in glory and ends in glory, with nothing but glory in between. The ostinato which runs through both outer sections is motoric and almost Prokofiev-like, but sets off the majestically ascending melody (syncopated, aggressively triple-dotted) perfectly – no other composer I know of even comes close to deploying such a texture. The middle section hums with light, and the coda contains another one of R.’s infinite melodies.