Life and Music of Sergei Rachmaninoff
Sergei Rachmaninoff
Sergei Vasilyevich Rachmaninoff, a Russian composer, virtuoso pianist, and conductor, is celebrated as one of the greatest pianists of his time.
He is also regarded as one of the last prominent representatives of Romanticism in Russian classical music.
Influenced by composers like Tchaikovsky and Rimsky-Korsakov, Rachmaninoff developed a distinctive musical style.
His compositions are known for their melodic beauty, emotional depth, intricate counterpoint, and vibrant orchestral palette, with the piano playing a central role.
Beginning his musical education at the Saint Petersburg Conservatory and later continuing at the Moscow Conservatory, Rachmaninoff graduated in 1892.
He later served as a conductor at the Bolshoi Theatre before embarking on a tour of the United States in 1909.
The composer Sergei Rachmaninoff adopted this particular spelling of his name while residing in Western countries during the latter part of his life.
However, even after acquiring United States citizenship, he is commonly referred to by various alternative transliterations of his name.
These include Serge or Sergey, as well as Rachmaninov, Rakhmaninov, Rachmaninow, or Rakhmaninoff.
This biography aims to explore the remarkable life and musical journey of Sergei Rachmaninoff, an iconic figure in classical music.
Early Life of Sergei Rachmaninoff
Sergei Rachmaninoff was born on April 1, 1873, in the family estate located in the village of Semyonovo, near Staraya Russa, in the Novgorod Governorate of northwestern Russia.
The registration of his birth can be found in the church book of Semyonovo.
He came from a family of Russian aristocracy that had a long history of serving the Russian tsars, dating back to the sixteenth century.
According to family tradition, they claimed descent from a legendary figure named Vasily, nicknamed “Rachman,” who was believed to be a grandson of Stephen III of Moldavia.
Rachmaninoff’s family had a strong connection to both music and military affairs.
His paternal grandfather, Arkady Alexandrovich, was a musician who had received lessons from the Irish composer John Field.
Sergei’s father, Vasily Arkadievich Rachmaninoff (1841–1916), served as an army officer and was an amateur pianist.
He married Lyubov Petrovna Butakova (1853–1929), who was also an amateur pianist and the daughter of a wealthy army general.
As part of her dowry, she bestowed on Sergei’s father five estates.
The family had three sons and three daughters, and Sergei was their third child.
When Sergei turned four, the family moved to another house in the Oneg estate, which was about 110 miles (180 km) north of Semyonovo.
Rachmaninoff’s father sold the Semyonovo estate in 1879.
Sergei Rachmaninoff spent his formative years until he was nine in the Oneg estate.
In fact, he mistakenly identified it as his birthplace when he grew up.
Sergei Rachmaninoff Journey into Music
Sergei Rachmaninoff embarked on his musical journey at a tender age, and it didn’t take long for everyone to recognize his exceptional talent on the piano.
At just four years old, he began his first piano and music lessons through a program organized by his mother.
His parents, especially his mother, quickly noticed his remarkable ability to remember and play musical pieces perfectly without missing any notes.
Upon hearing about Sergei’s incredible talent, his grandfather Arkady suggested hiring Anna Ornatskaya, a recent graduate of the Saint Petersburg Conservatory, to come and live with the family and provide formal instruction.
Later on, Rachmaninoff expressed his gratitude to Ornatskaya by dedicating one of his most famous songs, “Spring Waters,” from his collection of songs, Op. 14, to her.
This gesture reflected the profound impact she had on his musical development during those early years.
Despite Rachmaninoff’s father’s aspirations for him to receive training in the Page Corps and pursue a military career, financial hardships prevented this path from becoming a reality.
Unfortunately, the family’s financial difficulties arose due to his father’s gambling habits and the subsequent squandering of the family fortune.
In order to settle his mounting debts, Rachmaninoff’s father resorted to selling off their five estates one by one.
By 1882, the financial situation had reached a critical point, and the family was forced to leave their grand estate behind.
They relocated to a modest and cramped flat in Saint Petersburg, seeking a more affordable living arrangement.
This significant change in their circumstances marked a challenging period for the Rachmaninoff family, as they adjusted to a more constrained lifestyle in the city.
Education
The Saint Petersburg Conservatory was the next chapter in Rachmaninoff’s musical education.
At the age of ten, in 1883, he began studying at this prestigious institution before eventually moving to Moscow.
This opportunity was made possible through the assistance of Anna Ornatskaya, who became his formal piano teacher.
Tragedy struck the family later that same year when Rachmaninoff’s sister Sofia succumbed to diphtheria. Around this time, his father left the family and relocated to Moscow.
In the absence of their father, Rachmaninoff’s maternal grandmother stepped in to help raise the children, with a particular emphasis on their religious upbringing.
She regularly took Rachmaninoff to Russian Orthodox Church services, where he was exposed to liturgical chants and the resonant sound of church bells—two elements that would later find their way into his compositions.
In 1885, another devastating loss befell Rachmaninoff when his sister Yelena passed away at the age of 18 due to pernicious anemia.
Yelena had played a significant role in shaping Rachmaninoff’s musical tastes and had introduced him to the works of Pyotr Ilyich Tchaikovsky.
In search of comfort, Rachmaninoff’s grandmother brought him to a serene farm retreat along the Volkhov River.
Despite his personal struggles, Rachmaninoff’s talent continued to shine.
He performed at various events hosted at the Moscow Conservatory, some of which were graced by distinguished guests like the Grand Duke Konstantin.
However, despite these successes, Rachmaninoff adopted a lax attitude toward his studies at the Conservatory.
He played truant, neglected his general education classes, and deliberately manipulated his report cards.
Unfortunately, his academic performance suffered, and in the spring exams, he failed to meet the required standards.
Ornatskaya informed his mother that his admission to further education might be in jeopardy.
Moscow Conservatory
When Rachmaninoff’s poor academic performance at the Saint Petersburg Conservatory put his education at risk, his mother sought guidance from Alexander Siloti.
Siloti was her nephew and a renowned pianist who had studied under Franz Liszt.
Siloti recommended a solution: transferring Rachmaninoff to the Moscow Conservatory to receive instruction from his former strict teacher, Nikolai Zverev.
In the autumn of 1885, Rachmaninoff moved to Moscow and lived with Zverev for nearly four years.
During this period, he became friends with fellow student Alexander Scriabin.
After two years of hard work, Rachmaninoff, who was fifteen at the time, received a prestigious Rubinstein scholarship.
This meant he graduated from the lower division of the Conservatory and started studying with Siloti for advanced piano, Sergei Taneyev for counterpoint, and Anton Arensky for free composition.
However, in 1889, a disagreement arose between Rachmaninoff and Zverev, who was now acting as his advisor.
Rachmaninoff had asked Zverev for help in getting a piano and more privacy for his composing, but Zverev, who believed that talented pianists should focus only on playing, turned down his request.
This caused a big problem in their relationship, and Zverev stopped talking to Rachmaninoff for a while.
Eventually, Rachmaninoff found a solution by moving in with his uncle and aunt, the Satins, and their family in Moscow.
In 1891, Siloti left the Moscow Conservatory at the end of the academic year. Worried about getting a new teacher, Rachmaninoff asked to take his final piano exams a year earlier.
Despite having only three weeks to prepare and facing skepticism from Siloti and the conservatory’s director, Vasily Safonov, Rachmaninoff received help from a knowledgeable recent graduate.
To everyone’s surprise, he passed each exam with honors in July 1891. Just three days later, he also passed his annual theory and composition exams.
Final Exam at Moscow Conservatory
Rachmaninoff’s student years were marked by extraordinary achievements. He constantly astounded his teachers with his prodigious talent as both a pianist and composer.
As he approached the end of his studies at the Conservatory, Rachmaninoff embarked on a series of remarkable milestones.
In January 1892, during his final year, Rachmaninoff showcased his talents in his first independent concert.
It featured the premiere of his Trio élégiaque No. 1, leaving the audience in awe.
Just two months later, he astounded listeners once again by performing the first movement of his Piano Concerto No. 1.
Not only did Rachmaninoff excel as a performer, but he also demonstrated his exceptional skills as a composer.
His request to take his theory and composition exams ahead of schedule was granted, prompting him to compose Aleko, a one-act opera based on Alexander Pushkin’s narrative poem, “The Gypsies.”
Remarkably, Rachmaninoff completed the entire composition within a mere seventeen days. In May 1892, Aleko premiered at the Bolshoi Theatre, with the esteemed Tchaikovsky in attendance.
To Rachmaninoff’s surprise, the opera received resounding success, leading to its production starring the renowned singer, Feodor Chaliapin, who would become a lifelong friend.
This accomplishment earned Rachmaninoff the highest mark at the Conservatory and the prestigious Great Gold Medal, an honor previously bestowed only upon Taneyev and Arseny Koreshchenko.
Moreover, Rachmaninoff’s relationship with Zverev, a member of the examination committee, underwent a significant transformation.
Zverev, recognizing Rachmaninoff’s exceptional talent, presented the composer with his own gold watch as a gesture of reconciliation.
On May 29, 1892, Rachmaninoff received his diploma from the Conservatory, officially granting him the title of “Free Artist.”
This achievement solidified his status as a recognized and accomplished musician, paving the way for a future filled with even greater accomplishments.
Sergei Rachmaninoff’s Life and Career
During his career, Rachmaninoff faced a constant struggle to balance his roles as a performer and composer.
He often had to prioritize his concerts to earn a living, which significantly influenced the trajectory of his career.
As early as 1899, Rachmaninoff was already well-known in the global music scene.
In London, he conducted a significant concert where he presented a variety of his own orchestral compositions.
This allowed him to not only demonstrate his talent as a composer but also as a brilliant pianist.
His performance of his own piano pieces added an extra layer to the concert, captivating the audience and strengthening his reputation.
In the following sections, we will explore Rachmaninoff’s career journey in more detail, examining the obstacles he encountered and the remarkable accomplishments he achieved as both a performer and composer.
Rachmaninoff’s Early Career and Compositions
After graduating, Rachmaninoff entered a productive period of composition and secured a significant publishing contract worth 500 rubles with Gutheil.
This resulted in the publication of several of his early works, including Aleko, Two Pieces (Op. 2), and Six Songs (Op. 4).
Prior to this, Rachmaninoff had been earning a modest income of 15 rubles per month from piano lessons.
During the summer of 1892, Rachmaninoff sought refuge on the estate of Ivan Konavalov before returning to live with the Satin family.
Delays in payment from Gutheil led Rachmaninoff to seek additional sources of income, and in September 1892, he made his public debut as a pianist at the Moscow Electrical Exhibition.
His performance of the iconic Prelude in C-sharp minor from his collection of piano compositions, Morceaux de Fantaisie (Op. 3), was well-received, earning him 50 rubles.
In 1893, Rachmaninoff spent a productive summer composing several pieces in the Kharkiv Oblast.
He published Six Songs (Op. 8) and secured Tchaikovsky’s agreement to conduct his tone poem, The Rock, during an upcoming European tour.
However, while conducting performances of his opera Aleko in Kyiv, Rachmaninoff received the shocking news of Tchaikovsky’s death.
Deeply affected, he composed Trio élégiaque No. 2 as a tribute, completing it within a month.
The piece premiered on January 31, 1894, at a concert dedicated solely to Rachmaninoff’s compositions.
Financial Hardships and Artistic Struggles of Sergei Rachmaninoff
Following Tchaikovsky’s death, Rachmaninoff faced a period of artistic and financial struggle.
The Grand Theatre’s withdrawal of his opera Aleko compounded his difficulties, leading him to reluctantly resume piano lessons for income.
A tour across Russia with violinist Teresina Tua proved arduous, prompting Rachmaninoff’s early departure and financial desperation, including pawning his prized gold watch.
Creative Resilience Amid Adversity
In September 1895, Rachmaninoff completed his Symphony No. 1 (Op. 13), a labor of love inspired by Orthodox chants.
He faced setbacks, including the theft of a large sum in October 1896, leading to financial strain.
Despite these challenges, he composed pieces like Six Choruses (Op. 15) and Six Moments Musicaux (Op. 16).
A Disheartening Premiere and a Renewed Resolve
Premiering Symphony No. 1 on March 28, 1897, marked a turning point, but not in Rachmaninoff’s favor.
César Cui’s scathing critique likened it to the plagues of Egypt, dampening Rachmaninoff’s spirits.
Despite his disappointment with the performance, especially Glazunov’s role, Rachmaninoff never lost faith in his work.
While Symphony No. 1 was never performed again, Rachmaninoff revised it into a four-hand piano arrangement in 1898.
Rachmaninoff’s Struggle and Renewed Endeavors
The critics harshly criticized his First Symphony from 1896, plunging Rachmaninoff into a profound depression.
During a three-year period of depression, Rachmaninoff faced severe writer’s block, producing little music and likening his struggle to a man recovering from a stroke.
He sustained himself financially through piano lessons. A fortunate turn came when Savva Mamontov offered him the role of assistant conductor at the Moscow Private Russian Opera.
Rachmaninoff conducted his first opera, Samson and Delilah, on October 12, 1897, providing a much-needed boost.
In early 1899, he resumed composition with two piano pieces, Morceau de Fantaisie and Fughetta in F major, followed by a successful debut in London.
However, a worsening depression later that year stifled his creativity, resulting in just one composition, “Fate.”
This piece later became one of his Twelve Songs (Op. 21). However, he abandoned composition and plans for a return to London. Attempts to rekindle his inspiration, including a visit with Leo Tolstoy, yielded little success, leaving Rachmaninoff unable to compose as fluently as before.
Rachmaninoff’s Rejuvenation Through Therapy and Artistic Triumph
By 1900, Rachmaninoff’s self-criticism had grown so severe that he found composing nearly impossible.
At the suggestion of his aunt, who had benefited from treatment by family friend and physician Nikolai Dahl, Rachmaninoff agreed to seek professional help without resistance.
Over the course of January to April 1900, he underwent daily hypnotherapy and supportive therapy sessions with Dahl, aimed at improving his sleep, mood, appetite, and creativity.
During the following summer, Rachmaninoff felt a resurgence of musical inspiration and successfully resumed composing.
His Piano Concerto No. 2, completed in April 1901 and dedicated to Dahl, marked his first fully realized work after therapy.
Following the premiere of the second and third movements in December 1900, with Rachmaninoff as the soloist, the entire concerto was first performed in 1901 to enthusiastic acclaim, earning him a Glinka Award and a 500-ruble prize in 1904.
In the midst of his professional achievements, Rachmaninoff married and settled in Moscow.
Then he began composing with renewed energy. By February 1903, he had completed his largest piano composition to date, the Variations on a Theme of Chopin (Op. 22).
Their first daughter, Irina Sergeyevna Rachmaninova, was born on May 14, 1903. However, their joy was overshadowed by illness during their summer break at Ivanovka.
Rachmaninoff’s Tenure at the Bolshoi Theatre and Departure
In 1904, Sergei Rachmaninoff transitioned into a new role as the conductor at the Bolshoi Theatre for a two-season stint.
While there, he maintained strict discipline and set high performance standards, influenced by Richard Wagner’s conducting methods.
Rachmaninoff introduced modern arrangements for orchestra players and stood while conducting, a departure from traditional practices.
He also provided personal attention to soloists, often accompanying them on the piano. Notably, the Bolshoi Theatre premiered two of his operas, “The Miserly Knight” and “Francesca da Rimini.”
However, during his second season, Rachmaninoff grew disinterested in his role due to the social and political unrest surrounding the 1905 Revolution.
Performers and theater staff staged protests for improved wages and conditions, which affected working conditions.
Despite Rachmaninoff’s disinterest in politics, the revolutionary atmosphere made his job increasingly challenging.
In February 1906, after completing a considerable number of performances, Rachmaninoff resigned from his position. He then embarked on a tour of Italy with his family in hopes of finding inspiration for new compositions.
Unfortunately, his wife and daughter fell ill during the trip, forcing them to return home to Ivanovka.
With his resignation from teaching positions, Rachmaninoff faced financial difficulties, leaving composing as his only viable option.
Rachmaninoff’s European Sojourn and American Tour (1906–1910)
In November 1906, Rachmaninoff and his family left Moscow for Dresden, Germany, seeking seclusion from political unrest to focus on composing.
Inspired by Arnold Böcklin’s “The Isle of the Dead,” he began work on his orchestral piece of the same name, Op. 29, during the summer of 1907 in Paris.
Despite struggles with depression, he commenced Symphony No. 2 (Op. 27), finding solace in music.
Returning briefly to Russia, Rachmaninoff stopped in Paris for Sergei Diaghilev’s Russian concerts in May 1907, where his performance of Piano Concerto No. 2 was a resounding success, restoring his confidence.
The premiere of Symphony No. 2 in early 1908 further bolstered his spirits, earning him acclaim and his second Glinka Award.
In 1909, Rachmaninoff toured the United States, performing and conducting with the Boston Symphony Orchestra.
During breaks at Ivanovka, he completed Piano Concerto No. 3, Op. 30, dedicating it to Josef Hofmann.
The tour enhanced his popularity but led to his decision to decline future offers due to his prolonged separation from Russia and his family.
Upon returning in February 1910, Rachmaninoff assumed the role of vice president of the Imperial Russian Musical Society (IRMS).
He completed the Liturgy of St. John Chrysostom, Op. 31, in 1910, but it was banned for deviating from traditional liturgical forms.
Rachmaninoff’s tenure as permanent conductor of the Philharmonic Society of Moscow from 1911 to 1913 saw increased audience engagement, but he resigned from the IRMS in 1912 due to discrimination against a Jewish musician.
Tranquil Retreats and Compositional Inspiration (1910–1913)
After resigning, Rachmaninoff sought solace in Switzerland before finding inspiration in Rome, where an anonymous letter spurred the creation of his choral symphony, “The Bells.”
Family joys and concerns intermingled as he welcomed his second daughter and tended to his children’s health amidst bouts of typhoid. Returning to Moscow, he conducted the premiere of “The Bells” in 1913.
In January 1914, Rachmaninoff embarked on a successful concert tour of England, though he was shaken by the sudden death of Raoul Pugno.
The outbreak of World War I found him unable to join the military due to his role as Inspector of Music, yet he contributed to the war effort through donations.
That year, he completed his acclaimed choral work “All-Night Vigil,” performed in Moscow to aid war relief.
The passing of Alexander Scriabin in 1915 deeply affected Rachmaninoff, who honored his friend with a piano recital tour featuring Scriabin’s compositions.
Amidst personal and professional losses, including the death of Taneyev, Rachmaninoff composed his “14 Romances,” including the beloved “Vocalise,” marking a poignant close to the year.
Escape from Revolution and Musical Rebirth (1917–1908)
As the February 1917 Revolution erupted, Rachmaninoff dedicated himself to aiding wounded soldiers through music, but turmoil followed.
Returning to his estate, Ivanovka, he found it seized by revolutionaries, prompting his departure and eventual exile from Russia.
Seeking refuge in Crimea, he performed his last concert in Yalta before the political upheaval of the October Revolution forced him into hiding in Moscow, where he revised his Piano Concerto No. 1 amidst chaos.
An opportunity for escape arose when Rachmaninoff received an offer for recitals in Scandinavia.
Seizing the chance, he and his family left Russia in December 1917, enduring a perilous journey to reach safety in Stockholm, Sweden.
Settling in Copenhagen, Denmark, Rachmaninoff faced financial strain and turned to performing to support his family, dedicating himself to expanding his repertoire through rigorous practice and performance tours throughout 1918.
Sergei Rachmaninoff’s American Odyssey (1918–1919)
Amidst offers from the United States, Rachmaninoff initially hesitated due to concerns about unfamiliar territory and past experiences.
However, financial pressures led him to reconsider, facilitated by loans from allies like Alexander Kamenka and contributions from admirers like Ignaz Friedman.
Arriving in New York City to a warm welcome, Rachmaninoff wasted no time in organizing his affairs, hiring Dagmar de Corval Rybner as his assistant and selecting Charles Ellis as his booking agent.
Embarking on a rigorous tour arranged by Ellis, Rachmaninoff performed across the country, including a notable recital in Providence, Rhode Island, despite recovering from illness.
Choosing Steinway as his piano sponsor, a partnership that lasted a lifetime, he balanced work with family breaks, finding solace in San Francisco.
The tour’s success ensured financial stability, allowing Rachmaninoff to enjoy a comfortable lifestyle in New York City, complete with Russian customs and luxuries.
Despite his assimilation into American culture, he maintained strong ties to his Russian heritage, speaking mostly Russian and surrounding himself with fellow expatriates.
Sergei Rachmaninoff’s Life in the 1920s
In 1920, Rachmaninoff’s contract with the Victor Talking Machine Company provided much-needed income and marked the beginning of his association with RCA.
Tragedy struck in the summer of 1920 with the accidental death of Nikolai Struve, prompting Rachmaninoff to strengthen connections with those in Russia by providing financial support.
In early 1921, Rachmaninoff’s plans to visit Russia were thwarted by a surgical procedure for chronic pain in his right temple.
Despite the setback, he purchased an apartment in Manhattan upon his release from the hospital.
His first European tour since leaving Russia occurred in May 1922, featuring concerts in London followed by a reunion with family in Dresden.
The subsequent concert season of 1922–1923 was packed with 71 performances over five months, during which Rachmaninoff even rented a railway carriage to streamline travel.
In 1924, Rachmaninoff was offered the chance to conduct the esteemed Boston Symphony Orchestra.
Despite the importance of the opportunity, he chose to decline the offer.
The following year, he founded TAIR (Tatiana and Irina), a Paris-based publishing company named after his daughters, in response to the death of his son-in-law and the impending birth of his granddaughter, Sophie Volkonsky.
Rachmaninoff’s Later Years
Rachmaninoff’s touring lifestyle led to a significant slowdown in his composition output during his 24-year stay in the US.
He completed only six new pieces, revising earlier works and creating piano transcriptions for his performances.
He confessed that leaving Russia had dampened his desire to compose, feeling he had lost his creative essence along with his homeland.
In 1926, after eight years of relentless touring, he took a hiatus and finished Piano Concerto No. 4 and Three Russian Songs, dedicated to Leopold Stokowski.
Seeking camaraderie among fellow Russians, Rachmaninoff befriended Vladimir Horowitz in 1928.
They mutually supported each other’s work, attending each other’s concerts. Horowitz particularly championed Rachmaninoff’s Piano Concerto No. 3.
In a departure from his usual practice, Rachmaninoff allowed Ottorino Respighi to orchestrate pieces from his Études-Tableaux, Op. 33 and Op. 39, in 1930, providing Respighi with insights into the compositions.
Despite personal joys, such as his daughter’s engagement and the birth of his second grandchild, Rachmaninoff faced criticism for signing an article criticizing Soviet cultural policies in 1931. This led to a boycott of his music in Russia until 1933.
Regaining his creative spark, Rachmaninoff spent summers in France and later Switzerland, where he built Villa Senar and composed Rhapsody on a Theme of Paganini in 1934 and Symphony No. 3 in 1936.
Touring, Artistic Collaborations, and Final Compositions
In October 1932, Rachmaninoff embarked on a strenuous concert season comprising 50 performances, commemorating the 40th anniversary of his debut as a pianist.
Economic struggles in the US led to smaller audiences and financial losses in investments. European celebrations for his 60th birthday in 1933 were followed by a retreat to Villa Senar.
Rachmaninoff underwent minor surgery in May 1934 and sought relief for arthritis in Aix-les-Bains two years later. Discussions for a ballet based on his rhapsody took place in 1937, premiering in London in 1939.
In 1938, Rachmaninoff performed at a charity concert in London’s Royal Albert Hall and agreed to be the sole soloist, under the condition that the performance not be broadcast on radio.
The 1939–40 concert season saw fewer performances, mostly in the US, with a finale in Europe at the Lucerne International Music Festival.
Returning to the US, Rachmaninoff collaborated with the Philadelphia Orchestra in New York City for special concerts dedicated to him.
These concerts included his Symphony No. 3 and The Bells, marking his first conducting performance since 1917.
Rachmaninoff concluded the season fatigued and spent the summer recovering from surgery at Orchard’s Point, completing his final composition, the Symphonic Dances, Op. 45.
He began an extensive recording period in December 1939, culminating in February 1942, capturing pieces including his Piano Concerto Nos. 1 and 3 and Symphony No. 3.
Rachmaninoff’s Health Struggles and Final Performances
In early 1942, Rachmaninoff, plagued by various health issues, heeded medical advice to seek a warmer climate.
He completed his final studio recordings before relocating to California, initially leasing a home in Beverly Hills.
In June, they purchased a permanent residence close to Vladimir Horowitz, fostering musical collaborations.
Rachmaninoff and Igor Stravinsky shared concerns over Russia’s wartime turmoil during a dinner meeting later that year.
Following a July 1942 performance at the Hollywood Bowl, Rachmaninoff’s health declined, suffering from lumbago and fatigue.
He decided to make the upcoming 1942–43 concert season his last to focus on composition.
Despite his ailments, the tour commenced on October 12, 1942, receiving acclaim from critics.
In February 1943, Rachmaninoff and his wife became naturalized American citizens in New York City.
However, he continued to experience health issues, including persistent coughing and back pain, later diagnosed as pleurisy.
In February, Rachmaninoff’s health further deteriorated with a persistent cough and back pain diagnosed as pleurisy, prompting his doctor to recommend a warmer climate for recovery. Despite his condition, he persisted with touring but fell seriously ill during a trip to Florida, leading to the cancellation of the remaining dates.
Returning to California by train, Rachmaninoff was rushed to the hospital, where he was diagnosed with an aggressive form of melanoma.
Upon discharge, his wife brought him home, where he reunited with his daughter, Irina.
His final performances as a concerto soloist were on February 11 and 12 with the Chicago Symphony Orchestra, followed by his last recital as a pianist on February 17 at the University of Tennessee in Knoxville.
Sergei Rachmaninoff as a Pianist
Rachmaninoff, known as one of the best pianists of his time, often performed alongside famous musicians like Leopold Godowsky, Ignaz Friedman, and others.
His reputation as a pianist was all thanks to his amazing technique, which was super clean and showed off his skill.
He was really good at keeping the beat, using staccato, and making sure even complicated music sounded clear.
Apart from playing his own music, Rachmaninoff mostly played super-hard pieces from the 1800s, plus music by other famous composers like Bach, Beethoven, and Tchaikovsky.
Rachmaninoff’s hands were a perfect fit for the piano because they were big and could reach really far.
This made it easy for him to play tricky chords. His left hand was especially strong, and he always made sure his playing was super clear, unlike some other pianists who sometimes used too much pedal and ended up with fuzzy sounds.
No matter what music he played, Rachmaninoff was always super organized.
He thought each piece had a big moment, and he planned everything out carefully to make sure he hit those moments just right.
He learned this from his friend, the famous Russian singer Feodor Chaliapin, who taught him that messing up one important part could mess up the whole performance.
Sergei Rachmaninoff as a Conductor
Sergei Rachmaninoff was primarily known as a composer, pianist, and occasionally a music conductor.
Rachmaninoff assumed the role of conductor for the first time in 1897. From then until 1914, he regularly conducted orchestras.
However, after leaving Russia permanently in 1917, Rachmaninoff focused mainly on his career as a pianist, with conducting becoming less of a priority.
Consequently, he conducted only seven more concerts for the rest of his life.
Rachmaninoff’s conducting style was marked by a sense of control, and his signals to the orchestra were described as “clear and straightforward.”
Alexander Goldenweiser noted that Rachmaninoff’s conducting style was more rigid and less rhythmically flexible than his piano playing. Nikolai Medtner hailed him as “the greatest Russian conductor.”
Alongside his own compositions, Rachmaninoff conducted a repertoire dominated by works from fellow Russian composers, including Mussorgsky, Borodin, Glazunov, Lyadov, Rimsky-Korsakov, Glinka, and Tchaikovsky.
He also included pieces by other renowned composers, like Grieg and Liszt.
However, when performing outside Russia, Rachmaninoff mainly conducted his own compositions, demonstrating his deep understanding and mastery of his own musical creations.
While he did conduct some performances of his own compositions and occasionally led orchestras in concerts, conducting was not his primary profession or focus.
Rachmaninoff’s main contributions to music were through his compositions, particularly his piano works, orchestral compositions, and choral music.
Sergei Rachmaninoff Music
Rachmaninoff’s compositions are renowned for their opulent melodies, lush harmonies, and intricate piano passages.
His music often reflects a sense of nostalgia and longing, with a touch of melancholy.
He had a gift for creating melodies that resonate deeply with listeners, and his compositions have a powerful emotional impact.
Rachmaninoff’s music combines elements of Russian folk music, lush Romanticism, and his own unique musical voice, resulting in a captivating and enduring body of work.
Compositional Style
Rachmaninoff’s early music was influenced by Tchaikovsky, but as the 1890s progressed, his compositions began to reflect a more unique style.
His Symphony No. 1, in particular, showcased original features that were unprecedented in Russian music at the time.
The symphony was marked by its intense gestures and powerful expression, along with flexible rhythms, sweeping melodies, and a disciplined approach to thematic material, which later became characteristic of Rachmaninoff’s work.
Despite the initial poor reception of the symphony and a three-year period of creative pause, Rachmaninoff’s individual style underwent significant growth.
He leaned towards broadly lyrical melodies, often infused with passion, while his orchestration became more nuanced and diverse, with carefully balanced textures.
Overall, his compositions became more concise and polished.
One notable aspect of Rachmaninoff’s music is his use of widely spaced chords to produce bell-like sounds.
This technique is evident in various pieces, including the choral symphony “The Bells,” the Second Piano Concerto, and specific piano compositions like the E-flat major Étude-Tableaux (Op. 33, No. 7) and the B minor Prelude (Op. 32, No. 10).
These bell sounds serve different purposes, highlighting Rachmaninoff’s versatility as a composer.
Moreover, Rachmaninoff drew inspiration from Russian Orthodox chants, which left a significant mark on many of his compositions.
While his Vespers prominently feature these chants, their melodic influence can be detected across his works.
For instance, the opening melody of his First Symphony is rooted in chants. Interestingly, the opening melody of his Third Piano Concerto, though not derived from chants, seemed to emerge effortlessly, as Rachmaninoff himself noted.
Evolution of Sergei Rachmaninoff’s Musical Style
Rachmaninoff often used motifs like the Dies irae, sometimes just bits of its first part.
He learned counterpoint and fugal writing from Taneyev, and you can see this skill in his music.
For instance, you can find the Dies irae in the Second Symphony (1907), showing off his talent.
He’s also good at using chromatic counterpoint, which is a special part of his music. Rachmaninoff can compose big pieces and small ones equally well.
The Third Piano Concerto is a great example of how he builds structures, while his preludes show how he can make a tiny musical idea into something big and emotional.
These preludes are rich in texture, have flexible rhythms, and use lots of chromatic notes to create different feelings.
Even before the October Revolution, Rachmaninoff’s style was changing.
In “The Bells,” written in 1913 but not published until 1920, you can see how his music became more advanced harmonically. Losing his main publisher in 1914 might have influenced this shift.
You can notice more changes in Rachmaninoff’s style in his revised First Piano Concerto, finished right before he left Russia, and in his Op. 38 songs and Op. 39 Études-Tableaux.
In these pieces, he moved from focusing just on melody to exploring how different tones work together.
His style became almost like Impressionist painting, matching well with poems by symbolist writers.
The Op. 39 Études-Tableaux are especially tough to play, needing both technical skill and deep emotion to bring out all the music’s feelings.
Continued Growth in Rachmaninoff’s Musical Style
In the early 1930s, Rachmaninoff’s friend Vladimir Wilshaw observed a continuous evolution in the way the composer crafted his music.
This evolution was evident in the stark differences between pieces like the Op. 39 Études-Tableaux, which showed a lot of outward expression (like when Rachmaninoff broke a piano string during a performance), and the Variations on a Theme of Corelli (Op. 42, 1931).
These variations had clearer musical patterns compared to Rachmaninoff’s earlier songs in Op. 38 and introduced a stronger use of chromatic harmony and a newfound sharpness in rhythm.
These traits would become defining elements of Rachmaninoff’s later music.
One example of this evolving style can be seen in the emotionally reflective Piano Concerto No. 4 (Op. 40, 1926), which demonstrated a clearer musical structure while still featuring some of Rachmaninoff’s most beautiful and moving melodies.
Similarly, the Third Symphony, Rhapsody on a Theme of Paganini, and Symphonic Dances all had nostalgic and sorrowful melodies that were exceptionally beautiful.
As early as 1951, music theorist and musicologist Joseph Yasser noticed forward-thinking aspects in Rachmaninoff’s music.
Yasser discovered that Rachmaninoff used a type of chromaticism within a single key, which was different from how other composers like Richard Wagner or Arnold Schoenberg used chromaticism.
Yasser suggested that Rachmaninoff’s music subtly but unmistakably employed this type of chromaticism, giving it a unique character.
Influences on Sergei Rachmaninoff’s Musical Style
Rachmaninoff’s early compositions bore a significant influence from Tchaikovsky, who served as a major inspiration for the budding composer.
This influence is evident in various works, such as his Youth Symphony, which carries echoes of Tchaikovsky’s late symphonies.
Additionally, sections of his symphonic poem Prince Rostislav pay homage to Tchaikovsky’s The Tempest and Romeo and Juliet.
Even in Rachmaninoff’s youthful Three Nocturnes, the third piece features a chordal section reminiscent of the opening of Tchaikovsky’s First Piano Concerto.
Rachmaninoff’s first opera, Aleko, also showcases the harmonies and allusions to Eugene Onegin that exhibit the influence of Tchaikovsky.
Although Rachmaninoff’s melodies did not possess the extensive range and length of Tchaikovsky’s, Tchaikovsky’s melodic writing left a distinct mark on Rachmaninoff’s compositions.
Another influential figure in Rachmaninoff’s early development as a composer was Anton Arensky, whom he studied under for five years at the Moscow Conservatory.
Arensky’s influence can be observed in works like the symphonic poem Prince Rostislav, dedicated to him.
Some compositions from Rachmaninoff’s student years may have been written as exercises for Arensky.
Biographer Barrie Martyn highlights that Rachmaninoff’s compositional style was notably influenced by the distinct Russian character and Tchaikovskian lyricism evident in Arensky’s music.
Sergei Taneyev, Rachmaninoff’s counterpoint teacher at the Moscow Conservatory, held a significant influence over his early compositions.
Rachmaninoff sought Taneyev’s approval for his compositions, even after his studies, up until Taneyev’s death in 1915.
Additionally, in Rachmaninoff’s later style, the influence of Rimsky-Korsakov becomes apparent.
This influence manifests in the increasingly chromatic harmonies and thinner orchestration found in Rachmaninoff’s compositions from his Third Piano Concerto onwards.
Work
Sergei Rachmaninoff is renowned for his piano concertos, celebrated for their challenging yet incredibly beautiful melodies.
His musical repertoire spans a wide array of styles and genres. Rachmaninoff composed music for various ensembles, including orchestras, small chamber groups, and solo piano performances.
He also created operas, choral compositions, and songs for solo singers accompanied by piano.
His works are characterized by rich melodies and enduring charm, captivating audiences with their depth and beauty.
Compositions by Sergei Rachmaninoff
Sergei Rachmaninoff piano and orchestra compositions, including four concertos and the Rhapsody on a Theme of Paganini, are renowned for their technical brilliance and profound emotional depth.
The Second and Third Concertos, in particular, are widely celebrated.
Additionally, Rachmaninoff’s orchestral repertoire includes three symphonies, with the Second Symphony being especially beloved.
Notable orchestral works also include the Symphonic Dances and several symphonic poems, which demonstrate his mastery of orchestration and storytelling.
As a virtuoso pianist himself, Rachmaninoff’s solo piano compositions hold a prominent place in his body of work.
Among them are preludes, études, and variations that showcase his exceptional command of the instrument and his exploration of diverse musical styles.
His piano sonatas and suites exemplify his ability to compose on a grand scale, while works like the Études-Tableaux reveal his incorporation of progressive musical influences.
In vocal music, Rachmaninoff’s contributions are equally significant.
He composed numerous choral works, including the Liturgy of St. John Chrysostom and the All-Night Vigil, cherished for their intricate harmonies and spiritual resonance.
Furthermore, Rachmaninoff’s ventures into opera, though relatively few, display his talent for dramatic storytelling. Notable examples include Aleko and Francesca da Rimini, which have left a lasting impact on the genre.
Despite a limited output in chamber music, Rachmaninoff’s compositions in this genre, such as his piano trios and cello sonatas, exhibit his characteristic lyricism and profound emotional depth.
Moreover, his collection of songs for voice and piano, inspired by Russian romantic literature, demonstrates his ability to evoke deep emotions through music.
The iconic Vocalise stands as a timeless gem in his repertoire.
Most Famous Works of Sergei Rachmaninoff
Sergei Rachmaninoff, a renowned Russian composer, created a diverse array of compositions across various genres. Some of his most famous works include:
Piano Concerto No. 2 in C minor, Op. 18: This concerto is one of Rachmaninoff’s most beloved compositions, known for its lush melodies and virtuosic piano passages.
Rhapsody on a Theme of Paganini, Op. 43: A set of 24 variations for piano and orchestra based on Niccolò Paganini’s Caprice No. 24, showcasing Rachmaninoff’s brilliance as both a composer and pianist.
Symphony No. 2 in E minor, Op. 27: Rachmaninoff’s second symphony is a masterpiece of the late Romantic era, featuring rich orchestration and deeply emotional themes.
Vocalise, Op. 34, No. 14: A wordless vocal melody accompanied by orchestra or piano, known for its haunting beauty and expressive power.
Prelude in C-sharp minor, Op. 3, No. 2: One of Rachmaninoff’s most famous solo piano pieces, characterized by its melancholic melody and dramatic flourishes.
Symphony No. 3 in A minor, Op. 44: Rachmaninoff’s third symphony is notable for its innovative use of orchestration and thematic development.
Études-Tableaux, Op. 39: A set of nine virtuosic piano pieces, each depicting a different mood or scene with Rachmaninoff’s characteristic harmonic richness and rhythmic complexity.
The Bells, Op. 35: A choral symphony based on the poem by Edgar Allan Poe, capturing the various stages of human life through the metaphor of ringing bells.
Piano Sonata No. 2 in B-flat minor, Op. 36: Rachmaninoff’s second piano sonata is a monumental work known for its technical challenges and emotional depth.
Vespers (All-Night Vigil), Op. 37: A sacred choral work consisting of settings of traditional Russian Orthodox hymns, showcasing Rachmaninoff’s deep spiritual connection and mastery of choral writing.
Sergei Rachmaninoff’s Recording
In 1919, Sergei Rachmaninoff turned to recording piano pieces for Edison Records to address his financial struggles.
However, frustration arose when the company released multiple takes without his final approval, a customary practice for Edison Records.
Despite initial satisfaction from both Rachmaninoff and Edison Records, technical issues and Edison’s perceived lack of musical taste led to the composer’s growing annoyance with the company.
In 1920, Rachmaninoff made a significant shift in his recording career by signing with the Victor Talking Machine Company.
From 1920 until 1942, he remained under contract with Victor, recording numerous notable performances.
Renowned for his pursuit of perfection, Rachmaninoff’s recordings with Victor included celebrated interpretations of works like Schumann’s Carnaval and Chopin’s Piano Sonata No. 2.
He collaborated with the Philadelphia Orchestra to record his piano concertos and, as a conductor, made notable recordings of his own compositions.
In addition to his work with Victor, Rachmaninoff ventured into recording piano rolls for Ampico.
From 1919 to 1929, he produced a total of 35 rolls, showcasing his consistent and distinctive interpretation style.
Throughout his recording career, Rachmaninoff’s dedication to musical excellence and his meticulous approach to capturing his performances on record left a lasting imprint on the classical music world.
Honor and Legacy of Sergei Rachmaninoff
Rachmaninoff’s influence and memory are honored in many ways.
There’s a music school in Paris called the Conservatoire Rachmaninoff. Rachmaninoff was the first honorary president of the institution.
Also, there are streets named after him in Veliky Novgorod, where he was born, and Tambov.
In 1986, the Moscow Conservatory named one of its concert halls, Rachmaninoff Hall, in his honor.
Also, in 1999, they put up a monument for him in Moscow.
Another statue, called “Rachmaninoff: The Last Concert,” was unveiled in Veliky Novgorod on June 14, 2009. It was created by Victor Bokarev.
In the world of art inspired by Rachmaninoff, a musical called Preludes by Dave Malloy premiered in 2015.
It vividly shows the composer’s struggles with feeling sad and being unable to write music.
To honor Rachmaninoff even more, there’s a statue called “Rachmaninoff: The Last Concert” in World’s Fair Park in Knoxville, Tennessee.
In 2019, the Alexandria Symphony Orchestra in Virginia had a Rachmaninoff concert that got a lot of praise.
Before the concert, Rachmaninoff’s great-granddaughter, Natalie Wanamaker Javier, Rachmaninoff expert Francis Crociata, and music specialist Kate Rivers from the Library of Congress talked about the composer and his important work.
Sergei Rachmaninoff’s Marital Life
In 1889, during a disagreement with Nikolai Zverev, Rachmaninoff ended up living with his uncle and aunt, Satin, and their family in Moscow.
It was during this time that he had his first romance with Vera, the youngest daughter of the Skalon family next door.
Unfortunately, Vera’s mother didn’t approve of their relationship and told Rachmaninoff not to write to her daughter.
So, he started writing letters to Vera’s older sister, Natalia. Many of Rachmaninoff’s earliest compositions can be traced back to these letters.
Despite his successful career, Rachmaninoff faced a big challenge when he decided to marry Natalia Satina on May 12, 1902.
They had been engaged for three years. However, they hit a snag because they were first cousins, and according to the rules of the Russian Orthodox Church, they couldn’t get married.
To make things more complicated, Rachmaninoff wasn’t a regular churchgoer and avoided confession, which was needed for a priest to sign their marriage certificate.
To overcome the church’s objection, Rachmaninoff and Natalia leveraged their military backgrounds to arrange a modest ceremony in a chapel situated within a Moscow suburb’s army barracks.
The famous pianist Siloti and cellist Anatoliy Brandukov were their best men. As a wedding gift, they got the smaller house on the Ivanovka estate.
After their wedding, they went on a three-month honeymoon across Europe.
When they came back, they settled in Moscow, where Rachmaninoff went back to teaching music at St. Catherine’s Women’s College and the Elizabeth Institute.
During their marriage, Rachmaninoff and Natalia had two daughters named Irina Sergeievna Rachmaninova and Tatiana Sergeievna Rachmaninova.
Sergei Rachmaninoff’s Children
Irina, the eldest daughter of Sergei Rachmaninoff and Natalia Satina, was born on May 27, 1903, in Ivanovka, Nizhny Novgorod, Russian Empire.
She later married Prince Peter Volkonsky and died on June 20, 1969, in Manhattan, New York City, United States.
Tatiana, another daughter of the Rachmaninoff family, was born on June 21, 1907, in the Russian Empire.
She married Boris Conus and unfortunately died on July 28, 1961, in Switzerland.
Sergei Rachmaninoff’s Declining Health and Passing
In early 1942, Rachmaninoff received medical advice regarding various health issues, including sclerosis, lumbago, neuralgia, high blood pressure, and headaches.
The recommendation was to seek a warmer climate for the betterment of his well-being.
Following this advice, he decided to purchase a residence located at 610 North Elm Drive in Beverly Hills.
In the last week of March 1943, Rachmaninoff’s health deteriorated rapidly, marked by a loss of appetite, constant pain in his arms and sides, and difficulty breathing.
He lost consciousness on March 26 and passed away two days later, just four days shy of his seventieth birthday.
His funeral was held at the Holy Virgin Mary Russian Orthodox Church in Silver Lake.
Although he desired to be laid to rest at Novodevichy Cemetery in Moscow, his American citizenship rendered this wish impossible. Consequently, he was buried at Kensico Cemetery in Valhalla, New York.
Posthumous Revelations
Following Rachmaninoff’s death, poet Marietta Shaginyan published fifteen letters exchanged between them from 1912 to 1917.
While their relationship was primarily intellectual and emotional, it contained elements of romance. S
Haginyan and her poetry have been credited as inspiration for Rachmaninoff’s Six Songs, Op. 38.
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