Hey! The exordial piece of Rachmaninoff's Six moments musicaux collection, _Andantino_ (1896), is the longest of the set and epitomizes the form of a nocturne _sui generis._ It features a long melody, as emblematic in Rachmaninoff's _modus operandi,_ full of syncopes, which is varied throughout the score in exceptionally brilliant and elegant manners. The first section introduces the main melodic material, in which clear Schubertian _réminiscences_ are manifested, for example by observing the role that rests play in separating the _variatio_ at 1:11. A restatement of the melody with chromatic counterpoint ensues. The second section, characterized by an unusual 7/4 time signature in the relative key of g-flat-major, contains interesting harmony development at 2:28, where the right-hand chords are transposed up a minor third, in almost dorian echoes, modulating back to the g-flat-maj key. A _cadenza_ separates this section from the third melodic variation of the main theme, which is indubitably the most eminent: it starts from a _pianissimo,_ texturally dense figuration, an undisturbed _motu perpetuum,_ with a strict unrelenting rhythm in the left hand, that carries the music tensely and agitatedly, to reach a most powerful, _pathétique_ (in the etymological sense of the word) _climax_ around 4:21. Another long Schubertian rest precedes the _épilogue,_ fourth and final restatement of the theme, distinguished by marked, arpeggiated chords, ending in a grimly and dark, almost tragic and exausted demeanor. I shall be fully content and satisfied, were I able to convey even the slightest tip of the iceberg of the Composer's emotions in this very deep, somewhat mysterious and melancholic piece ^_^.
Hey! The exordial piece of Rachmaninoff's Six moments musicaux collection, _Andantino_ (1896), is the longest of the set and epitomizes the form of a nocturne _sui generis._ It features a long melody, as emblematic in Rachmaninoff's _modus operandi,_ full of syncopes, which is varied throughout the score in exceptionally brilliant and elegant manners. The first section introduces the main melodic material, in which clear Schubertian _réminiscences_ are manifested, for example by observing the role that rests play in separating the _variatio_ at 1:11. A restatement of the melody with chromatic counterpoint ensues.
The second section, characterized by an unusual 7/4 time signature in the relative key of g-flat-major, contains interesting harmony development at 2:28, where the right-hand chords are transposed up a minor third, in almost dorian echoes, modulating back to the g-flat-maj key. A _cadenza_ separates this section from the third melodic variation of the main theme, which is indubitably the most eminent: it starts from a _pianissimo,_ texturally dense figuration, an undisturbed _motu perpetuum,_ with a strict unrelenting rhythm in the left hand, that carries the music tensely and agitatedly, to reach a most powerful, _pathétique_ (in the etymological sense of the word) _climax_ around 4:21. Another long Schubertian rest precedes the _épilogue,_ fourth and final restatement of the theme, distinguished by marked, arpeggiated chords, ending in a grimly and dark, almost tragic and exausted demeanor.
I shall be fully content and satisfied, were I able to convey even the slightest tip of the iceberg of the Composer's emotions in this very deep, somewhat mysterious and melancholic piece ^_^.
3:43 🤐
shhhhhh
Beautiful performance!
Thank you so much! ^_^
@@Propp_ I thank you for the video!
Rachy my love☺
I know, right? ^_^
Great performance
Thank you!! ^_^