Why Rachmaninoff Wrote So Much Music in Minor Keys

by Janet Horvath, Interlude

Sergei Rachmaninoff

You have to hand it to composer Sergei Rachmaninoff—his three symphonies, the Symphonic Dances, four piano concertos, and the Rhapsody on a Theme of Paganini are all written in minor keys. Other favorites, perhaps less frequently performed, are also in minor keys. Is there a reason?

Born in 1873, a leading piano virtuoso, composer, and conductor, Rachmaninoff became one of the last major figures of Russian romanticism. As a youngster, he began piano by the age of four, and displayed uncanny talent but he also experienced emotional ups and downs over his relationships and the successes or failures of his music. He lost two of his sisters, one to diphtheria and the other to pernicious anemia, and his father left the family.

The first performance of his Symphony No. 1 in D minor in 1897, a fiasco, led to scathing and caustic reviews. Rachmaninoff, overcome with despair, descended into a depression that lasted four years. The piece was never performed again during his lifetime. It is now said that the conductor of the premiere, Glazunov, was not only incompetent but also drunk at the time of the premiere.

By 1900 Rachmaninoff was paralyzed with self-doubt and unable to compose. After professional help, his creative juices were rekindled. The Piano Concerto No. 2, completed in 1901 and performed by Rachmaninoff himself, was a success and led to a Glinka Award. During the early 1900s Rachmaninoff, successfully toured the US, and lived in Germany for a time.

The Russian Revolution in 1917 caused great turmoil for the family. His estate was confiscated. Trying to keep his family safe from the bombardments, plagued with financial difficulties, he and his family left Russia and moved to New York. The self-imposed exile resulted in a wrenching time for the composer. The family after all relied on his income as a piano soloist and as a conductor. He performed 70 concerts during his tour of America during the 1922-23 season alone. Hence his compositional output was minimal—just six pieces from 1918-1943.

Arguably one of Rachmaninoff’s most famous pieces The Prelude Op. 3 No.2 is in C# minor and launched Rachmaninoff’s career after he performed this piece in 1892. Composers believe that particular keys evoke discernable and unique feelings. On the piano, this key uses many of the black keys with its slow chords, and one senses anxiety and tension from the beginning. There is a story that the inspiration for this work was a dream Rachmaninoff experienced: Set at a funeral where the coffin is prominently placed, he approaches the coffin, and to his horror he sees himself inside! That calls for a minor key!

Let me draw your attention to a few other works in minor keys.

In 1893, deeply affected by the death of Tchaikovsky, Rachmaninoff composed his Trio Élégiaque No. 2 in D minor Op. 9 in Tchaikovsky’s memory, a piece filled with grief and anguish. The repeated descending notes in the first movement in the piano are decidedly morose with heart-rending cello and violin lines. The movement builds to a feverish climax and then as if spent, the music slows. A poignant melodic section accompanied by palpitating strings interrupts. A brief return to the agitated music precedes fading away in gloom. 

The Cello Sonata in G minor Op.19 from 1901, was one of the first works Rachmaninoff wrote once he emerged from his stupor. How fortunate for cellists. It’s a gorgeous piece extremely tender and lyrical but fiendishly difficult for the pianist. Dedicated to the brilliant cellist Anatoliy Brandukov the first movement opens hesitantly, without a clear rhythm, but a passionate, breathless melody ensues, followed by a turbulent and foreboding scherzo. The four-movement piece includes a ravishing slow movement and a triumphant and massive finale. Perhaps imitating Rachmaninoff’s monumental personal journey? 

Variations on a Theme of Corelli Op.42 is a set of 20 variations, for the piano. All but two variations are in D minor (the 14th and 15th are in D-flat major.) The theme is actually La Folia used by Corelli when he composed his Sonata for Violin and Continuo in 1700, which incorporates 23 Variations also in D minor. Rachmaninoff dedicated his variations to his friend esteemed violinist Fritz Kreisler. It begins in a stately fashion but the piece soon manifests Rachmaninoff’s style—melodies that remind us of his Paganini Variations, dark full passages like in his symphonies, virtuoso sections with big chords and octaves, and suspenseful moments with unpredictable rhythms and harmonies. Rachmaninoff’s originality is impressive and it takes a superb pianist to bring these elements to the fore.

The Isle of the Dead Symphonic Poem Op. 29 is composed in A minor. The piece was inspired by the Swiss symbolist artist Arnold Böcklin’s Isle of the Dead in a black and white rendition. Dark water, a barren island, craggy rocks, haunting hallucinations of a coffin, cemeteries, mourning, and the ancient chant of the dead Dies Irae recurs and alludes to death. The piece had to be in a minor key! It begins ominous, in the low strings, in the unusual and unsettling meter of a slow 5/8. The tension rises to an epic climax punctuated by multiple cymbal crashes. Chilling. Slowly unraveling, the piece returns to the dirge in darkness.

Ultimately Rachmaninoff had reason in his life to resort to minor keys to express his many disappointments and tragedies. And yet there is an infinite inventiveness in his music, which never fails to move us.

97-year-old pianist, and last surviving pupil of Rachmaninov, signs landmark record deal

97-year-old Ruth Slenczynska is the last-living pupil of Sergei Rachmaninov

Credit: Decca Classics

By Sophia Alexandra Hall, ClassicFM London

@sophiassocials

On Saturday January 15 2022, American pianist Ruth Slenczynska will celebrate her 97th birthday.

At this landmark age, Slenczynska has achieved an astonishing nine-decade long career, having begun performing as a child prodigy in the 1920s.

To mark the occasion, Slenczynska has announced her resigning with the record label, Decca Classics for her first album with the company since the 1960s; Slenczynska’s new solo piano album, My Life in Music is due to be released later this year.

When asked about the album Slenczynska responded, “Whoever heard of a pianist my age making another album?

“Music is meant to bring joy. If mine still brings joy to people, then it is doing what it is supposed to do”.

Ruth Slenczynska. Picture: Meredith Truax

Born in California in 1925, Slenczynska was the daughter of Polish immigrants. She made her concert debut at the age of just four years old, and one year later, performed a work of Beethoven on television (watch below).

At six, Slenczynska made her European concert debut in Berlin, and now 92 years later, this legendary performer is still enchanting audiences across the globe with her piano skills.

Notably, Slenczynska is considered to be composer-pianist Sergei Rachmaninov’s last living pupil.

It is thought that the young pianist even once stepped in for the great Russian musician at the last minute when he was unable to perform due to an injury.

According to sources, the two would often drink tea together and to this day, Slenczynska wears a Fabergé egg necklace which Rachmaninov is said to have gifted her.

Slenczynska also had connections with another prominent composer, American Samuel Barber, and heard his famed Adagio for Strings before the work even had a title.

Slenczynska has performed for four United States Presidents, including playing a Mozart duet with President Harry S. Truman, and performing at President John F. Kennedy’s inauguration.

During lockdown, Slenczynska uploaded videos of herself performing Beethoven sonatas to YouTube, to celebrate the German composer’s 250th anniversary.

Despite her age, the pianist is still an active performer and most recently played at Chopin International Festival and Friends in October 2021 in the Polish Embassy in New York. Next month she will be celebrating her 97th birthday with a recital at Lebanon Valley College, Pennsylvania, on 6 February.

Slenczynska’s album, My Life in Music, explores the music of Chopin, a composer who had a heavy influence on the young pianist’s childhood.

According to her memoir, Forbidden Childhood, Slenczynska was made to practise all 24 Études before breakfast every morning by her father, Josef Slenczynski, who was a skilled violinist.

She would subsequently earn a reputation as one of the most celebrated Chopin interpreters of her time.

The album also features music from composers such as Debussy, Grieg and Bach, who all provide memories of her beloved piano mentors and teachers.

Serge Rachmaninoff - his music and his life

The Russian Serge Rachmaninoff was born in Onega, Nowgorod on April 1, 1873.

After studying at the Moscow Conservatory of Alexander Siloti (1863-1945), Sergey Tanejeff (1856-1915) and Anton Arenski (1861-1906), Rachmaninoff became piano virtuoso and composer.

In 1903, he left his home country but returned in 1910. Like Peter Tschaikowski, Rachmaninoff remained as very much Western orientied. In his piano compositions lives Slavonic melancholy with -critics described it as - touching drawing room Bolshevist's work.

His most known compositions are the "Prelude cis-moll" (c sharp minor) from 1893 (also known in an orchestral arrangement), as well as the "Rhapsody on a theme of Paganini". Piano summit compositions are his four piano concertos. Serge Rachmaninoff passed away in Beverly Hills on March 28, 1943 just a few weeks after getting his US-citizenship.

Sergei Rachmaninov (also spelled Rachmaninoff, 1873–1943) was a Russian composer, pianist, and conductor. Rachmaninov, it seemed, could do nothing right by most of his contemporary critics' and composers' standards. As a person, he appeared somewhat cold and aloof - Stravinsky once called him "a six-and-a-half foot tall scowl".

Life and Music

Rachmaninov's student years were nothing short of phenomenal. He consistently amazed his teachers with his jaw-dropping ability as a pianist and composer.

In 1891 at the age of just 18, he created a storm with his First Piano Concerto, an incredibly accomplished student work.

Music continued to flow from the young genius, including an apprentice opera, Aleko, in 1892.

Rachmaninov seemed unstoppable, composing a great run of pieces including the Cello Sonata and the Second Suite for Two Pianos, both in 1901.

However, his First Symphony from 1896 was roundly panned by critics, and caused the composer to enter a deep depression.

Rachmaninov's masterpiece was surely the Second Piano Concerto from 1901. It's subsequent use in the film Brief Encounter have made it a constant favourite.

With his phenomenal conducting skills, Rachmaninov was appointed Principal Conductor of the Bolshoi Theatre in 1904 and offered several major posts in America, most notably with the Boston Symphony Orchestra.

He left Russia for good after the 1917 Russian revolution, first heading to Helsinki and finally ending up in the US.

Rachmaninov died of melanoma on 28 March 1943, in Beverly Hills, four days before his 70th birthday.

Did you know?

In 1931 Rachmaninov's music was officially banned in the USSR as 'decadent' with the chilling warning: "This music [The Bells] is by a violent enemy of Soviet Russia: Rachmaninov".

The Composer’s Block

by Doug Thomas, Interlude

Is the writer’s block (or composer’s block) avoidable? © Goalcast

Being stuck in front of an empty page is quite a common phenomenon for artists, regardless of the medium or format of the art. The writer’s block is the result of the creator not being able to produce new works, and unfortunately it can last for years. It is not only measured by the time elapsed without creating, but also by the productivity over time. A disease that all artists avoid like a plague, yet as much as one can try to steer away from being left with no inspiration, it is at times unavoidable. Some composers have made it a strength, an opportunity to reset, while some have suffered from it forever.

Is the writer’s block — or in this case, the composer’s block — avoidable? If so, how does one avoid the blank page as it is also known?

Sergei Rachmaninoff © euroarts.com

One of the most famous composers who has suffered from the blank page is of course well-knowingly Rachmaninoff, whose three yearlong depression resulted in a writer’s block, leaving the Russian composer unproductive for a long time. He is not the only composer though, Schubert faced difficulty in composing too when he became ill and depressed towards the end of his short life, and even Beethoven faced a few years of creative block, composing less than ten works for almost seven years!

There are a few ways around the writer’s block. Mozart, and many of his peers — despite having a very fertile brain — always composed following pre-set structures – including the harmonic structure — and all that was left to do was fill in the blanks with melodic material. Composing by numbers as one could call it!

Of course, the more one composes, the more the juices flow. When composing as a duty — in the case of Bach for instance — it is a lot easier to be more tolerant as well as detached from emotional and intellectual opinions, creative ideas are more easily accepted. The work has to eventually be completed! Creativity is like a muscle, it needs daily exercise.

Gardens Of The Villa Deste At Tivoli By Jean Baptiste Camille Corot
© Crescendo Magazine

One can use pre-existing material to plant the seed for inspiration, as does Nyman in his own interpretation of Mozart’s Don Giovanni in his In Re Don Giovanni. But the source does not necessarily require an existent musicality; other artistic works — in literature, painting — or even life experiences, such as travels, can provide a great source of inspiration. Think of Liszt’s Années de Pèlerinage, where the landscapes and cityscapes of Italy and Switzerland provide the canvas to the Hungarian composer’s masterpiece.

Eventually, another fantastic way to release the inspiration is of course to think outside of the box; compose for unusual instruments, unexpected settings, or in the case of Cage compose without composing; “4’33”, despite not containing a single note of music, it is one of the most inspired piece of work ever composed.

Some composers seem to have never been affected by the writer’s block and some others are well-known for having benefited from a lack of ideas to express, like Pärt — whose pause and return to music allowed him to come back with his true voice and expression and signature Tintinnabuli style. Outside of the music world, Frank Zappa or Bob Dylan are great examples of musicians whose regular and constant output allowed them not to ever feel the symptoms of the blank page.

One never quite runs out of ideas, rather one forgets how to find and reach them. Creativity is a stew which develops flavours over time and needs constant stirring and heat in order to express itself. The responsibility of the composer is as much to maintain his creativity boiling as to create.

The most adventurous composers rarely suffer from the writer’s block. It is rather for the ones that take shortcuts in their creativity, relying too much on their past achievements and waiting for external triggers to enable it to emerge.

Rhapsody on a Theme of Paganini by Serge Rachmaninoff - Conductor Horst-Hans Bäcker

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The great Christopher Plummer passed away

 

He was a classical pianist, and played Rachmaninoff between Sound of Music scenes...

Christopher Plummer was a classically trained pianist, and loved Rachmaninov. Picture: Getty/YouTube

By Maddy Shaw Roberts, ClassicFM London

 

The beloved star of stage and screen was an accomplished pianist, and often tickled the ivories to keep his cast mates entertained during breaks on set.

Christopher Plummer, or as he was most famously known, Captain von Trapp from The Sound of Music, died on 5 February and left behind an extraordinary legacy.

With a gloriously resonant voice, a wicked smile and seemingly sculpted features, the Canadian actor was first choice time and time again for the great Shakespearean roles, and he would leave an immeasurable mark on the acting world.

But as a boy, it was the thought of a pianistic career that occupied Plummer’s mind.

As a schoolboy, Plummer began studying to be a concert pianist, training in all the great classical works. Eventually, his love of acting would eclipse all serious thought to the instrument. But he always returned to the ivories.

Read more: The time Princess Diana casually sat at a piano and played Rachmaninov >

Before he became an actor, Christopher Plummer studied to be a concert pianist. Here he is playing between takes on ‘The Sound of Music.’ pic.twitter.com/4u8CyKFzqC

In this wonderful discussion of The Sound of Music with Julie Andrews, the legendary soprano recalls the time the late actor played for the cast.

“You were phenomenal off the set in that you kept us all very jolly,” Andrews tells Plummer. “You would play the piano brilliantly until very, very late at night.”

“Thank you very much but I think you were all very south to be able to say I played brilliantly…” Plummer says, modestly. “But I was constantly at that piano.”

(C) 2021 by ClassicFM London

Rachmaninov is the most innovative composer ...

... in 200 years, researchers reveal

Rachmaninov was more innovative than Beethoven, researchers say. Picture: Getty

By Maddy Shaw Roberts, ClassicFM London

3K

Beethoven might be considered one of the greatest composers of all time – but his music wasn’t as original as Rachmaninov’s, researchers claim.

Sergei Rachmaninov was the most innovative composer in classical music history, according to new research that puts the Russian giant just ahead of Bach, Brahms and Mendelssohn.

A study of more than 19 composers, published in the open access journal EPJ Data Science, showed that Rachmaninov’s music was the most unlike his predecessors’ across the Baroque, Classical and Romantic eras (c. 1700-1900),

His compositions were also judged the most original, compared to his earlier works.

Beethoven, whose music bridged the gap between the Classical and Romantic eras, was found to be the most influential composer in the later period. However, the study did not consider his music highly original compared to his previous works.

Similarly, Classical composers Haydn and Mozart were considered influential in their time, but their compositions did not evolve drastically over their lifetime. To carry out the research, a team from the Korea Advanced Institute of Science and Technology in South Korea studied 900 classical piano compositions written by 19 composers between 1700 and 1900 – widely considered the two defining centuries in classical music history.

They calculated each composition’s influence (how it differed to predecessors’ piano music) and novelty (how it differed from previous piano works by the same composer).

Composers from the Romantic era, such as Brahms and Mendelssohn, scored greater overall for ‘novelty’.

Read more: Why Rachmaninov’s Piano Concerto No. 2 is an epic work of genius >

Beethoven was considered the most influential composer in the Romantic period. Picture: Getty

Juyong Park, the corresponding author, said: “Our model allows us to calculate the degree of shared melodies and harmonies between past and future works and to observe the evolution of western musical styles by demonstrating how prominent composers may have influenced each other.

“The period of music we studied is widely credited for having produced many musical styles that are still influential today.”

The authors cautioned the results might have been different if works other than piano compositions had been included in their analysis.