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Apart from classical music, Simon plays improvisation and jazz. In Simon began his studies at the Moscow Conservatory with Prof.

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Prelude In E-Flat Major, Op. 23, No. 6

Chopin — Ballade in A flat Major Op. Chopin — Selected Etudes from Op. Chopin — Fantaisie Impromptu Op. Chopin — Mazurka in A minor Op. Chopin — 3 Nocturnes from Op. Posth F. Chopin — Polonaise in C minor Op. Chopin — Scherzo in B flat minor Op. Chopin — 3 Waltzes Op. Chopin — Selected Preludes Op. Debussy — Selected Preludes Book 2 C. Debussy — Arabesque No. Haydn — Sonata in E minor Hob. Mozart — Piano Sonata in A minor K. Mozart — Piano Sonata in C minor K. Mussorgsky — Pictures at an Exhibition F. Liszt — Hungarian Rhapsody No. Liszt — Piano Sonata in B minor S.

Liszt — Selected Transcendental etudes A. Piazzolla — Libertango A. Piazzolla — Oblivion A. Piazzolla — Tango-Etude No. Prokofiev — Suggestion Diabolique Op. Prokofiev — Toccata in D Minor Op. Rachmaninov — Elegie Op. Rachmaninov — Moment Musicaux Op. Rachmaninov — Piano Sonata Op. Rachmaninov — Prelude Op. Ravel — Gaspard de la nuit M. Runtz — Moire M. Runtz — Nordlicht D.

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  • Schubert and F. Liszt — 5 pieces selected from Lieder S. Schumann — Arabesque Op. Because of the popularity of the Prelude, the Opus 3 pieces are rarely played as a group. The emotional range is wide: from the deep tragedy of the Prelude to the joyous character of the Serenade, and the whimsy of Polichinelle. The subtlety is shown by the fact that a tiny melodic cell—the semitonal fall, or its extension the whole-tone step and their inversions—is heard at the beginning of every one of the five pieces. Whilst it is too much to claim that this gives the pieces a unity of organic strength of which Rachmaninov was certainly capable , it is fascinating to see how this tiny cell is used again and again in these pieces.

    Rachmaninov premiered the complete Morceaux de Fantaisie in Kharkov on December 27th, and two months later to the day he gave Tchaikovsky one of the first copies of the newly-published set. In the event, the Prelude proved a double-edged success. On the one hand, it soon travelled throughout the world in the s in New York, Rachmaninov heard the Paul Whiteman Band play a jazz version, which he much enjoyed, and had a similar experience in a London restaurant.

    It spread the fame of the young composer in such a way that by the time he was in his early twenties his name was known to a large international public. On the other hand the very popularity of the work came to curse him later in life, when he became a touring virtuoso: audiences would not let him leave without playing the piece as an encore. Furthermore, in Russia was not a signatory to any international copyright agreement, so all Rachmaninov ever received for a piece that was played and broadcast millions of times during his life was the forty roubles Gutheil paid for it he gave two hundred roubles for the five pieces , and the royalties from his subsequent recordings of it.

    Following the disastrous premiere of his First Symphony not the student work under Glazunov in , Rachmaninov gradually lost interest in composition, and it was only after a course of hypnotherapy under Dr Nikolai Dahl in Moscow in that his muse returned. His career as a conductor, however, had developed enormously during this time, so his musical life was by no means barren. In , following the Second Piano Concerto, the Second Suite for two pianos and the Cello Sonata, his composing life had returned in full flood.

    Prelude In E-Flat Major, Op. 23, No. 6 — Philippe Entremont. Слушать онлайн на Яндекс.Музыке

    His marriage, as so often with artists, led to a great burst of creativity, including the Ten Preludes for piano which comprise his Opus But as with the Op 3 pieces, the most famous of the Op 23 Preludes, the fifth, in G minor, was written first, in It does not require much imagination to see that having begun the Variations, Rachmaninov would naturally be drawn to the work that sparked them off a set of Preludes and, having already composed the G minor, he would have begun a set of his own. The Moscow recital on 10 February in which Rachmaninov premiered the Chopin Variations also saw the first performance of three of the Op 23 set, Nos 1, 2 and 5.


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    The remaining seven were written in Moscow during the next few weeks as the couple awaited the birth of their first child in May. The complete set of Ten Preludes was published later the same year and dedicated to Alexander Siloti who had been one of the two best men at their wedding. The Opus 23 set continues the cellular construction of Op 3, but on a deeper level.

    Curiously enough, the stepwise motion is common to all the Preludes, and clearly derives from the C sharp minor. In the case of the first four Preludes from Op 23 the interval falls, and in the next four it rises, and in the ninth and tenth it does both.

    Performances by same musician(s)

    With eleven Preludes having been written, it was only a matter of time before Rachmaninov considered completing his set of 24 with a final group of This group, his Opus 32, followed in when the composer was at the very height of his powers. The year before he had premiered the Third Piano Concerto in New York, and a few months earlier had completed the first of his two large scale sacred works, the Liturgy of St John of Chrysostom , Op The winter months, the concert season, were given over to concert engagements, and the summer months to rest and work on the large estate at Ivanovka which he owned.

    The result was that little time could be devoted to composition, so when the rare opportunities arose when Rachmaninov was able to write, his works were written very quickly. His Opus 32, the final set of Thirteen Preludes , illustrates this admirably, for three of them were written in one day August 23rd—Nos 5, 11 and 12 and the whole set was completed within nineteen days. As a result of this concentrated activity the Op 32 set is somewhat more organic, but it is curious to note how yet again the composer recalls the C sharp minor, the begetter of the entire set of Preludes, in the pervasive cell, and uses much of the material from the first to be written, No 5, in the remaining twelve.

    In addition, the final Prelude, that in D flat, enharmonically the relative major of the C sharp minor, quotes extensively from the earlier work but with such subtle transformation of material that audiences hardly ever realise where the themes come from. In spite of the somewhat haphazard manner in which Rachmaninov compiled his set of twenty-four Preludes, the consistency of his compositional style which is not to say it did not change or develop, for it manifestly did ensured no stylistic mismatch when they are played together.

    The fact that he chose every tonality implies that they should be played as a set although Rachmaninov never did so in public , and the close connections between each piece and its successor as well as concluding with the D flat, i. Noting in passing that its own rising gruppetto in the bass is a variation on the intervals which begin the C sharp minor, it is placed between the slow No 4 in D, which acts as a dominant, and the lyrical No 6 in E flat. This sixth Prelude has B flat as its first note, and G as its first melodic note. Both are common to G minor, the key of the previous piece, whose tonality is still felt at the beginning of the E flat Prelude.

    One has stressed their unity because they are more frequently played separately, but the fact remains that hearing them in context demonstrates a rarely perceived aspect of this great composer. By the beginning of the War had taken a great toll of Russian lives and material. In the third winter of war, the distribution of essential supplies was chaotically corrupt: a general strike led to workers being shot, but the Russian army was now very different from that which fired on demonstrators in January