Rachmaninoff: 8 Etudes-Tableaux Op.33 (Lugansky, Ashkenazy, Sofronitsky)
Vložit
- čas přidán 28. 07. 2024
- Rachmaninoff's Etudes-Tableaux (study-pictures) are all miniature masterpieces. They are what impressionist music would sound like if the impressionists happened to be obsessed with counterpoint and harmony: highly concentrated tone-poems for piano. To pre-empt any queries about numbering, note that of the 9 Op.33 which Rachmaninoff initially wrote, one (originally No.4) became Op.39 No.6, and two which Rachmaninoff simply removed from the set (No.3 and 4 here) were published posthumously. In any case, the Op.33 is slightly more compact and restrained than the Op.39, but still features rich sonoroties, complex contrapuntal textures, melting lyricism, and a raw animal energy.
No.1: A study in keeping a sustained melody over dense staccato accompaniment, and managing changing time signatures. Musically striking, because of the way the melody, usually with the leading role, is completely in thrall to the harmonic underpinnings of the accompaniment.
No.2: A study in fast arpeggiated figures in the LH. This aurally stunning etude-tableaux, briefly referred to as "misting rain" in a letter by Rachmaninoff, showcases his incredible ability to achiever otherworldly effects almost through pure harmonic manipulation. Note also the implied counterpoint in the LH.
No.3: One of my all-time favourites. It begins freighted with complex sorrow and interspersed with distant bell-tolls, before unfurling into an incredibly heartfelt melodic episode built initially around nearly-static harmony. The latter portions of this lyric section involve a rising chromatic melody that Rachmaninoff eventually borrowed for his Piano Concerto No.4.
No.4: Yet another popular one. A simple march grows into a thing of striking contrapuntal complexity and beauty. Note how naturally Rachmaninoff moves between modal and tonal harmony.
No.5: A searingly difficult, spikily schizophrenic thing, with roulades of notes that remind me a little of Chopin.
No.6: In correspondence with Resphigi, Rachmaninoff identified the picture behind this piece as "The Fair", and it's easy to see why. It's a joyously exuberant piece, rife with full-blooded chords and cheeky harmonic transfiguration, and rather reminiscent of the Op.32 No.3 prelude.
No.7: A lovely homage to Chopin, featuring a straightforward melody interrupted once by dark violence. If you don't see the similarities to the first ballade, I'd point you to the persistence of Neapolitan harmony and the ending, which couldn't be more direct in making its point if it wanted to.
No.8: A vast, thundering, blackly oppressive piece. Rachmaninoff's harmonic invention is on full display here, from the violent wavering between minor and major, to the bravura display at the end featuring harmonic dips and turns, bitter chromatic runs, huge LH leaps, and a countermelody that emerges apparently out of nowhere.
I've uploaded two performances here, with two old recordings by the great Sofronitsky at the end as a bonus. Lugansky's is hyper-impressionist, with miraculous textures and incredibly compelling phrasing. Ashkenazy's is energetic and ablaze with colour and detail.
Lugansky:
No.1 -- 00:00 (Note the bell-like passage at 2:25)
No.2 -- 02:58 (Note Lugansky's daring tempo fluctuations)
No.3 -- 05:21
No.4 -- 11:12 (Note the incredible brightness and clarity of 14:08)
No.5 -- 14:52
No.6 -- 16:32 (The richness at 17:53 is a highlight)
No.7 -- 18:23
No.8 -- 22:28
Ashkenazy:
No.1 -- 25:05
No.2 -- 27:57 (Note the shading Ashkenazy pulls off at 29:49)
No.3 -- 30:39 (Note the reverential entrance of the lyric melody at 32:43)
No.4 -- 35:22 (A brusque, brittle march: a fascinating contrast to the Lugansky rendition)
No.5 -- 38:07
No.6 -- 39:49
No.7 -- 41:32
No.8 -- 45:19 (Amazing coloration throughout)
Sofronitsky (unbelievably tender and rich):
No.2 -- 48:10
No.7 -- 50:35 - Hudba
Rachmaninoff was so rich in colors, imaginagion, and harmony. He was a very unique composer, combined romantic style with rich modern harmonies and unique mixture.
@alberlos What about Ravel?
@alberlos But let's dont forget Gaspard de la nuit, thar can be as hard as this etudes. But in other way.
@@na-kun2136 Gaspard actually is more difficult than these etudes in technical terms
@@na-kun2136 they are not talking about the difficulty music isnt just about difficulty
@alberlos But his orchestration is just mind-blown.
No. 4 is my favorite Rachmaninoff's piece and also my favorite classical piece of all time. It's powerful and gentle at the same time, extremely melodious. I listen to this every single day and I'm dreaming of playing it myself. I've been playing the piano since I was 8 (I'm 22 now) and I once tried to learn it with my piano teacher a few years ago but struggled too much (I have small hands). But I won't give up, I will try to play it again, I don't care if it takes months for me to learn it, I will do it !
good taste of music
@@martinsz441 Thank you !
I want to play it too. I've been playing piano since 6, and now I'm 14🤭. This piece is amazing🤍
@@ovdiichuk.stanislava yeah right, and damn I am 14 and this is deep *coz I am old*
@@randomcubing7106 wut
I absolutely love the way Lugansky brings out the left-hand counter-melody in 33/4. For some reason, the two etudes that Rach. left out of his set are my two favorites of the op. 33 set (#3 and #4, although they're all great). And L's sense of stillness and beauty in in 33/3 is just perfect.
I’ve said it before and will say it until I die, I love looking at Rachmaninoff’s scores (though they intimidate me greatly)
There is just so much going on, I could imagine his sheet music being turned into some sort of impressionistic artwork. So many notes, voices, lines and not to mention the beautiful sound which these notes represent.
Ok, just had a heart attack at 1:23. Wasn't prepared for that Rachmaninoff.
25:04 SERGEIJ
27:58 RACHMANINOFF
30:39 MASTER
32:07 OF
35:23 CHORDS
I love this comment
30:39 does say "Master of Chords"
Lugansky
1. 0:00
2. 2:58
3. 5:21
4. 11:12
5. 14:52
6. 16:32
7. 18:23
8. 22:28
Ashkenazy
1. 25:05
2. 27:57
3. 30:39
4. 35:22
5. 38:07
6. 39:49
7. 41:32
8. 45:19
Sofronitsky
1. 48:10
2. 50:35
A thousand thanks!
God bless you, thanks
just check the description
Opus 33 No. 3 is a dazzling tale of optimism, and it is a pleasure hearing Lugansky and Ashkenazy distribute that optimism so clearly.
I've been listening to and reading you posts for many months. Many thanks for you considerable efforts in synchronizing the music to the sheet music, and your insightful comments.
I adore your channel. You truly are providing us with treasures, and you have the knowledge and eloquence to match them. Hats off and immense appreciation from Berlin.
No. 5 is one of the few pieces that legitimately scares me, both as a listener and pianist.
Especially the staccato bassline over ringing treble notes
Richter in the 50s plays this like a nut lol
Literally one of my favorites from the two sets. It's so... alarming
My favourite one! So unhinged and terrifying
No idea that gorgeous chromatic figure from the 4th concerto came from the third Etude! Wonderful! Thank you :)
I heard it to, I’m prettt sure it’s form the third tho? Or no I’m going to have to check, the similarities are insane tho
I LOVE RACHMANINOFF !
@friendly Jew what is that ?
@friendly Jew Wtfh dude ? What's your problem ? Calm down.
jesus lovs u too
Mr Kitrid All of those countries in sound Europe are a bunch of greedy sub human bastards.
Это очень мило
Thank you so much, Ashish! This was a remarkable comparison! All of your notes and remarks were SPOT ON! I have played these and have heard all except the Sofronitsky! WOW!...I have to do more homework! As you said,....."Unbelievably tender and rich." I am in awe....Thanks again!
9:00ff until climax is so beautiful i always have tears in my eyes
Mine too. It's very similar to the climax near the end of the 2nd movement of Rachmaninoff's 4th piano concerto.
Thanks man , your videos are awesome .
Magnifique musique ultra brillante et reflétant tellement l'âme russe. Merci pour la lecture possible de la partition en simultané !!
Lugansky‘s interpretations are still my favorite but it was interesting to hear different approaches as well!
Always hold my attention - definitely played with more sensitivity.
Thank you! What you are doing is very valuable and necessary!
14:10 one of the most incredible things I've ever heard.
I was just thinking the same thing. Lugansky has just the right touch
It's so unbelievably beautiful.
Update: I'm going to play this in my solo recital tomorrow ☺️☺️☺️
@@mooster2095did it go well?
Your notes are terrific, thanks!!
Such amazing etudes… Rachmaninoff is definitely one of the greatest composers for piano.
Never knew the hee hee hee haw emote could have such a based opinion
I see you in every classical music video lol
How can having a favourite composer be a "biased" opinion? We're entitled to have our opinions even though not everyone, of course, agrees with our choice. I like and respect almost all of the great composers, of whom Rachmaninoff is clearly one. Yes, the études are amazing compositions, which Lugansky brings out very well.
The "editing" of my reply was purely correcting a typo!
He said based, not biased
I wish I could donate to your channel, thanks for making such great uploads with such fantastic written descriptions accompanying them. You're doing the Lord's work here keeping this stuff accessible to modern audiences. Thank you.
I love 9:21 and 23:58 so much.
I feel overwhelmed everytime when I listen to them. Amazing.
9:21 is featured in his 4th piano concerto and sounds even more amazing with the orchestra , have you listened to it, you would probably like it
If only there was more of Sofronitsky on your channel. Not that I'm complaining, this channel is among a handful of my absolute favorites. Superb taste.
Getting my daily dose of Rachmaninoff--a true fanatic!
thank you, ashish xiangyi kumar, for adding such detailed notes on the interpretations!
thank you for such a wonderful post
Thank you for the descriptions
Lugansky.
The emotionality and art of his playing - phrasing, tempo manipulation, voicing out important lines and notes, a spectrum in the richness of chords, climactic build, letting a color ring a little longer - my attention never wanders.
I honestly jiust discovered Rachmaninoff... I love this style! Sometimes it sounds so random and yet beauteful. Like nature...
Lugansky's pedalling in the 4th is miracolous. He was around 19y/o when he recorded the 2 sets.
It's as though he took a break from the accessible preludes to reveal what really goes on in his mind for musicians and the most discerning of listeners.
7:58
This is why I love Rachmaninoff
What an absolutely beautiful interpretation also
fantastic. Thank you for sharing
No.7 is like a deep sadness about breaking up or just being ignored with your feelings...
Then what is no. 8...?
When it comes to études-tableaux, you're either an op. 33 person or you're an op. 39 person.
And I am very much an op. 33 person.
I wholeheartedly disagree. Both have amazing pieces.
Interesting point...I'm inclined to agree with you.I,too,find the Op.33 set more interesting.The third one of the set was incorporated into 4th Piano Concerto (slow movement).😊
I think the same applies to the two sets of Chopin etudes,Op.10 and Op.25.😀😋
I'm more of an op. 39 person myself.
i like 33 more but i also like 39
I love both the op. 33 and op. 39. The Etudes-Tableaux are definetely one of the best pieces ever written for the piano.
Number 3 is beatiful, what a travel, Lugansky plays it wonderfully
I 00:00
II 02:58
III 05:21
IV 11:12
V 14:52
VI 16:32
VII 18:23
VIII 22:28
50:37 for those playing Rach for RCM Level 10 Etudes
Lugansky's rendition is truly amazing. He nailed it at this.
#1 could be nicknamed "Endlessly Falling Down Stairs"
I can imagine that happening now.
LOL
Lmao 😂
😆 🤣
😂😅
14:52 Oh maybe I can play this etude......
15:00 Nevermind....
Rachmaninoff's winter wind
It's not so hard, but you need to have a strength 4-5 fingers
@@salihayorga2445 Just read through the piece and can confirm it's actually achievable, but the point is you have to find some structure, break it into parts and phrases and not look at it as a bunch of notes
Niccolo Paganini Well yeah if you sell your soul to the devil then it does become achievable
@@tommysmyth1210 Do you really think Paganini sold his soul to the devil ?
It's amazing what Rachmaninoff was able to accomplish as a composer using a very methodical, straightforward approach to composition. He never seemed to deviate too much into the unknown, but his compositions are satisfying and masterful.
Interesting then, that of 12 pre-eminent composers, he was found to be the most innovative.
What do you mean with “very methodical and straightforward approach to composition”? I can’t think of any other composer that instead deviated into unknown with their compositions, so I’m very curious to understand your point of view!
He is so beautiful Rach and strong and definite and tender.I love him
The ending to the 7th sounds like the ending to chopins ballade no 1
The fourth pianist stayed ahead by not showing up.
Ashkenazy’s interpretation of No. 4 is awesome.
Prefer Lugansky´s one. It´s more of a story. Ashkenazy´s interpretation is more of a rush.
I love Ashkenazy - had the pleasure of meeting him once and having an unforgettable conversation - but I do think 33/4 benefits from a slower tempo i.e. Lugansky. The soprano line shortly after the chromatic ascent (near the end) is just too exquisite for words and feels monumentally Russian when played this way.
Lugansky certainly has the superior phrasing, but Ashkenazy has so much passion there that it's difficult to remain unconvinced. Try Korbin's interpretation, also on CZcams!
9:36 ~ Perfectly same with Rach PC no.4 2nd Climax
Brilliant.
Back in the days with Microsoft Outlook, you learn that the beginning of no.4 indicates the arrival of 4 emails, and several more at the end.
11:41- 11:55
The left hand of this part requires a huge flexible hand and insanely tricky control (whether we will played it exactly or with some arpeggios. Of course too much use of pedal is out of question if we want to observe the contrast between legato and stacatto). I really want the third hand.
I love Ashkenazy's Op. 33 No. 4 - the slightly more impetuous movement is engaging from the outset and gives an effortless thrust to musical drama. His interpretation doesn't take itself too seriously and yet the weight of dramatic content is conveyed convincingly. However, my absolute favorite performance of any Rachmaninoff Etude Tableau has to be Van Cliburn's Op. 39 No. 5 - it seems to express everything that particular piece is all about with passion and eloquence.
I love this old video sound
Bravo bravo bravo genial grandiose super
my favorite remains Idil Biret's, with her limitless technique and deep understanding of the music
THE NUMBER 8 OPUS 33 IS A MOST BEAUTIFUL
I have to say that I love having the score on the screen. Sometimes I like to see the pianist’s hands, to see just what they’re doing, but why do that when you can have the score and see *exactly* what they’re doing? Sometimes its’ quite surprising. Always interesting!
i love listening this piece from Idil Biret.
22:01 Chopin Ballade no. 1
fr
@@graydusk1039 heheheha
You can tell rach was jamming out to the first one at his piano for hours
These are all amazing, but no performance of the No. 4 can top that of Idil Biret in my mind.
No 4
No.7 tho 😍🤩🤩
All three are superb, however my ultimate choice is definitely Ashkenazy.
I've never met someone who doesn't want to hear Lugansky Rachmaninov recordings first so I would really love to hear your opinion on Lugansky.
For me definitely Lugansky. Ashkenazy doesn't always follow expression notes in notation and sometimes rush little bit.
I’m also partial to Lugansky. His performance of the fourth etude tableaux is unmatched.
Might one's preference depend on the pianists' schooling and age and the same criteria for listeners? Some people grow used to a style or styles of playing and find playing that deviates from that or those styles less interesting, less satisfying. Others may have grown used to a style or styles of playing but welcome hearing works played differently from the style or styles to which they're accustomed.
I'm less familiar with Rachmaninov than with Beethoven, so I'll take Beethoven to continue my thought. I have friends who grew up with Artur Schnabel's interpretation of the Beethoven sonatas (fewer now -- live; most -- with recordings). Several of them, after hearing younger pianists, have told me the "youngsters" lack something that Schnabel found and transmitted in his playing. I may be mistaken, but am inclined to believe these friends listen to Beethoven with "Schnabel" ears and hence cannot perhaps find what makes the "youngsters'" playing interesting, even thrilling, depending of course on the work.
@@tserkoslavjanskij You make a valid point. There is a generational factor involved here, styles and conceptions obviously evolve, eg as a music student during the 1960s I heard as saw such names as Richter, Ashkenazy, Pollini, Arrau and Kempff to name but a few who were star names on the world recital circuit at that time. During those years I always found Richters and the young Ashkenazys interpretations of Rachmaninov especially convincing, their technical mastery was such that for me they truly penetrated the interior sound world of the composer.
Subsequently there are of course far younger names nowadays giving very different but no less convincing accounts of these masterworks.
It sounds like No. 2 is a further exploration of the ideas presented in prelude Op. 32 No. 12 in G-sharp minor
Great..
If you listen through number 3, when it gets past the andante like section, into the agitato section, you can hear insane similarities between it and and I believe his 3rd concerto (I’m having trouble remembering which one but I’m pretty sure)
Edit: I’m thinking of the 4th I’m pretty sure
Bravooooooooooooooo!!!!!!!!!!!!!!! Hello from Russia !)
Ashkenazy plays louder than printed dynamics at start makes interesting contrast to lyric section .Also it sounds like he adds an extra note (Fsharp?) to add impact with the top forte note A in RH at 33.57
mani grandi grande pensiero
Hard to describe but I love the end of no. 4 with the descending scale (14:19)
Can you imagine Lugansky was giving a free country in my town ( the randomest town ever tbh) , I found out the night before and I went to listen to his études tableaux, and then took a picture with him.
I've finally finished No.4! This video was great help for me and I recommend other piano player to play this piece.
I also have some advice to help people who have never played a Rachmaninoff song before. Firstly, THIS SONG IS HARD! So take your time and play a lot of hand separate. I know its boring, but if you don't break down this song in hand separate it will be very difficult to learn. Just play one section of the piece hand separate, then play hands together once you have hand separate down. Then repeat till the end of the song. Always count! This one might be obvious, but I know people who don't count, and they always rush. Always count to keep the tempo at a steady pace. Lastly always write down accidentals, this piece is full of accidentals so make sure you write it down so you don't forget. It's also good to mark accents, different dynamics and other things that effect the piece. And that's about it! Just take things slow and you will have a good time playing this piece :).
that's advice for learning any piece of piano music besides marking the accidentals which is unnecessary. It's also not a song.
It is a hard choice to choose between Lugansky and Ashkenazy in the Rachmaninoff etudes (including Op. 39). Fortunately we don't have to choose. We can enjoy both as fascinating alternative ways to play some of the greatest piano music ever penned.
Wow, really great video and what a description, I was just wondering if we talk about no.4, who do you like the most? lugansky or ashkenazy? I love to play (and listen to) it at slower tempo, but i have to say that ashkenazy's interpretation is a blast, especially the last part is hearthtearingly beautiful.
I prefer ashkenazy's version of pretty much anything by rachmaninoff
12:12 Incredible; listen to the difference between the accented octaves and the octaves with the tenuto.
No. 5 name is "metel' " what mean blazzard.
I'm played this etude year ago in the 2nd course of college and absolutely fall in it. Now, I'm playing this etude and take it in my program
10:57 WTF that right hand chord???
No need to play all the notes there. If you have small hands you can cheat and do an arpegio
or you can be like me and have an obscene stretch that can play 10ths with ease at speed : ^)
@@NewEnglandFish yes, indeed i can too :) i was just saying
I know lol just a funny bit ig :)
33:55 is very similar to the second movement of his fourth concerto!
It is actually the same thing. He borrowed it and re-used it in his 4th Concerto.
Kumar, полностью с тобой согласен насчет 1-ой баллады shopin?(№7) не смотрел твоего описания сразу пришло на ум(честно), тональность и все такое, в точку!! Только не понимаю насчет неополитанской мелодии, что это??
7:57 Rachmaninov 3rd Concert Intermezzo
Anybody else's mind blown by how Lugansky and Ashkenazy manage to add a middle C at the end of the 6/4 bar at 1:10? Where is it possible to use the sostenuto pedal?!?
They just hold it with the finger
wow the ending of no7 sounds exactly like a passage from chopin ballade 1
Because it is actually intentionally sampled by Rachmaninoff from the Ballade
the 33/6 ending ressembles a bit the ending of Chopin's Ballade g minor :)
Is it just me or the end of the n°3 is very close to the end of the second part of his fourth piano concerto ??
No. 8 is a study-picture for the end of the world.
Photo Chemistry it’s so amazing...
15:01 Op 23n 7 Rachmaninov . It is similar to it
Have difficulty to consider Etudes Rachmaninoff great work
😢
My favorite one has to be no.6 in Eb M
6 14:52 Метель
7 16:32 Ярмарка
8 41:32 соль минор
9 22:28 до диез минор
Necessary comment, thanks
The etudes-tableaux have always been a mystery to me but finally. listening to the amazing Ashkenazy version here they come into focus! Lugansky, although brilliant technically. sees them as studies but Ashkenazy seems to understand this music from the inside out and the difference is staggering. I didn't listen to the Sofronitsky: his piano was too weird from the start. I will want to hear these again but I doubt I will find anything comparable to Ashkenazy. I have to say though that I have often been disappointed by Ashkenazy performances. But not here!
Anyone who likes this should drop what they are doing and order / download the complete Etude-Tableaux by Lugansky. I've heard particular pieces better - for example, Cliburn's E Flat Minor recording (Op 39) was the definitive version though at the height of his powers. But as a group this recording tops the chart. Note that Lugansky did not engage in the irritating"speed games" so beloved of new artists. I bought the Brilliant Classic (3 cd) version that also had the preludes by Marietta Petkova
No. 2 is amazing, especially played by an orchestra
no5 is one of the most interesting and dramatic pieces but it's always overshadowed...
n 3😍😍😍
No. 2 sounds the most like the Rachmaninoff the public knows from those ubiquitous concerti, along with the C major part of No. 3. The rest have to grow on you, so to speak.
Why did Lugansky repeat the "C" here: @0:17 when it's a tie?
#8 shows the influence of Scriabin's Etude op. 42 #5.
@44:58 has to be a nod to Chopin's Ballade, yea? lol
the whole piece is