Morceaux de Fantaisie

Morceaux de Fantaisie, Op 3 ( Russian : Пьесы Фантазии, Pyesy Fantazii) is a collection of five pieces for piano solo composed by Sergei Rachmaninoff (1873-1943) in1892 . He wore his third opus on to Anton Arensky, one of his teachers at the conservatory.

The pieces were written shortly after Rachmaninov graduated from the Moscow Conservatory and none had more money in their pocket. Rachmaninov showed the Morceaux de Fantaisie to Pyotr Ilyich Tchaikovsky in which Alexander Siloti by hinted that he was particularly pleased about the pieces, especially the Prelude in C-sharp minor. The prelude was on September 26 1892 premiere in Moscow. The entire collection on December 27 1892 in Kharkiv .



Content
[verbergen]  *The pieces 1  ==The pieces [  edit ] == ===[Elégie  edit ] === The Elégie (Элегия, Elegiya) is an elegy at moderato tempo. Typical are the sad riffs that the piece has. ===[Prelude  in C-sharp minor edit ]  === The Prelude in C-sharp minor (Прелюдия, Prelyudiya) is undoubtedly the most famous piece of the Morceaux de fantaisie. In the United States, the piece was sold under the name Moscow Bells; likely to attract more buyers. After the success of the Rachmaninov prelude began to detest the job because he was of the opinion that he had written much better work, but these would regret not become successful. The prelude was a favorite encore, which, for the piece was prompted by "prelude" to play, or just "Cis".
 * 1.1 Elégie
 * 1.2 Prelude in C-sharp minor
 * 1.3 Melody in E major
 * 1.4 Polichinelle
 * 1.5 Serenade in B-flat minor
 * 2 See also

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The prelude begins quietly but steadily building up to a climax where the pianist four staves instead of finding two are in the score.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">An attempt at interpretation:

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The prelude begins put down with a fortissimo 'certainly' theme of three descending notes: A, Gis, Cis. Especially Cis is heavy set and held a half size, before the second theme is introduced. This theme is even softer than pianissimo played: the composer writes for the entire following passage of four bars 'ppp' for. The second theme also consists of three notes, but differs strikingly from the first in that it just is not definite, but rather hesitant about coming questioning. This is achieved by the composer by choosing no upward or downward trend, but to rise within this short theme of three notes first half tone distance and then again to drop a half Cis, E, Dis. Then, the two themes alternate in a modulated effect of the first fifteen sizes.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Although the composer said prescribes for the entire following passage "ppp", the very different themes forces as it were to convert the definite theme down firmer than the hesitant, questioning theme. Modern technology shoot us in the interpretation to help today, because we can hear how Rachmaninov performed this prelude itself. Today, we have a recording of the performance given by the composer himself (shown on the right). On this recording is clear to hear Rachmaninoff's 'firm' theme emphasizes each compared to the 'demanding'. Earlier this nuance was almost lost due to the poor quality of the 78-rpm record. The two contrasted themes keep coming back throughout the piece.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In music it is firmly seen as a male element, and the questioning referred to as a female element. If we do this perhaps somewhat old-fashioned, but the thinking, surely interesting characterization hold a moment, then turns to act the prelude of a disagreement. Nothing Moscow church bells, it's a marital spat! After during the first fifteen sizes different views and perceptions of the man and the woman have quietly put apart, there is a substantial acceleration in the pace "agitato" middle section. The spouses become agitated and throw each other constantly against their different opinions. There follows a chase through the marital home, one running up the stairs and comes helter-skelter down again, which is voiced in a rapid succession of descending triplets in a syncopated rhythm. Down the stairs arrived, the disagreement loudly continued: the man puts his arguments with extreme force. According to the composer, the theme is here "fff" are played, so louder than fortissimo. There is also the indication "pesante" with weight. The feminine theme appears here very loud, and they will do even one step further with a sffff 'designation. How loud can suddenly play here? The quarrel is almost out of control, until the woman realizes that she 'wisest' should be, and gradually acquiescing to the tirade of her husband. The prelude ends with an increasingly milder passage in which we find that the feud has ended. The woman says the man no longer against. Yet she sighs in the final dimensions, nearly inaudible whisper, and yet I do not believe it ... ===<span class="mw-editsection-bracket" style="color:rgb(85,85,85);"><span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;">[Melody  in E major <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;">edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">]  === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Melody in E major (Мелодия, Melodiya) is a short Adagio sostenuto what its atmosphere is looking for a middle ground between happy and sad. ===<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[Polichinelle  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The Polichinelle (Полишинель, Polishinyelj) is a cheerful fantasy . ===Serenade in B-flat minor <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Serenade (Серенада, Serenada) in B-flat minor has something of a stately dance.