Etude-Tableau in A Minor, Op. 39, No. 6

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Nikolai Lugansky

I want to share with you my progress with "The Little Red Riding Hood" etude from Rachmaninoff First recording and i hope to improve in the next ones.. The piece needs some time to grow a bit haha As usual suggestions for improvement are welcomed. Member Posts: I'm not a fan of the piece and so interpretation wise I cant offer either criticisms or complements.

Idil Biret plays Rachmaninov Études-Tableaux Op.39

However the performance as a whole was great. I couldn't help notice btw your crazy little finger with a biological mind of itsown, I assume it just curves up when you're tensing.


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Other russian artists. Buy sheet music books Rachmaninoff, Sergei. Connect to add to a playlist. Add Videos on this page Add a video related to this sheet music. This service works with Youtube, Dailymotion. Share this page Free-scores. Audio and video players are included.

Annotate this sheet music. Now that you have this PDF score, member's artist are waiting for a feedback from you in exchange of this free access. Please log in or create a free account so you can :. Do not see this window again for the duration of the session. Licence starting from 3. Be the first to write down a comment. Vilified in his native land, his name was later removed from all official records. He literally became a non-person. I make this point because, as his playing declares, music survives above and beyond such dire conditions.

Even when you find him more gusty than measured or relentless in the climax of No 7 with its earlier lamentoso outcries and hints of the Russian liturgy, you can only wonder at his visceral attack in No 5 and his dazzling scherzando finish to No 8. Ashkenazy, despite his worldwide, cosmopolitan career, remains gloriously true to the Russian idiom. And then there is Alexander Gavrylyuk , who was 22 when he was recorded in Miami, and already possessed with the trenchancy and emotional commitment of the great Russian pianists. He is an international prizewinner who unlike many who fail to survive their early success has continued to cause a furore, performing with the most celebrated orchestras and conductors, including Ashkenazy, with whom he recorded the complete Rachmaninov concertos and Paganini Rhapsody.

After a brief sojourn in Australia he returned to his native Ukraine, and although his repertoire is wide-ranging, his focus on the Romantics plus Bach and Mozart , and Russian Romantics in particular, tells its own tale.

Rachmaninov's Etudes-tableaux, Op 39 – which recording should you buy?

His greatest success, as on this recording, has been in Rachmaninov, and here he makes Op 39 the centerpiece of his programme. In No 1 his relatively slow tempo uncovers a sinister undertow beneath the hyperactive surface, finding time to inflect even the busiest pages with freedom, colour and imagination.

Introduction

What intensity, too, in every agonised page of No 2, where he plays as if his life depends on every note. In extreme contrast Gavrylyuk is explosively intense in No 5, and tells you also that No 8 is a place of bittersweet dreaming. Time and again he returns you to a period when Russian-trained pianists and not only pianists were dedicated exclusively to their art — to an endlessly evolving and developing journey for Ashkenazy, a spiritual quest.

Rachmaninov Etude-Tableau op. 39 no. 6 sheet music download free in PDF or MIDI

Difficult, too, not to add that such manifest devotion must have prompted members of his wildly applauding American audience to wonder why a country with relatively limitless funds and facilities has created so few pianists of true international calibre in the past few decades.

Virtually every pianist of note, whether male or female, comes from elsewhere. Alexander Melnikov shows himself to be a pianistic wizard, though one who never plays for effect or according to an external criterion unlike Horowitz. For all his formidable mastery he never uses Rachmaninov as a springboard for excess.

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Greatly admired by Richter during his early career, he is a vitally enterprising pianist delighting in historic as well as modern performance. What grandeur, too, in No 5, alive in his hands with a brooding and explosive menace. Intriguingly, and unlike Ashkenazy and Gavrylyuk, he finds a Mephistophelian glint in the outwardly playful measures that end No 8. And yet, if I was to name the most trailblazing and meteoric performer of all it would have to be Nikolai Lugansky.


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There is nothing reserved in what is surely the most freely expressive, personal and, at the climax, seething performance on record of No 2. Rachmaninov himself was, after all, the least sentimental pianist in his own music. She may well have been right, particularly when you hear playing of such an authentic, all-Russian vintage. In his Op 39 Lugansky trumps all aces with playing far remote from his occasional detachment.



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