Classical Music | Piano Music

Recorded on 05/17/2017, uploaded on 03/10/2018

Musician's or Publisher's Notes

I.  Allegro non troppo
II.  Allegro
III.  Grave
IV.  Moderato
V.  Non Allegro—Presto
VI.  Allegro con fuoco
VII.  Moderato
VIII.  Grave

Rachmaninoff wrote his Etudes-Tableaux, Op.33 in 1911. These études mark a distinct development in Rachmaninoff’s career as a composer. Persistently chromatic, his harmonic formations are complicated and sophisticated with varied use of altered chords and bold digressions within a given key.

Irregular barring and chant-like melodies pervade these pieces. As a whole, they fully explore both the pianist’s and the instrument’s capabilities and show Rachmaninoff’s ability to crystalize perfectly a particular mood or sentiment. The original 1914 edition of Op.33, published by A. Gutheil, announced nine pieces; however, only six were issued at that time (nos.1,2,6-9). In later reprints of Op.33 Gutheil tried to suppress the previously advertised nos.3,4,5.

Rachmaninoff withdrew three of the etudes before submitting the manuscript to the printer. 

The A Minor Etude (No.4) was later rewritten in 1916 and incorporated (as No.6) into the second set (Op.39). The C Minor and D Minor Etudes remained unpublished until after the composer’s death, but they are now included as part of the composer’s Op.33. In addition to the Dies irae of the Roman Catholic church, the chants of the Russian Orthodox church had an important influence on Rachmaninoff’s melodic style. As a young boy, he accompanied his maternal grandmother, Madame Boutakova, to services, where the choral singing and the sound of church bells greatly impressed him. These sources of imagery had an important influence on Rachmaninoff throughout his life.         Notes by Raymond Gitz

Courtesy of International Music Foundation.